A sort-of follow-up to the earlier article on Philip's site with editors discussing FCPX:
Avid opening up to third party support really means they are going aggressively after editors and post production houses that are not happy about the state of current affairs with Apple FCPx. Now combine that with Avid Media Composer’s 6 new support of Apple Pro Res capture and encode, and you can really begin to see how much this means to the industry and how devotedly Avid has re-structured itself towards the editor. It really was not that difficult for me to transfer my Final Cut Pro projects over to Avid Media Composer 6, and continue using my BlackMagic Design UltraStudio, AJA , or even my Matrox MXO2.
How to export chapter markers from Final Cut Pro X | Digital Rebellion
A work around using Pro Media Tools:
There are several workarounds, such as adding chapter markers in Compressor, but these can be quite tedious as you need to create them manually. Luckily QT Edit in Pro Media Tools can automatically create chapter markers directly from the markers in your Final Cut Pro X timeline.
Here's how to do it:
Final Cut Pro X Master list | FCP.tv
A list of FCP X articles, including a pretty complete list of FCP X 10.0.3 articles.
DaVinci Resolve 8.2 beta 4 | Blackmagic Design
Blackmagic releases a beta 4 for DaVince Resolve that includes FCPX XML 1.1 support.
Rather disappointing results from my RODE subminiature lapel microphones
| Philip Johnston | HD Warrior
Philip encounters a problem with his RODE subminiature microphones:
I plugged the first lapel mic into my XLR cable only to get a buzzing noise…mains hum. Since this was the first time using the Canon XF100 I sat down to go over the audio settings in the menu, after exhausting all my options in the menu I changed the XLR cable, no joy.
Digital cinema cameras that save energy and resources | Sony
Article from Sony claiming substantial energy savings with films shot and broadcast digitally:
Skipping the step of film development also eliminates the need to use water and chemicals for this process, and there is a significant reduction in CO2 emissions. In contrast to a regular two-hour movie requiring six reels of film, the same movie produced with digital cinema technology can fit on one hard disk, which enhances distribution efficiency and lowers associated CO2 emissions.
Stereo 3D Video Production with GoPro | Jeff Foster | ProVideoCoalition
A look at the GoPro Hero 3D system:
The 3D Hero system works with both the original Hero camera and the new Hero2, but you may need to check for a current firmware upgrade to be sure your cameras will function properly. Check the GoPro site for update announcements. (The system is not compatible with the Hero 960 or standard definition cameras.)
Ed Burns Is Forever Indie | Paul Osborne | MovieMaker Magazine
I missed this interview with Ed Burns from last month:
EB: Obviously you have the freedom you don’t have in big-budget filmmaking, because you don’t have the guy who cuts the big check looking over your shoulder. Whether it’s somebody from the studio or just a private financier, no one is asking to know why, in the middle of the day, you’re deciding to scrap a scene or change a location. It allows you to be more nimble, more spontaneous. You free yourself from the traditional production shackles, which you need when you’re spending millions of dollars. When each production day costs you several hundred thousand dollars, you’re very accountable to what you get done. But in our case, we didn’t have to play by those rules.
Falling on Def Ears: Marketers Slow to Embrace HD Ads Luddites could miss out on as much as $8.2 billion per year | Anthony Crupi | Adweek
After studying return path data culled from some 100,000 DirecTV households, DG and Kantar discovered that viewers are much more likely to stick with an HD spot than an ad shot in vanilla SD. All told, retention for HD spots was 18 percent higher than for standard-def spots, and that lift jumped as high as 28 percent when the ad in question was slotted in the “A” position of the commercial pod.
Filming Sherlock with DP Fabian Wagner | Philip Johnston | HD Warrior
The British seem to be on a roll with television programming lately; I quite enjoyed the first season of Sherlock.
Q12. If given a choice would you choose another camera to film Sherlock? i.e.. Sony F65, Sony F3, Canon C300 or a RED camera. Right now the Alexa would be my only choice, there are other good cameras but I like the Alexa best for all the above reasons. The medium is developing very fast right now though so you never know what might happen next.