The new HDx35 Mark II by AbelCine is a huge step in the right direction for Doc or ENG style shooters. A major problem for full frame sensor cameras as been the lack of ENG / Doc style zoom lenses with rockers. This adapter solves many issues offering both functionality of a powered zoom lens through P-Tap adapter, and being able to shoulder mount comfortable lightweight full frame cameras such as the C100 or C300.
The HDx35 Mark II is an optical adapter manufactured by IB/E Optics that allows you to put B4-mount 2/3″ HD lenses onto Super-35 sensor cameras. This enables the use of high-quality, long-range HD zooms with the latest generation of digital cinema cameras. The new Mark II edition has a larger image projection to fully cover the large sensor of the Canon C100/C300/C500 cameras.
In a move that caught no one by surprise the Blackmagic Production 4k Camera has been delayed again… this time for 3-4 more weeks. I have to wonder if there have been significant staff changes due to these delays. I really hope that they don’t announce another new camera before this one is out unless they have figured out some of these workflow issues. See the official word below.
I just want to give you an update on the 4K camera.
As we mentioned a few weeks ago, we received the production sensors much later than we expected. When we built cameras from them we saw some big differences in the images between these production sensors vs the pre production samples we originally received. What this means is that we have been working over the last few weeks to replace a bunch of the software in the camera that handles the sensor calibration and image processing.
It’s taking a bit longer than we expected to do this and we think its going to take about 3 to 4 weeks more to get those changes done and to get the QA process completed before we can start shipping.
We apologize for the delays from the original promised date. Ultimately, image calibration is a very important step so we want to make sure this is done properly before shipping.
Are you awaiting your delivery? Contact me. I am curious to know what you think about this additional delay?
In two days creativeLIVE is offering an online class to help people learn After Effects CC for free. These sorts of classes were an incredible help to me early on and I highly recommend them to everyone as a great learning tool. Information below.
Adobe After Effects CC is a hallmark broadcast video and film production program — but it has so many functions, it’s hard to know where to start. In this 3-day workshop, renowned video producer and Adobe Certified Expert Jeff Foster will walk you through how to use After Effects’ many functions to enhance your projects with visual effects and motion graphics.
You’ll learn the basics for controlling movement, animating simple objects and 3D space, create interesting text and title animations, composite videos with and without green screen. Using real-world production examples, Jeff will guide you through this complex program and unpack the tools and terminology so that you can apply your skills right away and with confidence.
Mon, 8/12/2013 at 9AM
Duration: 3 days from 9AM – 4PM
Click here to enroll:
Richard Linklater is one of the filmmakers that other iconic filmmakers look up to. His outlook on learning the art of film making is truly inspiring. Hit the jump for an interview with Richard Linklater on being a self-taught filmmaker.
If you’re ever really going to write and direct movies and get your own movies made you have to be, you know, a hustler. You got to be, kind of, obsessively motivated. School’s not going to teach you that or give you those skills. You just kind of have to do it.
As expected Canon announced the Canon EOS 70D as a a replacement for the popular 60D Model. Similar to the 60D; the 70D will offer a swivel screen and the capability to shoot Full HD 24 frames per second. Also expected were improvements to the sensor, the processor and most notebly the ability to Auto Focus on the fly with the new live AF mode for video similar to that of a standard video camera. Another cool feature is that the camera now has wifi built in:
The EOS 70D is the latest EOS model to feature integrated Wi-Fi, providing the freedom to remotely control the camera, as well as share images. Using Wi-Fi connectivity, users can connect to the EOS Remote app and control a wide range of image settings, including ISO and exposure, as well as focus and release the shutter.
There aren’t many hands on videos out now and the few that I’ve scene do not offer much other than the standard “Canon Product Review”. I’m personally looking forward to some independent hands on reviews and anxious to see the live AF in action. Here are the specs from Canon.
EOS 70D – key features:
- 20.2 megapixel APS-C CMOS sensor and DIGIC 5+
- 19 point cross-type AF System and 7 fps shooting
- Dual Pixel CMOS AF
- Instant sharing and remote control with Wi-Fi
- ISO 12800 (H:25600)
- Vari-angle 7.7cm ClearView II LCD touch screen
- Intelligent viewfinder
- Full-HD movies
- *UHS-I card required for maximum burst duration
**Dual Pixel CMOS AF is possible over 80 per cent of the width and height of the Live View frame
The Canon 70D Specs have been leaked and it appears this will finally be the replacement for the Canon 60D. I have enjoyed using the 60D and was looking to the 6D as a possible full frame option until I heard rumors of the 70D. Not sure it will be the next choice after seeing the specifications. No mention yet of whether it will be full frame or not but one nice improvement is the DIGIC 5+ Processor. I am alos curious to see the capabilities with Magic Lantern and curious to see if it will in fact be able to shoot RAW. At a price point of $11oo (Body Only) it may be a better option for new filmmakers looking for an introductory camera.
- 20.2MP CMOS Sensor
- DIGIC 5+ Processor
- 19 point AF System (All Cross Type)
- 7fps for Still Images
- Built-in WiFi
- 3″ Vari-Angle Touch Screen LCD
- ISO 12,800 Maximum
- Multiexposure Mode
- LP-E6 Battery
Photo and Specs from CanonRumors.com
Documentary or Narrative… Everything should point towards the story you’re telling. A good doc has the ability to immerse the viewer in a world of; heros and villains, drama and comedy, life and love. Here are few tips from Filmmaker Magazine on how to improve your next documentary project.
1) Talking heads should be used as spice – not as the whole meal. Unless your protagonist is Slavoj Žižek or Speed Levitch-level entrancing, your characters’ spoken words are probably what’s most riveting. So show us images onscreen that are equally fascinating, that will add to those words and broaden our understanding (rather than merely giving a visual repeat of what we’re already hearing).
2) Dispense with narcissism. For the activist doc-maker, realize that an “important issue” is important – to you. Universalize and personalize so that your film can reach beyond the converted. (The Invisible War is a deft example of doing so. Why should I, a civilian, care about rape in the military, when there are so many other issues closer to my experience? Because, according to Kirby Dick’s exceptional film, these rapists who get off scot-free eventually return to civilian life – and into my and your metaphorical backyard.)
3) Just like with fiction work, the directing must serve the story. This means that if your subject is a punk rock band, for example, the filmmaking should be equally “punk rock.” (See tip number one.) The style should give us an entire sensory feel for the subject or subjects. It’s not enough to point and shoot – and expect your characters to do your job for you.
4) Realize that doc-making has entered the mainstream. Michael Moore discovered decades ago that the more you entertain, the more eyes and ears – and hearts and minds – your message will reach. View your film as competing against the latest Hollywood blockbuster, not the latest TED Talk.
5) With this in mind, know your market. Theatrical release has long been regarded as the holy grail – yet most docs just can’t fill a 21st-century screen. Better to be big on the small screen than small on the big screen. (Not to mention the small screen is where the future is at.)
American Doc: Five Tips for Nonfiction Filmmakers | Filmmaker Magazine.
Another really great article on Shane Hurlbut’s “HurlBlog”. The amount of education available for free over the internet from is astounding. Especially when it comes from such a great resource as Shane Hurlbut ASC. This article covers an in depth look at color correction using tools readily available to DSLR Filmmakers.
Color correction is just one step of the entire filmmaking process…but oh, what a difference it can make. You can take average footage and really make it pop, sing and enhance the viewing experience of your project. If you have excellent footage, then the sky is the limit. You can also make images look garish, ugly and destroy all the hard work the crew did to capture those images on the day of the shoot. The challenges and choices are many and it comes with great responsibility if you are the one applying the Color Correction and Color Grade. In the indie film world, jobs are more often merged and unified and Color Correction is more and more falling into the hands of the Editor. The smaller the budget and tighter the deadline…the more often this becomes true.
7 Tips for HD Color Correction and DSLR Color Correction.
The wait is over. The new Mac Pro has been announced and it looks to be a beast in processing power. From an expand-ability standpoint losing the desktop case is a little worrisome but with the addition of Thunderbolt 2 and the ability to connect up to 6 Firewire Devices I hardly believe it will be an issue.
Check out these specs:
- New Intel Xeon Processor
- Dual Integrated AMD Workstation GPUs (This means you’ll need to use OpenCL with Adobe)
- Have up to three 4K displays on built-in workstation graphics
- Expandable through the newly announced Thunderbolt 2
- Motion-sensing ports that light up when the machine is rotated (to make plugs visible)
- Available later in 2013
- No price yet
More info at: http://www.apple.com/mac-pro/
There is an overwhelming amount of doubt in the ability to get into film festivals like Cannes and Sundance. Its too easy to tell yourself that it’s not possible or that you aren’t good enough and maybe that’s true. But everyone loves success stories of filmmakers who against all odds made it. This is one such story.
In early April, Brooklyn-based cinematographer and filmmaker Jeremy Saulnier was en route to shooting a corporate video in Cleveland when he learned that his movie had been accepted to the Cannes Film Festival. It was quite the validation: To make the tense, violent crime drama “Blue Ruin,” the first feature Saulnier directed since his scrappy horror-satire “Murder Party” in 2007, Saulnier relied on financing from his wife’s retirement fund, his own Amex card, and a last-minute Kickstarter campaign. But Sundance had rejected him and he had started to think the movie might not get out there for another year. Instead, Cannes’ esteemed Directors Fortnight section catapulted “Blue Ruin” to international attention at the biggest film gathering in the world.
Read the full article here:
How Jeremy Saulnier Went From Corporate Videos to Premiering ‘Blue Ruin’ at Cannes | Filmmakers, Film Industry, Film Festivals, Awards & Movie Reviews | Indiewire.