| Filmmaker Magazine
This article is based on the talk Alex gave recently in Boston:
Alex Buono is perhaps best known for his work with the Saturday Night Live Film Unit. He shot the current opening for SNL, as well as many of the fake commercials seen on the show, but his passion is documentary and making independent films. “I’m always trying to get the next one off the ground,” says Buono, “and SNL, as much as I like it, it’s a lot of fun and I really like who I’m working with, [but] it’s this great day job I do while I’m trying to get a movie [going].”
Ellen Kuras: The Biggest Crisis in the Digital Realm is Storage and Preservation
| TribecaFilm
With the ever-changing formats of digital production, acclaimed cinematographer Ellen Kuras (Summer of Sam; Eternal Sunshine of the Spotless Mind) is worried: how will filmmakers preserve their work?
’4K’ Video: A Hope for Japan’s Electronics Makers? | Daisuke Wakabayashi
| Wall Street Journal
Japanease compnies hope to have a success selling 4K television? I think they are crazy - or desperate.
[Sony] The company’s executives have said it is currently developing a 4K television although it will not be the first to market with one. Toshiba Corp. uses a 4K display in a glasses-free 3-D television it released last year, but the 55-inch model sells for about 780,000 yen, or about $10,000, in Tokyo.
PMW-F3 Quick Tip: 5600K CC Button | AbelCine | Vimeo
You may have wondered what the 5600K CC button on the top left hand corner of the PMW-F3′s LCD does. As its name implies, it allows you to quickly change the white balance from 3200K (tungsten) to 5600K (daylight). The important thing to remember is that the button only works this way when the camera is set to a color temperature of 3200K. With firmware version 1.31, the 5600K CC button would simply “add” 2400K to your base white balance, so 3200K + 2400K = 5600K. With firmware v1.40, you will only achieve 5600K with the 5600K CC button when you start at 3200K.
Red Dragon’s, Pro I/O’s and Meizler Module’s, Oh My! | Michael Sutton
| Wide Open Camera
Mike is cautiously optimistic about Red's latest announcements:
If this new sensor does what they say, I think Red will get back a portion of the market they have lost to Arri, Sony and Canon. I am glad the focus is off of resolution and put where they need to focus instead. We have all heard Red hype before. I just hope is somewhat real even if they deliver half of what they promise.
MPEG releases H.265 draft, promises twice the video quality by 2013
| Daniel Eran Dilger | AppleInsider
The new H.265 draft specifically addresses mobile devices and networks overloaded with video. Products using the new H.265 video compression standard could begin to launch as early as next year.
Ensuring Proper Monitor Placement to Make the Best Use of Your Studio
| Kyle Snyder | Audio Undone | Focal Press
• To get the smoothest low-frequency response, put the speakers near the shorter wall, and sit forward of the halfway point in the room.
• Use a foam isolation device under each speaker to ensure deep, tight bass. Auralex MoPads and Primacoustics Recoil Stabilizers work well.
CHRIS KENNEALLY ON “SIDE BY SIDE” | Billy Brennan | Filmmaker Magazine
Interview with the maker of a documentary about the move from film to digital:
Director Chris Kenneally began his career as a writer in Boston before being bitten by the film bug, moving to NYC and getting knee-deep in everything from post-production and editing to writing, directing, and producing. Much like his film’s subjects, the director exudes passion and enthusiasm while holding his own views on film, digital, and the future of moviemaking. Filmmaker had a chance to sit down with Kenneally to continue Side by Side’s dialogue on the state of the industry and the art that results.
6 Filmmaking Tips From Sylvester Stallone | Cole Abaius | Film School Rejects
Let Regret Be Your Gasoline
“Regrets? There’s tons. That is the fuel that keeps me going. It’s not success, it’s not money. It’s regret. I was on cruise control from ’85 to ’95, and it was my fault. There were a lot of self-inflicted wounds, when I was not doing any original material. I wasn’t directing. I wasn’t writing. That’s not who I am. I wish it was, it’d sure be a lot simpler, but it seems my fate is to be self-generating, produce my own films.
Zacuto Blackmagic Camera Rigs | Zacuto
Still no word on when the Blackmagic Cinema Camera will start arriving:
Since the announcement at NAB, our design team has been hard at work designing rigs to compliment this camera. “Designing rigs for this camera was no easy task. It was reminiscent of designing rigs for the DSLR’s but with a few twists”, says Product Designer Jens Bogehegn. Steve Weiss, Product Designer, goes on to explain, “DSLR’s and BMC ergonomics are very similar. You essentially have a camera that has to be held in front of your face to see the video."
Polarizing Filters: Powerful Filmmaking Tools | Shane Hurlbut | Hurlblog
The most common use for a pola is to cut reflections off of car windows. When you are driving down the road, nasty glare can affect just how much you see the faces inside the vehicle. By using a pola, you can choose exactly how much reflection you want to keep of overhanging trees or buildings on your windshield, or you can choose to eliminate all reflection to see deeper in the vehicle.
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