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B-Side: How a Bunch of First-Timers Made a SAG Ultra-Low Feature Without Blowing Up the Garage | Amos Posner | Filmmaker Magazine

We planned to not fix anything in post. Anyone who says “Fix it in post” during production should have to donate a dollar to the crew beer fund. If you don’t plan to fix anything in post, you’ll still have lots to fix. Don’t invite more. 

The Making of legendary skateboarder Danny Way documentary, Waiting for Lightning | Webinar | Adobe
Thursday, December 13, 2012 | 10:00 AM - 11:00 AM

See how the video pros behind Waiting for Lightning used high-performance Adobe post-production tools to document the life of Danny Way, one of the world’s most visionary skateboarders. This presentation will cover Bandito Brothers’ digital workflows which relied on After Effects, Adobe Premiere Pro, and other Adobe Creative Cloud tools to tell the story about how much abuse the body can sustain, how deep you have to dig to survive family troubles, and how high and far dreams can fly.

The camera conundrum: which one to buy? | Philip Bloom | Blog

A phrase that is bandied about by a lot people (including me) is ”it’s not the camera”…well yes to a point. There are times when you absolutely need an Epic or an Alexa or a C300, and there are times when a Canon 550d (T2i) will do. Why do you think Roger Deakins shot Skyfall on the Alexa and not say a Canon 60D from Walmart?

XAVC Sonys implementation of Advanced Video Coding | Peter C | Sony Forum

The Sony XAVC format complies with H.264 level 5.2, which video essence is encapsulated in an industry standard MXF OP-1a wrapper, accompanied by audio and meta-data elements. The primary objective in adopting the XAVC format is to develop a family of professional production tools that can economically handle High-Frame-Rate (HFR) HD and 4K imaging formats.

Seeing Things | The Worlds of Stanley Kubrick | Brooke Hodge | New York Times

Massive backlit transparencies are like signposts in the exhibition, leading viewers through the director’s films. Kubrick’s many camera lenses — he was obsessed with technology — are displayed like jewels in cases near the beginning of the exhibition. To tell the story of the range and depth of his vision, each of the films is connected to a theme. 

FCP X and the Future of Editing | David Leitner | Filmmaker Magazine

Final note: I cut a 17-minute documentary one evening last summer (footage I shot) using FCP X on a 17-inch MacBook Pro with an internal 500GB SSD and fast G-Tech 8TB RAID with Thunderbolt. I loaded files, reviewed footage, cut picture, sound, music, added titles and credits, and finished in 11 hours straight. 

Audio Component Editing in Final Cut Pro X | Mark Spencer | Pro Video Coalition

Ok, so last week’s episode pushed to the beginning of this week, and now here we are with this week’s episode just making it by end of the week. Today, Steve Martin from Ripple Training tells me all about the new component-level audio editing feature in the Final Cut Pro X 10.0.6 update. Some good tips in this one, check it out.

FCP X: Two Cautions | Larry Jordan | Blog

Final Cut Pro X has an effect and a composite mode that you need to be wary of when using them in your projects. This article shows you what they are and explains why.
BLACK AND WHITE ISN’T SO BLACK AND WHITE

Premiere Pro: Green-screen Keys | Larry Jordan | Blog

Premiere Pro provides several different ways to create this key. In this tutorial, I’ll show you the preferred method: the Ultra key.
THE ULTRA KEY
The big benefit to Ultra Key is that it is fast and looks great.