Boston's own Rick Macomber joined this panel of ex- and current ENG shooters who are now shooting with DSLRs and other large-sensor cameras:
I am joined by former and current ENG news shooters Philip Bloom, Den Lennie, Rick Macomber and Matt Allard to discuss how large sensor cameras have helped each of them further their careers. We also talk about the uses for shallow depth of field in factual programmes and where the future lies.
DaVinci Resolve v9 Highlights | Peter Chamberlain | Lift Gamma Gain
A list of the highights in the new release of DaVinci Resolve:
- Log grading includes contrast and pivot with low and high range controls
- Composite RGBA clips using embedded Alpha
- Stereoscopic 3D floating windows include position, softness and rotation
- Separate 3D monitoring controls for GUI/SDI/WFM mesh
- Camera Raw palette offers real time direct control of raw images
NAB 2012: Technicolor CineLights from the GoPro booth | Scott Simmons
A look at the $99 CineLights application, launching later in the summer:
There’s a familiar 3-way color corrector as well as a tab for curves so anyone with any color correction experience will feel right at home. A keyer is another tab called Key Selector but from what the rep said it isn’t a secondary keyer for color correction but an actual green/blue screen keyer but from reading the product documentation it says for “selective color treatment”. This application will also be a cheap way for someone without an NLE to jump in and learn some color correction basics. Of course they could always download the free DaVinci Resolve as well I suppose but that’s a lot more complex.
FCP, Color Grading, and the irritating gamma shift... | Aaron Williams | Blog
An answer to the question: Is there any way to properly stop gamma and colours changing when you export from FCP?
So if you’re pulling your hair out because of a gamma shift from FCP, and you happen to have a copy of After Effects, try this: Export an XML of your sequence from Final Cut Pro. Import it into After Effects using Automatic Duck’s (now free) Pro Import AE. Export from there (or for the more unexperienced AE user, don’t “Export”, but add to the Render Queue).
Sign Up for the Pre-Release Smoke Trial | Autodesk
Sign up now at Autodesk for the trial of the new release:
Note: A pre-release trial of Autodesk® Smoke® 2013 video editing and effects software is expected to be available for download in June 2012. Fill out and submit the form below and we will notify you as soon as it is available.
Sony NEX-FS700 | Jeremy Stamas | Camcorderinfo
Camcorderinfo looks at the Sony NEX-FS700:
With an expected retail price of around $10,000 dollars, the Sony NEX-FS700 is actually priced competitively in the 4K camcorder market. At $5000, the JVC GY-HMQ10 is a cheaper option, but its 4K workflow solution is downright silly (it requires the use of four SDHC memory cards simultaneously). Then there are the RED Digital Cinema camcorders, which cost an upward of $15 grand before you count the cost of all the necessary add-ons
NAB 2012: PluralEyes 3.0 from Singular Software | Scott Simmons
Scott Simmons looks forward to PluralEyes 3.0, the latest release of the audio-sync application:
...for version 3.0 of PluralEyes they’ve remade it into a totally different application. That means PluralEyes is more than just a dialog box with a few settings. It now uses its own timeline, it’s own viewing window and all your syncing, slipping and adjusting can be performed right in the application. When you’re done then export to the desired NLE.
Following Joe: The Ongoing Persecution and Epic Street Skating of Joe Pease
| The Predatory Bird
An interesting video that shows how you can jump-cut from one scene to another, and have the effect seem continuous, providing the major element in the scene that the viewer is watching remains somewhat consistent:
Joe Pease is currently employed as the warehouse manager at Antics distribution. He grew up in the town of Burleigh Heads on the Gold Coast, Australia, where he progressed as a skater alongside such Aussie luminaries as Jake Duncome and Shane Cross.