Shane Ross/Little Frog in Hi Def

EDITGROOVE…FOR FCP

ANOTHER cool tool for FCP released today, EditGroove. This bit of software manages preferences and user settings for multiple users…on one machine or across a network. If you are working on one machine one day, then move to another, you can load your keyboard layouts….

Technorati Tags: add-ons, Final Cut Pro, Tools

As a follow up to our series of interviews with John Leonetti, ASC about his experiences shooting one of the first feature films with the RED Digital Cinema Camera, here is a clip from the soon to be released film, “Hybrid“. The film was produced by Oliver Hengst and Elizabeth Wang-Lee, directed by Eric Valette with cinematography by John Leonetti, ASC. Hybrid was also the first feature film in Canada to be shot with the RED.

Thanks to Jakob Boersch at Stallion Media, LLC for helping us get this clip online.

Link to Interview with John Leonetti, ASC Part I
Link to Interview with John Leonetti, ASC Part II
Link to Interview with John Leonetti, ASC Part III

Technorati Tags: 4K, cinematography, clip, digital cinema, HD, Hybrid Movie, indie film, RED digital cinema, red one

Adam Wilt/Pro Video Coalition

Adam Wilt Reviews the Panasonic AG-HPX170P 1/3”, 3CCD P2 Camcorder

The first review on the net of the successor to Panasonic’s hugely popular HVX-200. Adam gives his usual in-depth analysis of what is expected to be one of this year’s “next big things” in digital cinematography. This article will be of particular interest to indie-filmmakers, production houses and cinematographers…(more)

Richard Recco/QC Central

Cineon/DPX Pro for Final Cut Studio 2 3.0.3

This is a professional set of QuickTime components to read and write Cineon or DPX images. Features include:- Full Integration with Final Cut Pro 6 and Compressor 3
- Solid playback with FCP 6. (If system meets recommended requirements.)
- Sequence Presets for Cineon or DPX based projects
- 32-bit float pixel support during import and export. (more)

IFSS/International Film School, Sydney

Dual-System Sound Sync Options

One particular production workflow that can be a sticking point for many projects is working in post with dual-system sound requiring synchronization.

Dual-System (aka Double-System) sound is simply that where the audio has been recorded separately from the picture, to a physically separate recording device and medium. The main unit used in the school for dual-system is the Marantz solid-state field recorder. This records 2 channel audio to compact flash memory cards in standard 48k 16bit…. (more)

Merinews - India

Video editing: The visual cut

VIDEO EDITING has become an inseparable part of today’s media and entertainment industry and hence the increased demand for video editors. The secret behind making art aesthetically appealing lies in the techniques of editing… (more)

Technorati Tags: adam wilt., cinematography, digital filmmaking, HPX170, HPX170P, hvx-200, indie film

I had a chance to go over to ARRI in Burbank, California recently and spoke with Eric Johnston, Product Manager for their Professional Camera Accessories. Eric gave me a demo of their new MMB-1 Matte Box, MFF-1 Follow Focus and MBP-1 Baseplate designed specifically for the new generation of lower cost, lightweight HD cameras. People shooting with Sony’s EX-1, EX-3, Panasonic’s HVX-200 or soon to released PD-170 can now outfit their cameras with these accessories, which can be purchased individually or together as a kit.

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Windows Media Format

Technorati Tags: accessories, ARRI, Cameras, EX-1, EX-3, HD, hvx-200, PD-170

Today we have the 3rd installment of our 3-part interview with cinematographer John Leonetti, ASC, about his experience shooting his latest film, “Hybrid”, with the RED ONE digital cinema camera. In this last segment John and I talk about the state of screening dailies in present day Hollywood and whether he had a DIT (digital imaging technician) on set while shooting “Hybrid”. I then get down to brass tacks and ask John my two most pressing questions; his feelings about the future of celluloid and if he thinks the RED digital cinema camera is revolutionary enough to change the balance of power in Hollywood.

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Windows Media Format

Link to Part I
Link to Part II

Technorati Tags: 4K, Cameras, cinematography, digital film, high definition, RED digital cinema, red one, tapeless workflow

Today we have Part II of our interview with cinematographer John Leonetti, ASC about his experiences shooting his most recent film “HYBRID” with the RED digital cinema camera. I ask John about the level of training that was needed for himself and his crew and the kind of support he received from Toronto rental house PS Production Services. We go on to talk about the Cooke S4 lenses he used and his thoughts on how these lenses complimented shooting with RED. Next he tells us about shooting 4K RAW and what it is like reviewing his work using 4K stills on his MacBook Pro. Finally I ask him if and how he changed his working style shooting with RED. It’s a fascinating and informative talk for anyone who is interested in the “bleeding edge” of digital filmmaking.

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Windows Media Format

Link to Part I
Link to Part III

Technorati Tags: 4K, Cameras, cinematography, digital film, high definition, RED digital cinema, red one, tapeless workflow

The RED digital cinema camera is causing a stir. It’s the paradigm shifting, production tool equivalent of Apple’s Final Cut Pro and it’s changing everything about ultra-high resolution digital cinematography. Directors such as Peter Jackson and Steven Soderberg have embraced it, and the Southern California based company can not make the camera and its accessories fast enough. In fact, if you were to order a RED camera today, it wouldn’t ship until December; that’s how hot this thing is.

That’s why I was delighted when I heard my friend, cinematographer John Leonetti, had just shot his latest film, HYBRID, with six RED cameras on location in Saskatchewan, Canada. HYBRID is an action thriller, and as John reveals, the thirty-one day schedule really put the RED system to the test. Here is part one of a three part series on John’s experience shooting with the RED; his background with digital cinematography cameras from other companies; his thoughts on the future of film and finally, the RED camera’s potential effect on the future of Hollywood.

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Windows Media Format

Link to Part II
Link to Part III

Technorati Tags: 2K, 4K, Cameras, cinematography, digital film, high definition, red camera, RED digital cinema, tapeless workflow

Today we present part one of a two part segment on Red Rock Micro’s M2 Cinema Lens Adapter. 35mm lens adapters have really given independent filmmakers on limited budgets the opportunity to get a cinematic look while shooting on video. Since it’s introduction, the M2 has garnered much praise and now has quite a following from those working in the “pro” sphere, with filmmakers utilizing the adapter on music videos, commercials and feature films.

In this first part of our spotlight, Los Angeles based independent filmmaker and director Stefan Gildden gives us some insight on why he decided to purchase the Red Rock Adapter and what type of work he uses it for. He then takes us through each component of the product as mounted on his Panasonic HVX-200. Finally, we talk about some precautions that should be taken into consideration when shooting with the Red Rock M2.

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Windows Media Format

Technorati Tags: 35mm, cinematography, digital cinema, film look, hvx-200, indie, lens adapters, micro X, red rock micro

Here is the second part of my interview with Joe Fordham, director of the new short “The Glitch” and his cinematographer Tom Gleason. Here Joe tells us how he met his composer Laurent Watteau, who lives and works in Paris, online through the message boards at Film Score Monthly.com. I also ask Joe how he plans to get his film in front of an audience and any advice he might have for those thinking of making their own indie film.

Technorati Tags: cinematography, composers, digital cinema, directing, distribution, Editing, film festivals, film music, film score, Final Cut Pro, indie film, Visual Effects