Momentum

Steven Soderbergh: State of Cinema

noreply@blogger.com (Alexandros Maragos) — Thu, 16 May 2013 00:34:24 PDT

Steven Soderbergh: State of Cinema
San Francisco International Film Festival

Steven Soderbergh on the State of Cinema
On April 27, 2013, Steven Soderbergh spoke at the San Francisco International Film Festival on the "State of Cinema". The entire 40min talk is engaging and worth watching. Due to great demand, Steven Soderbergh has given The San Francisco Film Society permission to release the above video that was recorded initially only for archival purposes. The full transcript is also provided on the SF Film Society Blog.

Transcript - Brief Excerpt:
First of all, is there a difference between cinema and movies? Yeah. If I were on Team America, I’d say “Fuck yeah!” [laughter] The simplest way that I can describe it is that a movie is something you see, and cinema is something that’s made. It has nothing to do with the captured medium, it doesn’t have anything to do with the where the screen is, if it’s in your bedroom, your iPad—it doesn’t even really have to be a movie: it could be a commercial, it could be something on YouTube. Cinema is a specificity of vision, it’s an approach in which everything matters. It’s the polar opposite of generic or arbitrary and the result is as unique as a signature or a fingerprint. It isn’t made by a committee, and it isn’t made by a company, and it isn’t made by the audience. It means that if this filmmaker didn’t do it, it either wouldn’t exist at all, or it wouldn’t exist in anything like this form.

So, that means you can take a perfectly solid, successful and acclaimed movie and it may not qualify as cinema. It also means you can take a piece of cinema and it may not qualify as a movie—it may actually be an unwatchable piece of shit. [laughter] But, as long as you have filmmakers out therewho have that specific point of view, then cinema is never going to disappear completely. Because it’s not about money, it’s about good ideas followed up by a well-developed aesthetic. I love all this new technology, it’s great. It’s smaller, lighter, faster, you can make a really good-looking movie for not a lot of money, and when people start to get weepy about celluloid, I think of this quote by Orson Welles when someone was talking to him about new technology, which he tended to embrace, and he said: “I don’t want to wait on the tool, I want the tool to wait for me,” which I thought was a good way to put it. But the problem is that cinema as I define it, and as something that inspired me, is under assault by the studios and, from what I can tell, with the full support of the audience. The reasons for this, in my opinion, are more economic than philosophical, but when you add an ample amount of fear and a lack of vision, and a lack of leadership, you’ve got a trajectory that I think is pretty difficult to reverse.

Now, of course, it’s very subjective—there are going to be exceptions to everything I’m going to say, and I’m just saying that so no one thinks I’m talking about them [laughter]. I want to be clear: the idea of cinema as I’m defining it is not on the radar in the studios. It’s not a conversation anybody’s having; it’s not a word you would ever want to use in a meeting. Speaking of meetings, the meetings have gotten pretty weird. There are fewer and fewer executives who are in the business because they love movies. There are fewer and fewer executives that know movies. So it can become a very strange situation. I meab, I know how to drive a car, but I wouldn’t presume to sit in a meeting with an engineer and tell him how to build one, which is what you feel like when you’re in these meetings. You’ve got people who don’t know movies, don’t watch movies for pleasure, deciding what movie you’re going to be allowed to make. That’s one reason studio movies aren’t better than they are, and that’s one reason that cinema, as I’m defining it, is shrinking.

Well, how does a studio decide what movies get made? One thing they take into consideration is the foreign market, obviously. It’s become very big. So that means, you know, things that travel best are going to be action-adventure, science fiction, fantasy, spectacle, some animation thrown in there. Obviously the bigger the budget, the more people this thing is going to have to appeal to—the more homogenized it’s got to be, the more simplified it’s got to be. So things like cultural specificity and narrative complexity, and, god forbid,ambiguity [laughter], those become real obstacles to the success of the film here and abroad.

Visit: The San Francisco Film Society for the full transcript.
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Technicolor Color Assist Adds Adobe After Effects Support

noreply@blogger.com (Alexandros Maragos) — Tue, 14 May 2013 02:32:21 PDT

Technicolor Color Assist Adds Adobe After Effects Support
Technicolor Color Assist 1.5

Technicolor Adds Adobe After Effects Support to Color Assist. New Version Adds Powerful Tools for Fast, Professional Results, Plus a New Fully Functional Trial Version.

Paris (France) & Hollywood (CA) – May 14, 2013 – Technicolor announced the latest version of Technicolor Color Assist its video color correction and grading software package. Key improvements of version 1.5 include compatibility with Adobe® After Effects® and support for AVCHD video and still images, meeting the needs of an ever-expanding universe of creative artists.

Color Assist 1.5 draws on Technicolor’s deep heritage in color science to bring powerful studio color grading and color correction to users who want professional-quality results. Adobe After Effects is the preeminent visual effects and motion graphics software, and AVCHD is one of the most popular prosumer video formats. Both groups will benefit greatly from the powerful, yet simple-to-use tools in Color Assist.

“The professional post-production tools Adobe offers enables our customers to create high-quality productions. Now Color Assist 1.5 builds on its existing support for Adobe Premiere® Pro by adding compatibility with Adobe After Effects, therefore giving the post-production community more choices in the tools they use in their workflow,” said Simon Williams, Director of Strategic Relations at Adobe. “Creative professionals are always squeezed for time, and Color Assist 1.5 is quick and powerful.”

Version 1.5 also includes important workflow improvements that make it easier than ever to learn and use. ”Color Assist 1.5 is proof of our ongoing commitment to work with our partners, such as Adobe, and to help video creators realize their artistic vision,” said Alejandro Guerrero, Senior Vice President, General Manager of Technicolor CineStyle. “Over the past five months we’ve listened intently to our customers and responded with a plethora of enhancements – like our Pixelmeter, improved bin and browser navigation, and workspace customization – that improve efficiency and expand creative options.”

Color Assist 1.5 is currently available for both Mac and PC users and supports a growing list of video production suites, including Final Cut Pro 7, Final Cut Pro X, Adobe Premiere Pro CS5.5 & higher, and now Adobe After Effects. The company is committed to making Color Assist available to an even broader user base, and is working closely with its partners to ensure that Color Assist will support the most popular video editing platforms as they continue to evolve on the desktop and in the Cloud.

Pricing & Availability

Color Assist is available for purchase this week with support for Adobe Premiere Pro CC, After Effects CS 5.5 & higher, Final Cut Pro 7, and Final Cut Pro X on Mac OS and Windows for $99 USD at technicolorcinestyle.com. Existing users can receive a free update that includes Adobe After Effects support and all the new enhancements of version 1.5, and new users can download a free, fully functional 14-day trial of Color Assist. Additional Color Assist Looks packages can be purchased for $19 USD and include 10 additional custom-created Looks per package.

Thanks: John Snedigar (Technicolor)
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Audi X Factor Shoot by Bill Bennett, ASC

noreply@blogger.com (Alexandros Maragos) — Tue, 14 May 2013 23:45:26 PDT

Audi X Factor Shoot
Shot by Bill Bennett, ASC

This gorgeous Black & White Audi A6 footage was shot by cinematographer Bill Bennett, ASC at Inyokern Airport in California on an ARRI ALEXA camera currently in testing phase (prototype) that is only sensitive to light in the infrared part of the spectrum, with wavelengths longer than 800 nanometers.

The images were recorded to a Codex on-board recorder in ARRIRAW format which was converted with ARRIRAW Converter (ARC) software, optimized for the monochrome infrared images. Lenses: ARRI/ZEISS 12mm Ultra Prime, Angenieux Optimo 17-80mm zoom.

Michael Rodriguez was the Producer and Production Coordinator. Ryan Correll was the Editor. Robin Charters was the First Camera Assistant. Jon and Marshall Chabot provided the most excellent Porsche Panamera high speed arm car from their company Chase Car, Inc. fitted with the Scorpio arm and head. Gilbert Alvarado was the Scorpio head tech.

Flynn Baglin did the excellent precision driving of the Audi A6. Katherine Beer was both the DIT and lovely actress. Support for the IR Alexa came from Arri, Burbank and Fred Molina. Editing was done with Final Cut Pro 7, and color correction was done with FCP "Color".

Music: "Andromeda" by Pavel Dovgal

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Hermann Vaske "Balkan Spirit" doc feat. Angelina Jolie and Marina Abramović

noreply@blogger.com (Alexandros Maragos) — Tue, 14 May 2013 04:37:50 PDT

Balkan Spirit
Hermann Vaske

Recently i had the pleasure of shooting for Mr.Hermann Vaske the Greek parts of his new documentary "Balkan Spirit" about the creative landscape of the region.

The documentary features actress Angelina Jolie and world-renowned performance artist Marina Abramović. Musicians like Baba Zula, Goran Bregović and the Boban i Marko Marković Orchestra. YouTube artist Jelena Petosevic and legendary filmmakers like Dušan Makavejev.

Directors as diverse as Jasmila Žbanić and Emir Kusturica. And scientists like Croatian astronomer Korado Korlević. Finally, representing young creatives Hermann Vaske talked to artists like Flaka Haliti and Želimir Barić.

Philosopher Slavoj Žižek takes us along a rollercoaster ride through the creative world of the Balkans. It is an exploration of the various facets of creativity: cultural, philosophical, political and artistic.

Angelina Jolie during her interview on Balkan Spirit
All in all, Balkan Spirit shows that after decades of war and destruction, a new creative renaissance is happening in the region. The young creatives are doing their own thing and don’t want to be put in boxes. They are eager to destroy the outside views and prejudices of the West and find a new fresh creativity outside the box.

Marina Abramović during her interview on Balkan Spirit
The Balkans is a European region that lives and breathes creativity. Despite the picture that the media presents, the Balkans offers the world a surprisingly fresh and passionate creativity.

The film by director and producer Hermann Vaske premiered at the 32nd Istanbul International Film Festival and will be broadcasted by Arte, the European Cultural Channel, later this year.

Visit: Hermann Vaske

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First-Ever Music Video from Space: Chris Hadfield - "Space Oddity"

noreply@blogger.com (Alexandros Maragos) — Mon, 13 May 2013 02:28:58 PDT

Chris Hadfield - Space Oddity
First-Ever Music Video from Space

First-Ever Music Video from Space
Canadian astronaut Chris Hadfield is scheduled to make his return trip to Earth late Monday after five months aboard the International Space Station, and he decided to commemorate his final hours in space with a spectacular music video.

Hadfield covers David Bowie's classic (and incredibly appropriate) song "Space Oddity." In the video, he sings a "revised version" of the song and plays the guitar solo while floating on board the International Space Station. Not only is Hadfield brilliant and fearless, he's also a great singer.

During his time at the space station, Hadfield has won plenty of fans by tweeting and posting videos about what it's like to live for so long in space.

Visit: Chris Hadfield | ISS

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David Bowie "The Next Day" music video Directed by Floria Sigismondi

noreply@blogger.com (Alexandros Maragos) — Fri, 10 May 2013 07:09:04 PDT

David Bowie - The Next Day
Directed by Floria Sigismondi

David Bowie - The Next Day by Floria Sigismondi
David Bowie's 'The Next Day' music video stars Academy Award winning French actress, Marion Cotillard, and Academy Award nominee and BAFTA Award winner, English actor, filmmaker and musician Gary Oldman.

Oldman and Bowie have worked together previously on the 1996 biopic Basquiat, wherein Bowie played Basquiat's friend and mentor, Andy Warhol, and Oldman took the role of fellow painter, Julian Schnabel. The pair also provided vocals on versions of two Bowie songs (You've Been Around and The King of Stamford Hill), on Reeves Gabrels' 1995 solo album, The Sacred Squall of Now.

Floria Sigismondi (Black Dog Films), the brilliant director of Little Wonder, Strangers When We Meet and the last Bowie video, The Stars (Are Out Tonight), was behind the camera again for The Next Day.

"The Next Day" sees the Black Dog director staging a blood-soaked bacchanal at a brothel while a Christ-like Bowie performs on stage in priestly vestments.

Gary Oldman plays a violent clergyman dirty-dancing with a scantily clad Marion Cotillard. We see the debauchery around them through visions of religious hypocrisy and vice: nudity, prostitution, gory flagellation and disembodied eyeballs – before Marion suddenly begins to bleed from stigmata marks.

As the blood pours out of her, the less-than-pious group turns to Bowie and condemns him for the scene at hand. The theatrical video closes with Bowie breaking through the fourth wall, giving a meta shout-out to the A-listers, “Thank you, Gary. Thank you, Marion,” before he vanishes from the biblical scene.

The feather-ruffling, sacred-gone-sinful film confirms that we never know what surprises are to come when the brilliant minds of Sigismondi and Bowie get together. A creative collaboration between the two visionaries means we can only expect one thing for sure: to be transfixed by provocative, cinematic visuals that will keep the world talking.

Written and conceived by David Bowie, the film was created as a companion piece to the song lyric.

The video was briefly taken off YouTube with a screenshot stating it was removed because "its content violated YouTube's terms of service.” The video was later restored to the site but viewing is restricted to people ages 18 and older.

Visit: David Bowie | Floria Sigismondi | Black Dog Films

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Canon 5D Mark III Firmware Version 1.2.1 with Uncompressed HDMI Output

noreply@blogger.com (Alexandros Maragos) — Tue, 30 Apr 2013 04:03:44 PDT

Canon 5D Mark III Firmware Version 1.2.1
Uncompressed HDMI Output

New Firmware Update For the Canon EOS 5D Mark III Provides Uncompressed HDMI Output Support And Improved AF Performance.

Canon U.S.A. released today the new firmware update 1.2.1 for the EOS 5D Mark III Digital SLR camera that significantly improves the camera's performance and usability. In response to requests from professionals working in the fields of cinema and television production, the firmware update enables the use of uncompressed HDMI Output support, making possible more efficient video editing and monitoring procedures. Additionally, the upgrade supports the advanced needs of photographers through improved AF performance when capturing still images.

Uncompressed HDMI Output Support
When shooting video, HDMI Output makes possible the recording of high-definition uncompressed video data (YCbCr 4:2:2, 8 bit) from the EOS 5D Mark III to an external recorder via the camera's HDMI terminal. This, in turn, facilitates the editing of video data with minimal image degradation for greater on-site workflow efficiency during motion picture and video productions. Additionally, video being captured can be displayed on an external monitor, enabling real-time, on-site monitoring of high-definition video during shooting.

Improved AF Functionality
Even when the EOS 5D Mark III is equipped with an extender and lens making possible a maximum aperture of f/8, the firmware update supports AF employing the camera's central cross-type points (currently compatible with maximum apertures up to f/5.6). Accordingly, the update will allow users to take advantage of AF when shooting distant subjects, benefitting sports and nature photographers, particularly when using telephoto lenses.

Firmware Version 1.2.1 improvements
1. Uncompressed HDMI output is now enabled.

2. Enables the center AF point to autofocus when the camera is used with Canon EF lens/extender combinations whose combined maximum aperture is f/8.

3. Improves the speed of the camera's acquisition of focus when using a Canon Speedlite's AF-assist beam.

4. Fixes a phenomenon in which the LCD monitor may freeze and display Err 70 or Err 80 when a still photo is taken during Live View or in movie shooting mode.

5. Fixes a phenomenon that may occur when the continuous shooting priority setting is enabled for multiple exposures, such that, after the sixth image is taken, there is a slight pause before the remainder of the sequence is completed.

6. Fixes a phenomenon in which the viewfinder display shows incorrect information during AEB shooting.

7. Communication with the WFT-E7 Wireless File Transmitter has been improved.

8. When images have been successfully transferred with the WFT-E7 Wireless File Transmitter through the FTP protocol, an "O" will be displayed. When images have not been successfully transferred with the WFT-E7 Wireless File Transmitter through the FTP protocol, an "X" will be displayed.

9. Fixes a phenomenon in which the camera may not function properly when an Eye-Fi card is used.

10. Fixes a phenomenon in which the focal length value listed in the Exif information is not displayed correctly for images shot with the EF 24-70mm F4L IS USM lens.

11. Fixes a phenomenon in which the lens firmware cannot be updated properly.

12. Corrects errors in the Arabic language menu.

13. Fixes a phenomenon in which the camera changes the AF microadjustment value to -8.

14. Fixes a phenomenon in which the on-screen guidance cannot be fully displayed when setting the maximum limit value for the "Setting the ISO Speed Range for Auto ISO" option.

Download: Canon 5D Mark III Firmware Update 1.2.1

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The Sound and Music of Oblivion

noreply@blogger.com (Alexandros Maragos) — Fri, 26 Apr 2013 02:41:36 PDT

The Sound and Music of Oblivion
SoundWorks Collection

The Sound and Music of Oblivion
SoundWorks Collection talk with visionary Director Joe Kosinski about the sound and music of his new film Oblivion. Also featured are Kosinski's behind-the-scenes collaborators include Composer Joseph Trapanese, M83's Anthony Gonzalez, and Re-recording Mixer Gary Rizzo, and Re-recording Mixer Juan Peralta.

Tom Cruise stars in Oblivion, an original and groundbreaking cinematic event from the visionary director of TRON: Legacy and producers of Rise of the Planet of the Apes.

On a spectacular future Earth that has evolved beyond recognition, one man's confrontation with the past will lead him on a journey of redemption and discovery as he battles to save mankind.

2077: Jack Harper (Cruise) serves as a security repairmen stationed on an evacuated Earth. Part of a massive operation to extract vital resources after decades of war with a terrifying alien threat who still scavenges what's left of our planet, Jack's mission is almost complete.

In a matter of two weeks, he will join the remaining survivors on a lunar colony far from the war-torn world he has long called home. Living in and patrolling the breathtaking skies from thousands of feet above, Jack's soaring existence is brought crashing down after he rescues a beautiful stranger from a downed spacecraft.

Drawn to Jack through a connection that transcends logic, her arrival triggers a chain of events that forces him to question everything he thought he knew.

With a reality that is shattered as he discovers shocking truths that connect him to Earth of the past, Jack will be pushed to a heroism he didn't know he contained within. The fate of humanity now rests solely in the hands of a man who believed our world was soon to be lost forever.

Visit: SoundWorks Collection | Oblivion

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Harris Savides: Visual Poet | MOMA Special Tribute

noreply@blogger.com (Alexandros Maragos) — Sat, 20 Apr 2013 03:35:01 PDT

Harris Savides: Visual Poet
MOMA Special Tribute June 5–21, 2013
In Memory of Harris Savides (1957-2012)
"I don't want to light their faces and bodies specifically.
I like to light the space."
Harris Savides, ASC who died this past September at the age of 55, began his career as a fashion photographer before applying his perceptive eye for beauty to music videos for Madonna, Chris Isaak, Michael Jackson, and a host of others.

After transitioning to feature films, Harris quickly established himself as a much sought after director of photography, working with directors such as Ridley Scott, David Fincher, Woody Allen, Sofia Coppola, Noah Baumbach, and, frequently, Gus Van Sant.

A Savides shot is often characterized by a sensitivity to design and the striking mutability of light, and a special attention to the actor’s place in the composition.

The films in this special MOMA tribute represent the wide range of his work, and the many directors who chose his camera to reflect their most personal stories. Savides’s final film, The Bling Ring (2013), directed by longtime collaborator Sofia Coppola, will be released in June 2013.

Harris Savides Tribute MOMA Film Screenings Calendar
• Birth
2004. USA. Directed by Jonathan Glazer. Screenplay by Jonathan Glazer, Milo Addica, Jean-Claude Carrière. With Nicole Kidman, Danny Huston. Print courtesy Warner Bros. 100 min.

• Wednesday, June 5, 2013, 7:00 p.m., Theater 2, T2
• Wednesday, June 12, 2013, 4:00 p.m., Theater 2, T2

• Greenberg
2010. USA. Written and directed by Noah Baumbach. Based on a story by Baumbach, Jennifer Jason Leigh. With Greta Gerwig, Ben Stiller. Print courtesy Focus Features. 107 min.

• Friday, June 7, 2013, 4:00 p.m., Theater 2, T2
• Sunday, June 16, 2013, 5:00 p.m., Theater 2, T2

• Somewhere
2010. USA. Written and directed by Sofia Coppola. With Stephen Dorff, Elle Fanning. Print courtesy Focus Features. 97 min.

• Friday, June 7, 2013, 7:00 p.m., Theater 2, T2
• Saturday, June 8, 2013, 4:00 p.m., Theater 2, T2

• The Key to Reserva
2007. USA. Directed by Martin Scorsese. Written by Ted Griffin. With Simon Baker, Kelli O’Hara. Courtesy Martin Scorsese. 10 min.

• Whatever Works
2009. USA. Written and directed by Woody Allen. With Larry David, Evan Rachel Wood. Print courtesy Sony Pictures. 92 min.

• Saturday, June 8, 2013, 1:30 p.m., Theater 2, T2
• Sunday, June 9, 2013, 5:00 p.m., Theater 2, T2

• Milk
2008. USA. Directed by Gus Van Sant. Screenplay by Dustin Lance Black. With Sean Penn, James Franco. 128 min.

• Tuesday, June 11, 2013, 7:00 p.m., Theater 2, T2
• Saturday, June 15, 2013, 7:30 p.m., Theater 2, T2

• Zodiac
2007. USA. Directed by David Fincher. Screenplay by James Vanderbilt. Based on the novel by Robert Graysmith. With Jake Gyllenhaal, Mark Ruffalo. DCP courtesy Paramount Pictures. 157 min.

• Tuesday, June 11, 2013, 7:00 p.m., Theater 2, T2
• Saturday, June 15, 2013, 7:30 p.m., Theater 2, T2

• Elephant
2003. USA. Written and directed by Gus Van Sant. With Alex Frost, Elias McConnell. 81 min.

• Monday, June 17, 2013, 4:00 p.m., Theater 2, T2
• Wednesday, June 19, 2013, 7:00 p.m., Theater 2, T2

• Illuminata
1998. USA. Directed by John Turturro. Screenplay by John Turturro and Brandon Cole. Based on the play by Brandon Cole. With Christopher Walken, John Turturro. Print courtesy Swank Motion Pictures. 119 min.

• Wednesday, June 19, 2013, 4:00 p.m., Theater 2, T2
• Friday, June 21, 2013, 4:00 p.m., Theater 2, T2

Harris Savides photographed by Brigitte Lacombe
"I light a room and let the people inhabit it, as opposed to lighting the people. It's more organic. You want to protect the people you're working with, and there's a constant battle between the best light for their face and the best light for the story. You don't want to get to the point where the audience notices the light." - Harris Savides
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OAKA Timelapse, Athens Olympic Indoor Sports Arena

noreply@blogger.com (Alexandros Maragos) — Mon, 22 Apr 2013 07:36:24 PDT

Olympic Indoor Sports Arena Timelapse
Athens, Greece

Athens Olympic Indoor Sports Arena Timelapse 2013
Single 2-hour Timelapse of the Olympic Indoor Sports Arena (OAKA) in Athens, Greece filling up (Attendance Record) during the Euroleague Playoffs Game 4 between Panathinaikos Athens and Barcelona Regal.

Shot on Canon 5DmkIII with the Canon EF 14mm f/2.8 L II Lens. Settings for the 1st hour was 3"2 exposure to give motion at the people entering the empty arena with 10 seconds interval, 100 ISO, f/16 and for the 2nd hour 3"2 exposure with 6 seconds interval, 100 ISO, f/16.

The 14mmII is a really good glass for timelapse photography but from f/2.8 to f/11 is soft in the far corners. Optimum aperture for the 14mmII is f/11 although f/16 is the best Fnumber to keep far corners sharp. Complete piece at 5k resolution. Edited in AE & FCP. Synthetic Atmosphere by Digifish Music.

View: Large
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Trireme Olympias Kickstarter Campaign

noreply@blogger.com (Alexandros Maragos) — Wed, 24 Apr 2013 01:32:05 PDT

Trireme Olympias - Voyage of a Legend
Kickstarter campaign

To restore and film the last
remaining Trireme in the world.
Support this campaign, pledge here
Trireme Olympias: A beacon of democracy and freedom, the ancient Athenian Trireme warships have been sited in poems and plays; studied by historians and architects and "replicated" by naval designers all over the world. These illustrious vessels played an imperative role during what is regarded as one of the most important battles of man kind, The Battle of Salamis.

The great Greek philosopher Aristotle wrote in Politics, "The common people, serving in the fleet, won the victory at Salamis, gave Athens power at sea, and this gave her an empire, and so they preserved democracy." The Battle of Salamis has obtained a "legendary" status in most circles. Perhaps because of the desperate circumstances of a Greek outnumbered-navy and the unlikely odds they would win.

In 1985, construction on the only Trireme replica, HN Olympias, commenced under the Auspices of the Hellenic Navy. The reconstruction of the ancient Athenian vessel is a "rebirth" of liberty in the modern world.

300: Rise of an Empire
Visit the Kickstarter Campaign and help "Olympias" to be fully restored, filmed and shipped to New York. If she's fully restored, she will join the Warner Brothers premiere of 300: Rise of an Empire in the USA, and there are many more opportunities that await her. By supporting this campaign, you will not only help restore a historic ship to its former glory, you will also be helping to support incredible craftsmen.

Trireme Kickstarter Campaign Promo
shot & edited by Alex Maragos.
Also available on Vimeo.
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GSC: The Greek Society of Cinematographers

noreply@blogger.com (Alexandros Maragos) — Thu, 11 Apr 2013 05:58:52 PDT

GSC: The Greek Society of Cinematographers
GSC Membership Roster 2013

The Greek Society of Cinematographers is reality. The first elections took place in Athens, Greece on Sunday, March 31, 2013. GSC is a non-profit association dedicated to the art of filmmaking, to promote and encourage the art and craft of cinematography.

Its membership is by invitation only and comprises talented and experienced Greek Cinematographers, many of whom have received awards and other accolades for their work. Currently, the GSC membership roster comprises 29 cinematographers.

Greek Society of Cinematographers Roster

Members of the Board:
Daskalothanassis Yiannis, GSC - President
Frentzos George, GSC - Vice President
Efthimiopoulos Dionysis, GSC - Secretary
Klotsotiras Bill, GSC - Treasurer
Theos Argyris, GSC - Member
Apostolopoulos Stelios, GSC - Substitution
Sarketzis Simos, GSC - Substitution

Members
Viskadourakis Angelos, GSC
Argyroiliopoulos George, GSC
Theodoropoulos Dimitris, GSC
Adamis Ilias, GSC
Voudouris Christos, GSC
Michopoulos Theodoros, GSC
Epaminondas Zaphiris, GSC
Gkikas Kostis, GSC
Kyrlidis Polydefkis, GSC
Mytilineou Olympia, GSC
Pagonis Spyros, GSC
Mitsis Fotis, GSC
Giannoulis Stamatis, GSC
Sarketzis Simon, GSC
Giannelis Yorgos, GSC
Kasimatis Dimitris, GSC
Mihelis George, GSC
Koutsaftis Philippos, GSC
Stamoulis Kostas, GSC
Bolivar Claudio, GSC
Maragoudaki Katerina, GSC
Grivas Alexis, GSC
Alexandris Christos, GSC
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"Apodemy" by Katerina Athanasopoulou. A portrait of Athens.

noreply@blogger.com (Alexandros Maragos) — Mon, 15 Apr 2013 13:47:38 PDT

Apodemy
By Katerina Athanasopoulou

Apodemy by Katerina Athanasopoulou
Commissioned by The Onassis Cultural Center on the theme of Emigration for Visual Dialogues 2012

From Katerina's Vimeo description: "Plato likens the human soul with a cage, where knowledge is birds flying. We’re born with the cage empty and, as we grow, we collect birds and they go in the cage for future use. When we need to access knowledge we put our hand in the cage, hunt for a bird – and sometimes catch the wrong one.

Ornithology uses the term “Zugunruhe” to describe the turbulent behavior of birds before they migrate, whether free or caged.
These two images, birds inhabiting the human soul and the distress of the migrating bird became the starting points for this film, commissioned on the theme of Emigration.

A flock of birds circles around and moves a cage vehicle, seeking escape from a city half finished and abandoned, with roads interrupted by fragments of fallen statues. Those hands are simultaneously the pursuit of knowledge and also the heroes/leaders of the past that we have rejected but are still haunting us.

In a time when Europe seems to be imploding, this is my portrait of Athens."

About Katerina Athanasopoulou
Katerina was born and raised in Athens, Greece and currently lives in London, UK. She studied Painting at the School of Fine Arts of the Aristotle University of Thessaloniki and then completed an Animation MA at the Royal College of Art in London.

Her short films, screened at international film festivals and galleries, are a hybrid of live action and animation, forming richly layered worlds with a strong feel for colour and texture. Video, photographs and animation coming together in a process akin to alchemy, embracing chance and experimentation.

Her work has been exhibited, amongst others, at the Third Thessaloniki Biennale, Istanbul Modern, Clermont Ferrand International Film Festival, The Onassis Foundation, Holland Animation Festival, EMAF, 25fps, Art on the Underground and Channel 4.

She has been a festival jury member at Clermont Ferrand International Film Festival (2007), Platforma Video in Athens (2007) and at the British Animation Awards, London (2012). She works as an Animation Director, collaborates with other artists and companies and teaches in art colleges in the UK.

Visit: Katerina Athanasopoulou
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Salvatore Totino Interview - Craft Truck Through the Lens

noreply@blogger.com (Alexandros Maragos) — Mon, 15 Apr 2013 10:57:43 PDT

Salvatore Totino Interview
Craft Truck - Through the Lens

Salvatore Totino - Craft Truck - Through the Lens
When your first feature is a $70 million, action-loaded sports film, there are reasons why. Salvatore Totino was hand-picked by Oliver Stone to lens “Any Given Sunday” and it’s been no secret since that Sal is one of the greatest talents in the business.

Always allowing each piece to have a look of it’s own, Sal creates beautiful, rich imagery, whether on studio pictures or indies. An exceptional personality and working attitude, combined with tremendous lighting instincts has led Sal to where he is today…

Visit: Craft Truck
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Gordon Willis Interview - Craft Truck Through the Lens

noreply@blogger.com (Alexandros Maragos) — Mon, 15 Apr 2013 10:08:19 PDT

Gordon Willis Interview
Craft Truck - Through the Lens

Part 1: Gordon Willis - Craft Truck - Through the Lens

Part 2: Gordon Willis - Craft Truck - Through the Lens
Gordon Willis is regarded by all of his peers as one of the greatest cinematographers in the history of film, and for many as the greatest of all time, period.

Without wanting to use hyperbole, between lensing The Godfather trilogy, many of Woody Allen’s best films (including Annie Hall, Manhattan, Stardust Memories, Interiors, and others) and several master thrillers for Alan J. Pakula (All the President’s Men, Klute, The Parallax View, The Devil’s own, and others), Gordon Willis practically single-handedly re-invented the craft of cinematography and the nature by which films were and are composed, lit, and executed.

Visit: Craft Truck
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Axiom Images RED Aerial Reel 2013 & RED Reel 2013

noreply@blogger.com (Alexandros Maragos) — Mon, 15 Apr 2013 06:35:06 PDT

Axiom Images RED Aerial Reel 2013 & RED Reel 2013
NAB 2013

Axiom Images RED Aerial Reel 2013 - NAB
Axiom Images is a resource for breathtaking aerial stock footage shot on RED. New shots added every week available for instant download in 1080, 4K, 5K and more.

RED Reel 2013 - NAB

Visit: RED
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Jim Jannard on 1080p, 4k, the 6k RED Dragon sensor and the competition

noreply@blogger.com (Alexandros Maragos) — Fri, 12 Apr 2013 06:14:38 PDT

Jim Jannard on 4K
RED Digital Cinema

Jim Jannard on REDUSER:
"We entered the market way back when with a 4K camera. Our thinking was that 1080P was not good enough to replace film. We were right apparently... 7 years later. What we learned along the way was that while 4K acquisition was certainly better than 1080P... it was not ideal.

A 4K finish from a bayer pattern sensor (what everyone does) begs for more captured resolution than 4K. A 1080P sensor (1920x1080) does not fill up a 1080P box. A 4K sensor also does not fill up a 4K box. Our M-X sensor captured 4.5K in a RED ONE and 5K in an EPIC-X (or EPIC-M). Much better. The 4K box was almost full. 6K... the 4K box is overflowing.

Going forward, we realize that down-rezzing has a HUGE advantage to final output. Hence the 6K Dragon.

Not only do you have the option to recompose, stabilize, and zoom... the idea of down-rezzing gives a much better final output to a 4K delivery. It lowers noise. You get apparent sharpness without sharpening.

So while the others have joined the party... they have entered where we were 7 years ago. They have thrown the ball to where the receiver was... not where he is. At some point you need to decide who you believe will deliver the future. The company with the vision, or the company that follows the vision. Who is ahead and who is behind?

If the company with the vision also happens to embrace their customers at all costs (upgrades instead of all new cameras)... you win every which way you look at it.

The choice is yours...

Jim"

Visit: RED | Jim Jannard
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NAB Show 2013 Coverage

noreply@blogger.com (Alexandros Maragos) — Thu, 11 Apr 2013 11:00:35 PDT

NAB Show 2013 Coverage
Zacuto - Spirit Juice Studios

Zacuto teamed up with Spirit Juice Studios to bring you the coverage of whats new and happening around the showroom floor at NAB Show 2013. Spirit Juice is visiting Blackmagic Design, Zeiss, Marshall, Cooke Optics, Atomos, MXL, Portabrace, and many more companies you won’t want to miss out on.

Discover the Blackmagic Production Camera 4K, the Blackmagic Pocket Cinema Camera, the Atomos Samuri Blade, the new line of Cooke anamorphic lenses and more.

Portabrace RIG cases including the ready to shoot case and the Ultra-Light CAR-2CAM case that works with camcorders that are up to 16.5 in length; DSLR’s or small camcorders. Portabrace also has new rain covers that are compatible with the Canon C300 and Blackmagic camera.

Spirit Juice Studios also visited the Zeiss booth to check out the new compact prime CP.2 135mm lens and a Cinezoom V.1 along with the Marshall booth to check out the 4K Monitor, Quad HD, and the Wireless Monitor.

MXL was showing off boundary microphones, battery powered large capsule condensers, and more! Watch the videos now below to catch up on whats happening at NAB this year!

NAB 2013 - Blackmagic Design

NAB 2013 - Zeiss Compact Prime

NAB 2013 - Zeiss Compact Zoom Lenses

NAB 2013 - Cooke Optics

NAB 2013 - Atomos Samuri Blade

NAB 2013 - Marshall Electronics 4k Monitor

NAB 2013 - Marshall Electronics Quad Monitor

NAB 2013 - Marshall Electronics Wireless Monitor

NAB 2013 - MXL Advanced 1/8in Mic Solutions

NAB 2013 - PortaBrace

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RED Camera Survival Guide

noreply@blogger.com (Alexandros Maragos) — Thu, 11 Apr 2013 11:33:37 PDT

RED Survival Guide
RED Digital Cinema

Jarred Land of RED posted on REDUSER the RED Survival Guide.
Download your digital copy here.
Visit: RED
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James Cameron announces Glasses-Free 3D

noreply@blogger.com (Alexandros Maragos) — Thu, 11 Apr 2013 00:55:37 PDT

James Cameron Announces Glasses-Free 3D
NAB 2013: CPG, Dolby, Philips

James Cameron Announces Glasses-Free 3D
James Cameron on the new alliance with CAMERON | PACE Group, Dolby Laboratories and Philips for glasses-free 3D. This is shown in 3D in the Dolby booth at the NAB Show.

Las Vegas, April 9, 2013: Dolby Laboratories, Inc. and Royal Philips Electronics in association with CAMERON | PACE Group (CPG) announced that they have signed an agreement to integrate the Dolby® 3D format into CPG’s 3D video content production workflow and to collaborate on the use of the Dolby 3D format. All parties believe that glasses-free 3D presentation in the home can be improved by delivering premium-quality autostereoscopic 3D content using the Dolby 3D format.

Dolby will showcase CPG’s 3D content in its booth at NAB Show 2013 (booth SU1702) as part of its demonstration of Dolby 3D technology from postproduction through distribution to playback.

Led by founders James Cameron and Vince Pace, CPG is advancing 3D through the development of products, solutions, and creative tools for use across all media channels. Supporting networks, studios, broadcasters, filmmakers, and creative teams globally, the company has considerable expertise that helps content producers realize the full potential of 3D as a new, immersive, and powerful storytelling medium. CPG-supported films and broadcasts have won numerous Oscars® and Emmys® for both technical and creative achievements, including three Best Cinematography Oscars in four years.

“James Cameron broke new ground in entertainment with his use of 3D in film, but it’s been a challenge to bring his vision to the home and to smartphones and tablets,” said Vince Pace, Founder and Cochairman, CPG. “The Dolby 3D format gives filmmakers the means to bring an artistic vision through production and distribution all the way to presentation, while delivering what we believe to be the best possible 3D experience to consumers—without the need for special glasses.”

Roland Vlaicu, Senior Director, Broadcast Imaging, Dolby Laboratories, said, “James Cameron and Vince Pace’s artistic and technological vision make CPG a great partner in our quest to make glasses-free 3D successful for creative professionals, broadcast networks, consumer electronics manufacturers, and ultimately for consumers.”

Dolby 3D is a comprehensive suite of technologies for the creation, delivery, and playback of glasses-free 3D content, producing autostereoscopic images with lifelike realism. In addition to eliminating the need for glasses, Dolby 3D has no narrow “sweet spot,” so viewers can enjoy the sharpest images, regardless of where they sit.

“Dolby and Philips are committed to taking the 3D experience to the next level, so we are very pleased to be working with CPG to jointly promote a technology that will transform the way 3D content is consumed all over the world and to introduce a new way for the creative community to tell the story,” said Guido Voltolina, General Manager of the joint project.

Visit: CPG | Dolby | Philips
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Claudio Miranda, ASC on Shooting Oblivion on Sony F65

noreply@blogger.com (Alexandros Maragos) — Wed, 10 Apr 2013 11:34:07 PDT

Claudio Miranda, ASC on Shooting Oblivion on the F65
NAB 2013 - Sony Professional USA

Claudio Miranda, ASC on Shooting Oblivion on the F65
Academy Award Winner Claudio Miranda, ASC, talks about using the Sony F65 to shoot Oblivion. An original and groundbreaking cinematic event from the director of TRON: Legacy.

Claudio says on his site: "Oblivion: We just finish shooting. I feel so fortunate to have had such a fantastic cast and crew. Jonas Steadman - 1st AC Has been with me awhile. A fantastic focus puller. Sharp sharp sharp even with my low light levels. Mike Coo - Key Grip Great problem solver. Very efficient and fast. Chris Strong - Gaffer Great all around. Very experienced and fast. These three pulled together a fantastic crew and would never recommend them only for selfish reasons. They are MINE!"

Oblivion featurette: On set in Earl’s Peak, Iceland.
Oblivion is an original and groundbreaking cinematic event from the director of TRON: Legacy. On a spectacular future Earth that has evolved beyond recognition, one man's confrontation with the past will lead him on a journey of redemption and discovery as he battles to save mankind. The film stars Tom Cruise, Morgan Freeman, and Olga Kurylenko.

Jack Harper (Cruise) is one of the last few drone repairmen stationed on Earth. Part of a massive operation to extract vital resources after decades of war with a terrifying threat known as the Scavs, Jack’s mission is nearly complete.

Living in and patrolling the breathtaking skies from thousands of feet above, his soaring existence is brought crashing down when he rescues a beautiful stranger from a downed spacecraft. Her arrival triggers a chain of events that forces him to question everything he knows and puts the fate of humanity in his hands.

Oblivion Official Trailer
Oblivion was shot in 4K resolution on location across the United States and Iceland.

Director:
Joseph Kosinski

Director of Photography:
Claudio Miranda

Producers:
Joseph Kosinski, Peter Chernin, Dylan Clark, Barry Levine

Scriptwriters:
Joseph Kosinski, William Monahan, Karl Gajdusek, Michael Arndt

Starring:
Tom Cruise, Olga Kurylenko, Andrea Riseborough, Morgan Freeman, Melissa Leo, Nikolaj Coster-Waldau.

Music:
M83, Daft Punk

Studio:
Chernin Entertainment

Distributor:
Universal Pictures

Release date:
April 19, 2013

Budget:
$130 million

Visit: Claudio Miranda | Oblivion | Sony F65
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ARRI ALEXA XT & XR Module for in-camera ARRIRAW

noreply@blogger.com (Alexandros Maragos) — Mon, 08 Apr 2013 13:11:57 PDT

ALEXA XT & XR Module for in-camera ARRIRAW
ARRI

With the ALEXA XT cameras (Extended Technology) ARRI is refreshing the ALEXA line-up with new features inspired by feedback from professional users. The ALEXA XT, ALEXA XT M, ALEXA XT Plus and ALEXA XT Studio cameras will replace all previous models except for the original ALEXA. Owners of existing ALEXA cameras will be able to purchase individual upgrades that deliver some of the key features of the ALEXA XT cameras.

The ALEXA XT cameras were introduced at a series of international launch events earlier this year, starting with an open house at the ARRI Inc. offices in Burbank on 22 February. This was followed by Micro Salon in Paris, where the camera was even shown to French Minister of Culture Aurélie Filippetti, and subsequent events in London, Beijing, Mumbai, Berlin, Munich and Milan. The ALEXA XT concept was well received at all events and will soon be in use on productions worldwide.

FASTER, LIGHTER, MORE AFFORDABLE ARRIRAW

All ALEXA XT cameras come with the new XR Module (Extended Recording), a side panel that was co-developed with Codex and that replaces the previous SxS Module. The XR Module allows in-camera ARRIRAW recording up to 120 fps onto exceptionally fast and rugged 512 GB XR Capture Drives. This not only makes for a smaller, lighter and more affordable camera package, it also simplifies setup and operation. The result is an even faster and more reliable way to record ARRIRAW, ALEXA's highest quality image output. Once removed from the camera, the XR Capture Drive offers a number of different paths into post, using the proven Codex workflow.

IMPROVED ProRes / DNxHD RECORDING

In addition to ARRIRAW it is also possible to capture ProRes or DNxHD to an XR Capture Drive for significantly longer recording times, as well as ProRes 4444 recording at 120 fps. ProRes 4444 at 24 fps can be recorded for a total time of 107 minutes. With an SxS Adapter it is possible to record ProRes or DNxHD to a single SxS PRO card, thus protecting the inventory of existing cards.

TIME AND WEIGHT-SAVING INTERNAL ND FILTERS

The In-camera Filter Module IFM-1 allows ALEXA XT cameras to be rated at the base sensitivity of EI 800 without the need for external Neutral Density (ND) filters, even in bright sunlight. Filtering behind the lens rather than in front saves time and reduces weight, reflections and complexity. The FSND (Full Spectrum Neutral Density) filters used with the IFM-1 are based on high-tech manufacturing methods that assure a unique feature: neutral color balance at all of the eight available densities, from ND 0.3 to ND 2.4.

TRUE ANAMORPHIC WITH A 4:3 SENSOR

For the most effective use of anamorphic lenses, each ALEXA XT model is equipped with a 4:3 sensor, the same size and shape as a Super 35 mm film frame. This is crucial for delivering the unique and cinematic widescreen look that can trace its origins back to the CinemaScope films of the 1950s. An anamorphic de-squeeze license is included with all ALEXA XT cameras, as is a high speed license for filming at up to 120 fps. The 4:3 sensor is also useful for non-anamorphic productions as it permits significant reframing of the image in post.

VFX EFFICIENCY THROUGH LENS METADATA

Lens metadata is invaluable for efficient working on the set and a speedy VFX post workflow, which is why all ALEXA XT models are equipped with an LDS lens mount. The ARRI Lens Data System (LDS) reads the lens settings and writes them into metadata in every ALEXA recording format. Some 41 ARRI lens models have LDS built-in, compatibility with the Cooke /i system is in the works, and for all other lenses it is possible to gather metadata by using an ARRI lens motor and storing the lens table inside the camera with the Lens Data Archive.

COMFORTABLE, FLEXIBLE VIEWFINDER

To provide maximum comfort for the operator, the new Viewfinder Mounting Bracket VMB-3 has a much stronger design, partially achieved through the use of two 15 mm lightweight rods. These rods also facilitate rapid changes in camera support, since accessories such as lens motors or follow focus units can be hung from the rods rather than cluttering up the base plate.

SUPER SILENT FAN

ALEXA cameras are already among the quietest digital cameras, but an even quieter fan has become available and ARRI has incorporated this new fan into the ALEXA XT models, providing an extra safety margin in very quiet or hot environments.

Visit: ARRI
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ARRI ALEXA Showreel 2013

noreply@blogger.com (Alexandros Maragos) — Tue, 09 Apr 2013 16:33:04 PDT

ARRI ALEXA Showreel 2013
NAB 2013

ALEXA Showreel NAB 2013
The latest ALEXA Showreel made its premiere at NAB 2013.
Below is a small selection of productions that have chosen to use the ALEXA camera system. The list is continually growing as more and more industry professionals decide that ALEXA is the camera of choice, no matter the production size or budget.

Captured with ALEXA [ARRIRAW productions]:

SKYFALL - Roger Deakins, BSC, ASC
ZERO DARK THIRTY - Greig Fraser
21 JUMP STREET - Barry Peterson, CSC
A FEW BEST MEN - Stephen F. Windon, ASC
ABRAHAM LINCOLN: VAMPIRE HUNTER - Caleb Deschanel, ASC
AMOUR - Darius Khondji, ASC
CHRONICLE - Matthew Jensen
EXTREMELY LOUD & INCREDIBLY CLOSE - Chris Menges, ASC
GAMBIT - Florian Ballhaus
GANGSTER SQUAD - Dion Beebe, ASC
GODS BEHAVING BADLY - Tak Fujimoto, ASC
GREAT HOPE SPRINGS - Florian Ballhaus
HE LOVES ME - Matthew Libatique, ASC
ROCK OF AGES - Bojan Bazelli, ASC
THE AVENGERS - Seamus McGarvey, ASC
THE DICTATOR - Lawrence Sher
THE WEDDING - Jonathan Brown, ASC
THE WETTEST COUNTY IN THE WORLD - Benoit Delhomme, AFC
THIS IS FORTY - Phedon Papamichael, ASC
WHAT TO EXPECT WHEN YOU'RE EXPECTING - X.P.Grobet, ASC
WORLD WAR Z - Robert Richardson, ASC

Captured with ALEXA [2D Features]:

2 DAYS IN NEW YORK - Lubomir Kakchev
ANONYMOUS - Anna Foerster
BERNIE - Dick Pope, ASC
DRIVE - Newton Thomas Sigel, ASC
IN TIME - Roger Deakins, BSC, ASC
MELANCHOLIA - Manuel Alberto Claro
KILLER JOE - Caleb Deschanel, ASC
MISTER PIP - John Toon, ASC
MR. POPPER'S PENGUINS - Florian Ballhaus
NEW YEAR'S EVE - Charles Minsky, ASC
PROM - Byron Shah
RAMPART - Bobby Bukowski
RUSSENDISKO - Tetsuo Nagata, AFC
THE INBETWEENERS MOVIE - Ben Wheeler
YOUNG ADULT - Eric Steelberg

Captured with ALEXA [3D Features]:

7 RONIN - John Mathieson, ASC
GRAVITY - Emmanuel Lubezki, AMC, ASC
HANSEL & GRETEL: WITCH HUNTERS - Michael Bonvillain, ASC
ASTERIX & OBELIX - Denis Rouden, AFC
CIRQUE DE SOLEIL - Bratt Turnbull
FINAL DESTINATION 5 - Brian Pearson
HUGO - Robert Richardson, ASC
LIFE OF PI - Claudio Miranda, ASC
SPY KIDS 4 - Robert Rodriguez, Jimmy Lindsey
THE THREE MUSKETEERS - Glen MacPherson, CSC, ASC
WICKIE & THE TREASURE OF THE GODS - Christian Rein

Visit: ARRI
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Blackmagic Design DaVinci Resolve 10

noreply@blogger.com (Alexandros Maragos) — Mon, 08 Apr 2013 11:56:45 PDT

Blackmagic Design DaVinci Resolve 10
NAB 2013 - Blackmagic

NAB 2013, Las Vegas, USA - April 8, 2013 - Blackmagic Design today announced DaVinci Resolve 10, a major upgrade that includes new features for integrating the workflows of multiple different software products used in the film and television industry. DaVinci Resolve 10 has upgraded on set tools, upgraded editing features, support for OpenFX plug ins as well as new tools for delivering final project masters to cinemas.

DaVinci Resolve 10 will be demonstrated on the Blackmagic Design NAB 2013 booth at #SL218.

DaVinci Resolve 10 has been developed to simplify the integration of different software tools used in the film and television industry, allowing timelines to be moved into and out of DaVinci Resolve and other edit software such as Final Cut Pro, Avid and Premiere Pro.

As workflows have changed, more post production is now started on set during the shoot. Lighting and other aspects of the shoot are also often verified based on color correction checks and DaVinci Resolve 10 has new powerful tools to manage this process. The new Resolve Live feature allows color grading direct from the video input live with full creative power such as primaries, secondaries, power windows, custom curves and more. Grades can be stored and then relinked when the camera files are loaded.

DaVinci Resolve 10 includes enhanced editing features and allows online finishing of edits performed in other popular editing software. This means multiple users can submit scenes in large complex jobs from the applications they prefer to use, and DaVinci Resolve 10 can finish online from the original camera RAW files for dramatically better quality than would be available when finishing in a standard NLE software package. If any scene needs additional editing, it can be moved back to the NLE software letting editors use the tools they love.

New editing features include full multi track editing with 16 channels of audio per clip and unlimited video and audio tracks in the timeline. Audio can be synced or trimmed and dragged independently to the timeline. Other new editing features include extensive ripple, roll, slide and slip clip trimming support which display dynamically on the timeline and viewer. The viewer also allows split screen display to show in and out points of adjacent clips.

A good example of the online editing process is when an edit has been completed in Final Cut Pro X that includes mixed frame rates, mixed media types, multiple audio tracks and even color corrections. DaVinci Resolve 10 will support import of that project via XML and will online it including full translation of all these elements while rendering the master from the original RAW camera files. This means that Final Cut Pro X editors can use DaVinci Resolve 10 as the tool to online their work for cinema release and generate the Digital Cinema Package file directly from the camera RAW files.

Editing in DaVinci Resolve 10 also includes a powerful title tool with static, lower third, scroll and crawl titles with multiple fonts, size, drop shadow and XY positioning. Timelines in DaVinci Resolve 10 also include the support of compound clips with multiple elements including multiple video and audio tracks. Also, DaVinci Resolve 10 can be used for stereoscopic 3D projects with full support for left and right eye clips in the media pool and the edit timeline. Using timecode and reel name, DaVinci Resolve 10 will automatically associate the left and right eye of the stereoscopic clips.

Color correction features have been upgraded in DaVinci Resolve 10, including support for industry standard OpenFX plug ins with an unlimited number of plug ins per clip. There are now unlimited power windows per corrector node and the new Gradient PowerWindow™ lets colorists quickly add a gradient across the image. Other new color correction features include copy and paste of tracking data, motion effects including spatial and temporal noise reduction and motion blur effects.

For project delivery, DaVinci Resolve 10 includes full audio track visibility in the deliver window timeline as well as EasyDCP integration so users can render directly from their project timeline into a Digital Cinema Package for release to theaters. Because DaVinci Resolve 10 allows rendering from the camera RAW file directly to the Digital Cinema Package files in the highest quality 32 bit float, there is simply no better quality possible for a cinema release master. Customers simply need to purchase a license from EasyDCP to enable this feature.

DaVinci Resolve 10 also supports additional media types and continues to be the industry leader in file based workflows because it operates with virtually all video file types available. New formats include JPEG 2000 decoding and encoding, AVI clip decoding, playback and more.

“One thing I have found extremely frustrating over the last few years is the incompatibility between software tools for video. I think it makes life very hard for people working in post production where multiple people are working on different parts of the job and using all kinds of different software tools. With DaVinci Resolve 10 we have worked hard to help all these tools work together, depending on what the customer wants to do,” said Grant Petty, CEO, Blackmagic Design. “This is what customers actually need and we think they will love all the work we have done to help make this high end workflow simple and easy. We think customers will love the powerful new on set tools, online editing and finishing, color correction updates and project delivery features in this massive software update!"

Via: Blackmagic Press Release
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Blackmagic Pocket Cinema Camera

noreply@blogger.com (Alexandros Maragos) — Mon, 08 Apr 2013 11:42:34 PDT

Blackmagic Pocket Cinema Camera
NAB 2013 - Blackmagic

NAB 2013, Las Vegas, USA - April 8, 2013 - Blackmagic Design today announced Blackmagic Pocket Cinema Camera, a beautifully designed, pocket sized digital cinema camera that includes powerful features such as Super 16mm sized 1080HD sensor, super wide 13 stops of dynamic range, built in SD card recorder for Apple ProRes, lossless compressed CinemaDNG RAW capture and active Micro Four Thirds lens mount, all in an attractive compact design for only US$995.

Blackmagic Pocket Cinema Camera will be demonstrated on the Blackmagic Design NAB 2013 booth at #SL218.

Since the original Blackmagic Cinema Camera was launched at NAB 2012, it has been celebrated by industry professionals for its amazing film look and accurate and cinematic color. The new Blackmagic Pocket Cinema Camera has most of the features of its bigger brother, including its feature film look, but has been redesigned with a dramatically smaller size that is less than an inch thick and can be held easily in your hand.

This compact design allows the Blackmagic Pocket Cinema Camera to be used in more situations where a larger camera would not be practical. It’s so small that it can be used in situations in the field where a larger camera could be dangerous. The camera’s film look even allows personal video to be shot with the style and creativity of a motion picture film!

The Blackmagic Pocket Cinema Camera features an industry standard Super 16 sensor size, so it’s perfect when using Super 16 cine lenses via MFT adapters, as the shooting experience is the same as using the same lens on a Super 16 film camera. The 13 stops of dynamic range look of the Blackmagic Pocket Cinema Camera is almost identical to shooting on a professional Super 16 film camera. The Micro Four Thirds lenses offer a wide range of low cost lenses with amazing image quality, and they are compatible with mount adapters such as PL mounts for large lens and professional motion picture film rigs.

One of the most important features of the Blackmagic Pocket Cinema Camera is its super wide dynamic range of 13 stops, allowing feature film quality images. A common mistake in the television industry is the assumption that more resolution means higher quality. Most cameras, even ones with higher than HD resolution, can produce"video" looking images that suffer from highlight and black clipping that limits details. Blackmagic Pocket Cinema Camera's wide dynamic range eliminates this problem and provides film quality with dramatically more detail retained in black and whites in the image. Once the shoot is complete, DaVinci Resolve Lite color correction software can be used to adjust images and take advantage of this extra range in the images.

To eliminate the damage that low bit depth and high compression video storage creates, the Blackmagic Pocket Cinema Camera includes a easy to use SD card recorder that allows the full sensor dynamic range to be recorded in professional ProRes 422 (HQ) format, as well as 12 bit Log RAW lossless compressed CinemaDNG format. These files can be read by high end video software as they are all open standard. In addition to the regular CinemaDNG RAW format, Blackmagic Design will also be implementing a QuickTime wrapper for the open standard CinemaDNG and companion codec, allowing the camera to record in a format that allows RAW editing in popular editing software.

Blackmagic Pocket Cinema Camera has been designed as the perfect companion to editing software such as Final Cut Pro X and Avid Media Composer. Unlike other cameras, which require the use of custom video file formats, the Blackmagic Pocket Cinema Camera includes absolutely no custom video file formats, and every file type included is open standard.

The built in large LCD display makes focus easy, and allows playback of captured files. Blackmagic Pocket Cinema Camera includes a built in microphone, as well as external jack based mic/line level balanced audio connections. When reviewing recorded clips, audio can be played through the built in speaker and routed through the headphone port or micro HDMI output. The HDMI output includes all camera data such as timecode, transport control, shutter angle, color temperature setting and ASA information overlaid in attractive anti aliased fonts.

"This is an extremely exciting camera and its been amazing to work on. Our original Blackmagic Cinema Camera was small, but this new model is so much smaller than the original, we almost cannot believe it features very similar image quality," said Grant Petty, CEO, Blackmagic Design. "We think customers are going to really enjoy this new model and use it both personally and professionally. It’s going to allow shooting in situations that could never have been achieved at this quality level previously. It’s also going to be the camera that thousands of new up and coming cinematographers use as their first camera for their independent films. It’s going to be exciting!"

Via: Blackmagic Press Release
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