I overheard a conversation between a young cinematographer and a colorist going back and forth discussing the importance of 10 bit color or higher. I didn’t have time to interact then, so let me put my 2 cents in here and now. We have 8-bit, 10-bit, 12-bit, 16-bit, all these bits. I personally really do […]
Filmmaker Sherri Kauk shares the challenges of shooting the ultra low budget indie film “Murder Made Easy” and how she worked with the director to nail the look for this project.
Three weeks ago I was selected as the director for a national commercial campaign for Case Tractors. It would be my first solo directing gig after signing with the Bandito Brothers one month ago. In the commercial world, an advertising agency is hired by the client, which…
It seems like everyone is jumping on the PL mount 7D bandwagon and I have to say it is very unfortunate that the 5D does not have the same energy. All the specs on a PL mounted 5D have shown that the vignette is a big issue. Most cinema lens…
Here is the much anticipated post-production work flow blog that you have been asking for from Mike McCarthy, our technology guru. Please visit Mike’s site at hd4pc.com for even more in-depth technical information on the post-production work flow process.
As the pressure from commercial production companies and the ad agencies started to inquire about needing 24p and that they could not deal with the rendering time of all the twixtor files, the 7D started to rise as the premium capture. That is when the aha moment happened for me. I thought, why is everyone asking for second best when the Canon 5D is king.
My first experience with the 5D DI color correction was for the Terminator Webisodes produced by the Bandito Brothers through Wonderland Sound and Vision. McG asked me to be the Director/Cameraman for these alternative marketing shorts that were going on the Internet.
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