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Sony F3 with S-LOG

“The Sony F3 with the S-LOG option uses its 35mm chip to shoot 4:4:4 RGB with 13.5 stops, for a picture so good it’s scary. Here’s a report from the very first feature shot with it.” Thanks, Jonny Revolt and CreativeCow.net!

YouTube Launches Original Channels

YouTube announced Friday, October 28, that it is launching dozens of  Original Channels. “Today, the Web is bringing us entertainment from an even wider range of talented producers, and many of the defining channels of the next generation are being born, and watched, on YouTube,” Robert Kyncl, YouTube’s global head of content partnerships, wrote in a blog post. Kyncl went on to add that these channels will include “…channels created by well-known personalities and content producers from the TV, film, music, news, and sports fields, as well as some of the most innovative up-and-coming media companies in the world and some of YouTube’s own existing partners.”

When is “your” content hitting the web waves?

— Pascal

No more film cameras?

Auguste and Louis Lumière, were among the first filmmakers.

ARRI, Panavision and Aaton have quietly ceased production of film cameras within the last year to focus exclusively on design and manufacture of digital cameras,” writes Debra Kaufman of CreativeCow.net. Teaching my film students how to use their 16mm Bolex is now obsolete?

For me, any passing of a technology I’ve taken the time to master is saddening. Unless, of course, the replacement makes for better work. In my experience I’ve seen filmmakers take much greater care at the time of photography when more money is on the line if they mess up. Cheap media’s made for a “cheap” end product. But that’s not always the case of course. It’s just a lot easier not to care so much when you’re not blowing $$$ every minute you shoot.

As to my wondering if digital may make for better work: assuming you give as much care, if not more, to the work you film digitally (oxymoron now?), digital has given us a much more productive feedback loop, from high-def monitors on the set, to the ability to afford a greater shooting ratio, to a much, much, much nimbler editing process. All this probably makes for the ability to create better work.

From After Effects to Academy Awards

David Fincher’s team uses Adobe’s After Effects as part of their post-production workflow for their Academy Award winning “The Social Network.” The technology is within your reach—let us help with the talent!

click to watch how...