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  1. Hey everyone! I'm new to these forums but just wanted to get some feedback for a fan made music video I made for the Thom Yorke song Atoms for Peace off of his solo album The Eraser. Any and all feedback is welcome! And feel free to share with anyone if you think its decent! Thanks guys, Kevin
  2. Subal CD5 MII for Canon EOS 5 D MK II FOR SALE $3,000.00 as is, shipping not included. Minimal use. Great condition. Used in conjunction with production of Academy Award-Winning Director Louie Psihoyos' (The Cove, 2009) next film on mass extinction, "6". Trailer here: Posted here to wetpixel.com first. Will post on eBay tomorrow. Please contact daniel@opsociety.org with inquiries. Happy to send more photos and/or details. More gear on sale coming soon!
  3. I am executing a 3-minute unbroken tracking shot for a music video using a Canon 5D Mark III and a MoVI M5 house with a ring handle. The music video takes place at a house party moving from interior to exterior. Plenty of choreography in each frame and following two main characters. I want depth of field but with soft focus so as to limit the use of pull-focus. Does anybody have an specific suggestions as to what lens would be best for this criteria? I'm thinking a fixed lens like a 35mm f/1.4 Zeiss or a Sigma 30mm f/1.4 but those are my only leads. NEED HELP. Thanks.
  4. Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. Any feedback would be greatly appreciated. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com
  5. I am wondering if anyone has shot anything with the Canon C100 dual pixel AF upgrade? Docs? Shorts? Even weddings or events? Anything? I'd love to see some links and hear about your experience with it. Cheers, Ryan
  6. Hi There, I would like to share with you my first job as a DOP. This was a short film for the BFI 48hours SCI FI Challenge. We where given a title, an action and a line of dialogue on Saturday morning around 11am and had 48 hours to finish. The film was filmed, edited, scripted and finished in 48 hours. This short was filmed using a Blackmagic Production 4K Camera with 13 Prime Canon EF lenses ranging from 8mm to 300mm. Let me know your thoughts... Enjoy it.
  7. Canon EOS 5D Mark II 21.1 MP Digital SLR Camera - Black
  8. Hi, I'm after a Canon Zoom DS8 I can canibalise for spare parts. If anybody has a broken down one they want to get rid of for a few pounds and is based in the UK let me know. A 16 mmm scoopic might also have the parts I want. Thanks
  9. I have various S8 Canon AF310 : 8.5 wide angle is too short Beaulieu 6008 Pro : Heavy for travel. Chromatic abberation in tele position Canon 1014 xl-s : too heavy and I have not very sharp images in low light Sankyo Em60XL : chromatic abberation in "tele" position but compact, 24fps !, good in low light. Tremor when I Took over this camera Sankyo ES 44XL : 18fps only ! but sharp Nizo 481 : viewfinder dark in low light, I have special cell but I dislike this system. The silver aspect is good for this camera. Canon 514 xls : I don't know I'm traveling tomorrow in Thailand and I don't know which to take, I'm looking for the most sharp, light weight. I will move a lot. I have Vision 3 50D and 200T, 500T Thank you for your quick help ;)
  10. Whether you are considering your options for you next TV Commercial, Music Video, or Corporate video you owe it to yourself to explore the 4k camera options. Everyone would like the best quality. However, budgets can limit it. Many might be surprised to find out the cost that goes with the 4k cameras is not that prohibitive. It is definitely true, especially now with newer, better, and less expensive cameras coming on the market. A warning, just because you have one of the 4k cameras, it does not mean the final product is going to be substantially better. Lenses, lighting, and your camera operator all determine the quality of the final piece. You must have the proper gear and crew to realize the quality increase. With that said, here are some benefits to going with a 4k camera. First, what is 4k? The actual term is Ultra High Definition (Ultra HD) as oppose to just High Definition (HD). A typical HD Camera shoots in 1920 X 1080 pixels (or close to it). The Red Scarlet, a popular Ultra HD camera, shoots in 4096 x 2160 pixels. To sum it up, an Ultra HD Camera gives you 4 times the pixel output of an HD Camera, which means it is far more detailed and produces a sharper image. As another point of reference, the now almost completely irrelevant Standard Definition (SD) Cameras shoot at a resolution of 720 X 480 pixels. Plainly put, Ultra HD is better than regular HD, much like HD was better than SD. This makes it easier to conclude that you will see major quality improvements. Here are other reasons to consider 4k: Future proofing your content – The future is here with Ultra HD TVs already on the market. They are currently a little pricy, but you can expect prices to come down and more options to come on the market. Ultra HD players are currently being developed (no standard like Blu-ray), while YouTube and Netflix are already capable of streaming Ultra HD content. Expect broadcaster to follow suit. Even 4k smart phones are being developed like the Samsung Galaxy S5. Reframing – Since most of the final video projects get down converted to HD, you'll have a greater ability to zoom in, crop, and manipulate your footage without degrading the quality. If you want the final video in 4k, you lose the value of this method, unless you are shooting with a camera that has a resolution equal to or greater than 5k. Color Grading Made Easier – When cameras record highly compressed images in camera that often comes with the drawbacks of clipped highlights, crushed shadows and what is considered a "baked-in" look. Once the footage gets to post production, this can mean big problems. With 4k+ RAW files, you can make your own color choices from the source data, instead of trying to change colors that are baked into a .mov file. This can lead to much better results. Green Screen Keying - With four times the data, your keying software should have an easier time differentiating the green pixels you want to key from the precise edge of the talent. It also makes mismatches between background and subject more obvious and motion tracking easier. There's a reason why chroma key shots are often done with UHD or higher cameras even if the rest of a movie is captured on a different (lower resolution) format. There are more benefits I can bring up about 4k, but there are also some negatives such as price, storage, and the need to upgrade equipment to support it. Capacity and processing speed has doubled approximately every two years since the publication of Moore’s Law in 1965, some argue that it doubles faster. This means that technologies will always chase each other and that a data stream that may seem very difficult to handle today may be a smooth, simple process tomorrow. Overall, if you want to give your video, movie, or commercial a longer shelf life or you just want to keep up with the quality output of your competitors, then waiting to upgrade is not an option. Ultra HD Productions LA Ultra HD Productions Las Vegas Ultra HD Productions San Diego
  11. Selling a used Canon EF 70-300mm F4-5.6 lens for 450$. Shows little signs of use (see the pictures for details). Works like new. Possible trade for other filmmaking gear with a similar price.
  12. Selling a used Canon EF 70-300mm F4-5.6 lens for 450$. Shows little signs of use (see the pictures for details). Works like new. Possible trade for other filmmaking gear with a similar price.
  13. Hey all, Sadly, I'm parting with my Canon 1014 Max 8mm sync sound camera and all accessories. Thought I would let this crew know. http://www.ebay.com/itm/261373903953?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 No reason other than monetary, I love(d) this camera. Ask questions through eBay as I'm more likely to respond there. Sorry mods, I've posted in marketplace but this is such a niche camera I thought it would be okay to post here.
  14. This was a test conducted a while ago but thought you might find it useful here. Compared in this shootout are the Leica Summilux-C, Zeiss Master Primes, Zeiss Super Speeds, Zeiss CP.2 Super Speeds, Canon CNE Primes, Canon K35's, Optica Elite Primes, and Luma Tech Illumina Primes. Lenses are compared wide open and at t2.8. All samples are available for download in jpeg and in R3D. Have a look and hope it's useful to you. http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ "Mission Statement: The purpose of this shootout was to directly compare lens sets on an identical setup. Our goal was not to “test” the lenses, rather provide you with all the info necessary to evaluate the lenses and decide what works for you. These lenses cover a wide range in affordability and availability. This shootout was never meant to prove which set is better than the other. We hope you will see that any of these lenses could be used to shoot quality material and have been for years. We attempted to get Cooke 5i’s for the test but unfortunately none were available at the time. Some of the lenses have slightly varying focal lengths so understand field of view may appear slightly different (i.e. 24mm vs 25mm, 75mm vs. 85mm). Please also keep in mind the slight differences in exposure since we were working with lenses rated between T 1.3 and T 1.5. No matte box was used to insure there was no vignetting or concealing of flares. All images have not been adjusted or corrected anyway. A white balance adjustment is all that has been made. We all know these lenses perform well closed down to a T 2.8, so this shootout was designed to push the lenses to their limits wide open. Most of the flaws visible wide open disappear once stopped down(examples will be available for download)." Projection: The below results were attained using the lens projector at Duclos lenses that is set up in it’s own room, specifically for the purpose of evaluation of optics on an even playing field. The same projector and screen were used for all lenses and the distances were maintained for the equivalent focal lengths (3′ for wide lenses, 6′ for teles). A loupe was used to determine resolution in line pairs per height and width for the Center, Field (middle) and edge of the frame based on a super 35mm motion picture frame. All of the findings below should be interpreted as applying only to the S35mm frame in which the lenses are designed to cover. Numbers are specific to each lens wide open. Lastly, although we did measure the lenses in line pairs this is an observational procedure and rather than deal with the political ramifications of publishing these absolute numbers we’ve decided to present them as they apply to the S35 sensor in the Epic and Scarlet. The data presented below is such that even measurements with a “Fair” grade will, for the most part, resolve the full resolution of the sensor. Notes: Where you see notes in the table below represent specific observations, if a field is blank that means that the lens performed average for that metric. If it was either better or worse or particularly apparent it was recorded. Perspective: Keep in mind these are purely technical numbers and do not speak to the cinematic look and quality the lenses exhibit in a real world scenario. Duclos Evaluation PDF (Click to download) Torture Test: This shot was designed to push all the lenses to the edge. If you plan on using these lenses wide open you need to view them at their worst. This test will show the differences in Resolution, CA, Contrast, Flare Characteristics, Bokeh, Breathing, Distortion, and Color Rendition. The test was performed both wide open and at T 2.8. For each focal length increase, the camera was moved back to maintain a similar frame for every lens. The test was captured with the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 3200K) due to the high resolution sensor and ability to change lens mounts in a minute. Shutter speed was used to control exposure. Focus was confirmed for each lens in a 3 step process. First using the built in focus assist function, then by eye off the siemens chart, and finally confirmed on a 1080p on set monitor. All this was performed after the distance was confirmed with a tape measure. Here is a look at the test in action: Beauty Test: This test was designed for the telephoto lenses of each set. We wanted to see how each lens treats a human face both wide open and again at T 2.8. Focus was set to the left eye closest to the camera with the same three step focus confirmation. We have to give a big thank you to Stephanie from Duclos Lenses for being our test subject. Shutter speed was used to control exposure. Shot on the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 5000K post adjusted). In action: Video: The video comprises both the Torture Test and the Beauty Test. It’s just shy of an hour but make sure to watch the entire thing. Hope the music makes it a little more entertaining for you! Keep an eye out for the areas highlighted below. This will give you a baseline indication for comparison. View downloads at 100%. http://www.youtube.com/watch?feature=player_embedded&v=xap3FJDcCUw Comparisons: (Wide Open) Available on website: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Conclusion: It’s safe to say the torture test is rather harsh for all of the lenses (except Leica Summilux-C and Master Primes) while all perform well on the Beauty Test. Like I said earlier this shootout wasn’t intended to pick a winner, but really to compare and contrast between the sets. As you can see in this example the Leica’s and the Master Primes come out as the most rounded of the lens sets. This test is definitely not definitive and each real world shoot has a specific need or look and varying budget. A set that works for one project may not work for the next. Download the test material which is provided in the links above and have a look for yourself (both R3D grabs and stills are available for each set). Before you make any conclusions I would urge everyone to perform their own tests if possible. Those of us who put this shootout together would like to thank all of you for taking the time to view this and hopefully you get as much out of this as we have. Visit the webpage to download all the files and 4K video: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Matt Hayslett Director/Cinematographer Los Angeles, CA. matthayslett.com
  15. Hello All, Check this out: First instance shooting on the Redlake locam inside. Definitely quite challenging to use. Next time I'll up the light for sure to fix up some of the focus issues. Let me know any other thoughts! Thanks, Luc
  16. SUPER 8 STUFF FOR SALE = Bolex 680 + Aspheron Wide Lens £100 Revue TM 8 £75 Bolex Aspheron Wide Lens £30 Sankyo XL-420 £60 Sankyo XL-620 £100 Canon 514XL-S + 43mm C-8 Wide Lens £100 Canon AF514XL-S AUTO FOCUS £100 Canon 67mm C-8 Wide Lens £100 Braun Nizo 6080 Matte Box Cased Kit £300 All prices in GB Pounds. - Everything in excellent cosmetic condition, professionally serviced and fully tested. :)
  17. Greetings, I was recently given a Canon 514XL camera. I am familiar with still film in general but am not clear on how this camera works with various stocks and I have no manual. I know the cam works as I have run a roll of Tri-X through it and got it developed successfully. That being said I am not interested in taking black and white at this time. I am going to Las Vegas in January and want to get a couple cartidges of color film to shoot outdoors on the strip (during the day) as well as inside on various casino floors. I have been browsing the forums and it seems like Vision3 50D would be good for daylight/outdoor and possibly 200T or 500T for inside, but I am not sure as I have no experience with either. What is confusing me is how my particular camera will treat these films. I have been reading about needing an 85 filter for the T films, but I'm not sure if the 514XL has that built-in or not? I'm not even sure if the cam will support these cartridges due to the issue of setting the ASA correctly with the notches, etc. In addition, I've read on this forum that it might be better to just use the higher-ASA rated T films with a screw on filter instead of using two different stocks. As far as grain goes, I honeslty don't care. I like grain (within reason) and this is a personal project. It adds a certain character so reducing grain across lighting scenarios is not my primary goal. If it's clean, great. Light to moderate grain, great also. I am really hoping a nice gentle soul on this forum will offer some guidance to an amateur who is new to this area. I was going to post in the new user forum but this sub-forum seemed more approriate. Mods can move thread if necessary. Thanks!
  18. Canon's 30-Inch 10-Bit IPS LCD Display Features a 16:10 Aspect Ratio, 4096 x 2560 Resolution Full RGB-Array Scanning, and a Backlit Panel to Deliver Precision Color and DCI Standards Compatibility MELVILLE, N.Y., November 6, 2013 – As motion picture, television and commercial production continues to transition to ever-higher resolution digital video and CGI (computer graphic imaging) formats, color-grading and postproduction professionals increasingly rely on reference displays with exceptional detail, color and gradation accuracy. Developed in response to this trend is the new DP-V3010 4K Reference Display from Canon U.S.A., Inc., a leader in digital imaging solutions. The Canon DP-V3010 4K Reference Display measures 30 inches wide diagonally by 7.4 inches deep to help minimize space requirements and provides a 2000:1 DCI-compliant contrast ratio, uniform brightness, very wide viewing angles in all four directions, internal color calibration and additional advanced features. Designed for use in color-grading, digital intermediate (DI), CGI/animation/visual effects (VFX), and editing/finishing suites, as well as digital imaging technician (DIT) workstations on production stages and on-location "video villages," the Canon DP-V3010 4K Reference Display provides full-screen 4096 x 2560 resolution with extremely high levels of color accuracy and fidelity. "We are proud to continue the Canon tradition of providing our customers with complete solution technologies, providing them the option to work within a Canon ecosystem from input through output, and maintain the quality and reliability of our brand," noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. "These displays are the result of the enthusiastic response we received to the Canon Cinema EOS System of cameras and lenses, and we look forward to continuing to demonstrate our commitment to these markets with outstanding technology, quality and reliability to help creative professionals deliver and tell the stories as they envision them." The DP-V3010 4K Reference Display features a 16:10 aspect ratio for the display of video signal information essential to VFX creation. With a tightly packed "pixel pitch" of 157.5æm, the Canon DP-V3010 4K Display provides high-accuracy tonal gradations between darkest and brightest areas, with 1024 shades in each color channel. The technology enabling such performance is a new and proprietary display engine developed by Canon that helps maximize color accuracy and brightness uniformity. The actual panel employed by the DP-V3010 4K Display is an IPS (in-plane switching) LCD with full array RGB LED scanning backlight technology that delivers excellent color accuracy, and crisp video imagery without the perception of motion blurring between frames. By featuring an IPS LCD panel with polarizing and filtering film layers to prevent changes in color and contrast, the DP-V3010 4K Reference Display enables image viewing within a wide viewing angle, top to bottom and left to right. Industry Compatibility The Canon DP-V3010 4K Reference Display is compatible with the five major color gamut standards - SMPTE-C, EBU, ITU-R BT.709, DCI, and AdobeRGB - as well as conforming to DCI standards for 4K display. These DCI standards include a 2000:1 contrast ratio, which the DP-V3010 4K Reference Display evidences in its faithful reproduction of detail in the shadows and accurate highlights. This high contrast accuracy is essential for critical assessment and mastering of high dynamic range cinematic imagery. Also supported by the Canon DP-V3010 4K Reference Display is the ASC CDL (American Society of Cinematographers Color Decision List) format. The display controller provided with the DP-V3010 4K Display includes a dedicated CDL button. Color settings made at the shooting location can be stored on a USB flash drive and imported into the user's color-grading system, which can then relay color correction parameters directly to the DP-V3010 4K Display in the ASC CDL format using slope, offset, power, and saturation parameter adjustments to the overall RGB image and/or separately to the individual R, G, and B channels. The importation of LUT (Look Up Table) data created by third-party color-grading systems is also supported by the DP-V3010 4K Reference Display. The Display allows both 1D and 3D LUTs to be easily imported by operating the menus of the unit itself. This enables accurate color matching between displays and the ability to import customized "looks" created in third-party applications. In this way, the unique colors and gradations intended by producers can be easily reproduced. Ready to support the wide dynamic range of Canon Log gamma video data recorded by the popular Canon EOS C500 and EOS C300 Cinema cameras, the Canon DP-V3010 4K Reference Display also comes pre-installed with the Cinema EOS Canon Log viewing LUT allowing those cameras to be integrated with the DP-V3010 4K Display for linear conversion and display in real time. Furthermore, using 1D/3D-LUT data, the display will be able to provide support for ACESproxy output from Canon's EOS C500 digital cinema camera. A wide variety of the full HD video production format resolutions, typically used for TV dramas, commercials and other TV content, can also easily be displayed by the new Canon DP-V3010 4K Reference Display. To accommodate HD formats, the DP-V3010 Display offers upscaling modes offering smooth and accurate rendering up to 4K resolution of DCI 4K (in up to 12 bit 4:4:4 color), 2K, 1080p, 1080i and 720p. Inputs include 3G-SDI, HD-SDI and DisplayPort connectors for compatibility within many different production, post and VFX workflow environments. Calibration and Convenience Each Canon DP-V3010 4K Reference Display undergoes high-precision calibration before shipment to help ensure high color uniformity between all units. Color accuracy is further improved by the Canon DP-V3010 4K Display's control system, which continuously monitors internal conditions of the display which might affect color, uniformity and performance accuracy, like heat or aging of internal components and make corrections to help ensure long-term image stability and exceptional color consistency. External calibration of the Canon DP-V3010 4K Reference Display can be performed without the need for a dedicated PC application through the use of a third-party spectroradiometer. Use of such an external sensor allows users of the DP-V3010 Display to maintain factory calibration settings as well as help adjustment for specific display applications or account for variations in ambient lighting. The DP-V3010 Display features an easy-to-navigate on-screen display that can be controlled using the included display controller. Built-in carrying handles allow the display to be easily transported and positioned on top of a desk or a counter, or attached to a VESA-compliant bracket for easy wall or rack mounting. The accompanying display controller is designed to be used as both a desktop control device or to be rack-mounted for easy integration into suites, control rooms or mobile vehicle applications, such as HD sports production trucks. Markers, time code display and test patterns are provided within the Canon DP-V3010 4K Reference Display. A variety of markers (aspect, safety zone, grid, and center) and test patterns (pluge, grayscale [20%], white, five-step, ramp, color bars, and black) are also built into the DP-V3010 Display. The Canon DP-V3010 4K Reference Display is scheduled to be available in the first quarter of 2014 for a suggested list price of $40,000. For more information about this update, please visit the Canon U.S.A. website at http://usa.canon.com/cusa/professional/products/reference_displays/dp_v3010.
  19. New EOS C100 Camera Feature Upgrade Offers Outstanding Continuous AF Performance for Documentary, Electronic News Gathering, and Small-Crew Productions MELVILLE, N.Y., November 5, 2013 – Canon U.S.A. Inc., a leader in digital imaging solutions, announced today that the Company will offer an optional feature upgrade for the EOS C100 Digital Video camera which will support innovative Dual Pixel CMOS AF autofocus technology, enabling continuous autofocusing with Canon's entire EF lens lineupi. This optional upgrade is expected to be available in February 2014 for a cost of $500.00 and will require the EOS C100 camera body to be shipped to a Canon service center. The Canon feature upgrade will provide the EOS C100 camera (first introduced in November 2012) with greatly improved autofocus (AF) functionality made possible through Dual Pixel CMOS AF technology. First employed in the EOS 70D digital SLR camera launched in August 2013, the innovative new AF technology helps facilitate greater shooting efficiency across a variety of shooting situations. For users that work with moving subjects, this optional Dual Pixel CMOS AF upgrade for the EOS C100 camera will allow for a smoother, more natural autofocus that can be particularly useful for video markets like documentary, sports, event and wildlife. Canon's Dual Pixel CMOS AF makes use of the Company's proprietary CMOS sensor technology with a new structure that both captures light and performs phase-difference detection autofocus. While focusing on the EOS C100 camera is primarily performed manually, the feature upgrade will enable smooth continuous AF, a capability that can be particularly beneficial when operating with a small production crew, electronic news gathering, or run-and-gun documentary-style shoots. The Dual Pixel CMOS AF functionality offered through the feature upgrade supports continuous AF with all compatible Canon EF lenses for subjects positioned in the center of the imaging area. The complementary use of the contrast signal achieves advanced AF stability that helps reduce the occurrence of image blur. Also, the inclusion of an AF Lock function contributes to expanded shooting flexibility through focus preset, which allows users to set a desired focus distance in advance, and the ability to alter the photographing range or composition after establishing focus. This optional feature upgrade increases the speed of the EOS C100 camera's One-Shot AF function by approximately two-times, which enables users to focus on a subject located at the center of the screen with the push of a button, a feature that is currently supported on 104 Canon EF lens modelsii. This feature upgrade service will be made available to users through Canon's product maintenance centers. For more information about this update, please visit the Canon U.S.A. website at usa.canon.com/cusa/professional/standard_display/eos_c100_feature_upgrade .
  20. I have a canon 1014 xls and I heard it's a really nice camcorder and I want to sell it, I know nothing about cameras but I do know it's worth a few quid, is there anyone interested or know the best place to sell (not ebay) it's excellent condition although I do not have the boom mike
  21. Recently I found an article showing Angenieux 12-240mm adapted to be used on Canon 7D making it a 38mm-768mm lens on APC sensor or 24-480mm in 35mm. Would this set-up work? Angenieux 12-120mm (cameflex) > M4/3 (adapter made by Hawk) > Doubler (teleconverter) > M4/3 to Canon EOS adapter > Canon 7D.
  22. THE OUT OF ORDER TOUR WITH ROSS HOCKROW Storytelling and the Editing Process The Out of Order Tour teaches students how to create captivating films through the editing process by focusing on two key concepts: 1) the use of “out of order” storytelling techniques (non-linear storytelling), and 2) how to make decisions about where pieces go instead of simply how to move them into place. Taught by filmmaker, author, and educator Ross Hockrow, this all-day workshop teaches you how to assemble each moment in your film by integrating storytelling theory with specific, practical editing techniques. Designed for the beginner and intermediate filmmaker, the class shows you how to unlock the full potential of your footage by utilizing the principles of story structure, narrative bases, shot selection, pacing, and the psychological effects of shot placement. Ross Hockrow is an award-winning filmmaker, innovative educator, and published author. He has directed 6 feature-length indie films and several short films, the latest of which won the audience choice award for the 2013 48hr Film Festival in Providence, RI. Ross started his career as a screenwriter, and several of his screenplays were optioned by major film companies and television networks. His filmmaking abilities stretch beyond narratives and into commercial work, where he was hired by Fortune 500 companies Skype and Expedia to make on-site event films for their annual company conferences. Ross, an Adobe sponsored speaker, pioneered live filmmaking education with his Get in Motion Tour in 2011—the industry’s first-ever educational workshop tour created exclusively for filmmakers. During the past three years, Ross lectured in over 100 cities during two international tours, and taught platform classes at several major industry tradeshows— appearing at NAB, CES, WPPI, PPA, Photo Video West, Photoshop World, Photo Plus East, and Photo Pro Expo. The Daytime Storytelling Through Editing Workshop begins with an overview of specific types of stories by outlining types of conflict, variable act structure, and plot structure. Ross will explore the concept of non-linear storytelling—telling a story out of order— and will demonstrate several options for rearranging the order of a film to create a better and more intriguing story. Next, you will explore the concept of how to make the viewer experience a film instead of just passively watching it. Finally, Ross breaks down the techniques necessary to effectively edit a conversation, and the importance of creating a constant feeling of anticipation within the viewer through masterful editing. The Evening Editing Techniques Seminar begins with an intensive, step-by-step overview of the complete editing process. The art of the professional cut is explored in detail, focusing on the techniques of L-cutting, cutting on the action, popcorn cutting, and the use of natural and scene-to-scene transitions. Ross then demonstrates his technique for achieving perfection in cycles by focusing on a circular editing process, showing how to subtly discover and constantly enhance the rhythm, pace, and emotional tone of your film. Ross will show you how to use audio and will outline the process of choosing and incorporating a soundtrack into your film. To finish the film, Ross will teach students the principle of “cutting out the fat,” the process of applying subtle tweaks to reduce the length but increase the impact of your film. Daytime Workshops and Evening Seminars take place on the same day, with workshops ($149, up to 100 students) running from 9:00 AM to 4:00 PM and seminars ($59, up to 200 students) running from 5:00 PM to 9:00 PM. A combo ticket costs $199 and includes Ross’s book Storytelling Techniques for Digital Filmmakers, a DVD of the Daytime Storytelling Theory workshop, and a take-home editing project. If interested check out the tour website www.outoforder.com or email antonio@montezucker.com
  23. Hi all. So my normal go to guy has not replied to emails (strangely) and so I am going to ask around here. I have a terrific Canon 1014 XL-S that I love (not as much as my long gone Nikon R10, but oh well) and it has performed wonderfully for the nearly two years I have owned her. However, right now I am getting a strange problem when shooting. Sometimes it is as if the in camera fade in/out becomes engaged. I'll be shooting and POOF, it stops. When I check the roll, I see the results are an in camera fade out. Like on this Straight8 entry that didn't go so well... https://vimeo.com/57757062 The scratches are a product of the shitty telecine. They ruined my roll. :( Anyway, you can see the issue at 0:22, 0:35 and 2:46. Every other aspect of the camera is fine. It's really mint. But I have a feature shoot coming up and if all goes well, I'll need this camera working 100% since we have some super8 stuff to shoot for a few scenes. I will also be in the market for a backup camera, preferably a tip top Nikon R10. :)
  24. Monte Zucker Photographic Education Presents the Out of Order tour! In Irvine 10/19 And LA 10/20. Out of Order is a film editing tour that is sponsored by Adobe and Canon and tackles editing from the a non-linear storytelling perspective. It’s taught by Ross Hockrow, an award winning filmmaker, educator and author. The full-day class is split in two parts, a daytime Storytelling Through Editing Workshop, and an evening Editing Techniques seminar. In the workshop Ross will demonstrate the principles of “show don’t tell,” will teach you to properly time cuts, to “play” with time, and will focus on the very important concept of pacing. Ross will then break down the techniques necessary to effectively edit a conversation; in film editing, conversations represent what editing is in its rawest form. Finally, Ross will teach you the importance of creating a constant feeling of anticipation within the viewer via cut selection, timing, and analyzing which shots have the greatest storytelling impact. All of these techniques are used to make your viewer experience your film instead of just passively watching it. The seminar begins with an intensive, step-by-step overview of the complete editing process. Ross shows students how to organize and log footage and introduces the concept of the dump timeline, a workflow technique used to create the Narrative Base. The art of the professional cut is explored in detail, focusing on the techniques of L-cutting, cutting on the action, popcorn cutting, and the use of natural and scene-to-scene transitions. Check out this awesome opportunity to hone your skills or gain a new take on the editing process.
  25. Monte Zucker Photographic Education Presents the Out of Order tour! In San Jose 10/12 And San Francisco 10/13. Out of Order is a film editing tour that is sponsored by Adobe and Canon and tackles editing from the a non-linear storytelling perspective. It’s taught by Ross Hockrow, an award winning filmmaker, educator and author. The full-day class is split in two parts, a daytime Storytelling Through Editing Workshop, and an evening Editing Techniques seminar. In the workshop Ross will demonstrate the principles of “show don’t tell,” will teach you to properly time cuts, to “play” with time, and will focus on the very important concept of pacing. Ross will then break down the techniques necessary to effectively edit a conversation; in film editing, conversations represent what editing is in its rawest form. Finally, Ross will teach you the importance of creating a constant feeling of anticipation within the viewer via cut selection, timing, and analyzing which shots have the greatest storytelling impact. All of these techniques are used to make your viewer experience your film instead of just passively watching it. The seminar begins with an intensive, step-by-step overview of the complete editing process. Ross shows students how to organize and log footage and introduces the concept of the dump timeline, a workflow technique used to create the Narrative Base. The art of the professional cut is explored in detail, focusing on the techniques of L-cutting, cutting on the action, popcorn cutting, and the use of natural and scene-to-scene transitions. Check out this awesome opportunity to hone your skills or gain a new take on the editing process.
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