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  1. As a long time GH4 user, I’ll be looking to upgrade eventually to the BMPCC 4K. In post production, I’ve always loved working with Prores for both editing and exporting . Since the BMPCC 4K can acquire all forms of Prores internally, it seems to be an ideal choice for having a End to End Prores workflow (acquire>edit>finish in the same format). Outside of increased file size, are there any downsides of this approach that I should be aware about? Extra info: I primarily edit in both FCPX and Premiere on my MacBook Pro.
  2. Panavision and its family of companies return to the EnergaCamerimage International Film Festival from November 9-16 in Torun, Poland, with an immersive, end-to-end experience for attendees. Torun’s newly renovated Karczma Damroki facility, across the street from the Jordanki Festival Center, will be transformed into an interactive festival space called PanaVillage and will showcase the integrated technologies, products, and services from Panavision, Panalux, Light Iron, LEE Filters, and Direct Digital. “We are giving filmmakers the opportunity to experience our broad array of tools in a
  3. BURBANK, CA (May 1, 2019) – There’s nothing small about the bicoastal post-production workflow provided by FotoKem for Universal Pictures’ and Legendary Pictures’ Little. FotoKem’s Atlanta and Burbank facilities supported the production from digital dailies through finishing with a full ACES finish for this fantasy comedy. From blockbuster producer Will Packer (Girls Trip, Night School, the Ride Along franchise) and director and co-writer Tina Gordon (Peeples, Drumline), Little tells the story of a tech mogul (Girls Trip’s Regina Hall) who is transformed into a 13-year-old version of hers
  4. RED Digital Cinema® released its RED R3D® SDK and accompanying REDCINE-X PRO® software with accelerated decode and debayering on NVIDIA CUDA® platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible. Benefits and efficiencies of this new software-hardware combination during the post-production process include: • 8K real-time 30 fps or greater playback performance • Up to 10x faster transcoding, depending on the format and content • Improved ef
  5. Saban Capital Acquisition Corp. (NASDAQ:SCAC) (“Saban Capital Acquisition Corp.”), a publicly traded special purpose acquisition company, Panavision Inc. ("Panavision"), and Sim Video International Inc. ("Sim") announced today that the companies have entered into a definitive business combination agreement to create a premier global provider of end-to-end production and post-production services to the entertainment industry. The combined company will be well positioned to capitalize on the continued growth of content production spending and enhance the scope of service offerings to its custom
  6. Hi, I've recently entered pre-production on a low budget feature I recently finished writing, now storyboarding awaits. I'd like to shoot the entire storyboard on set. Been looking into the Artemis app. It would be great to use the app to find the right focal length for each shot and add that information to each storyboard picture. Does anyone know how the metadata is stored in Artemis if you sync it to dropbox? Would be great to add the pictures and metadata into something like studio binder or shot lister, so that you know exactly what lens to use for each specific shot. It would be a hu
  7. RED to Host Panels Featuring Henry Braham, BSC, Dean Devlin and Red Bull Media House Cine Gear attendees can find RED Digital Cinema at booth S301 in Stage 2 of Paramount Studios at Cine Gear Expo 2017 from June 2-3. RED’s visitors can interact with a range of DSMC2™ cameras, including SCARLET-W™, RED EPIC-W™, WEAPON® 8K S35 and WEAPON 8K VV. Additionally, RED will be demonstrating the latest workflow options - covering their new image processing pipeline (IPP2), HDR, and 8K. RED will be joined in their booth by a wide variety of manufacturers of lenses, camera modules and accessories
  8. INTERNATIONAL CINEMATOGRAPHERS GUILD TO HOST THREE PANELS AT NAB SHOW (April 24-25) GAME Of THRONES: Behind the Scenes with the Filmmakers GHOST IN THE SHELL: Creating a Cyber Future NEXT GENERATION IMAGE MAKING – Taking Content Creation to New Places The panels, hosted by the The International Cinematographers Guild (IATSE, ICG Local 600), at the NAB Show (April 22 – 27,) will examine advanced and future imaging techniques, including the use of machine intelligence in pre and post production. The discussions will be set within the context of high profile, consumer content including Gam
  9. Irvine, CA - January 20, 2017. RED, Atomos, G-Technology and Teradek will host the Digital Workflow House from Jan. 22-23 during the Sundance and Slamdance film festivals in Park City, Utah. The Digital Workflow House is a two-day event featuring exclusive discussions with creative and technical industry leaders, hands-on interaction with innovative technology, and networking opportunities for attendees. The Digital Workflow House will be open 10 a.m. to 4 p.m. on Jan. 22, and 10 a.m. to 7 p.m. on Jan. 23 at the Treasure Mountain Inn (255 Main Street). Registration is suggested, as the panels
  10. First post on this forum. I must say, having never actually worked with film before, I'm glad I found this website. Very informative. DISCLAIMER: Never having worked with film, my knowledge comes entirely from the internet, no hands on experience. So if I say anything that sounds absurd, just let me know. Having always used digital cameras, I want to shoot a movie on Super 16mm film, and have it finished on 35mm film. I've been trying to work out the workflow to get from the exposed negatives to that final print. I want to have it photochemically color timed, preferably without ever having a
  11. Hi, I stopped shooting 4-5 years ago due to a sports injury which lead me to working in another field but now I want to start shooting again and I'm feeling a bit behind in the tech, workflow and rusty in my skills. I'm lucky enough to be visiting LA early next year & I'm looking at the ASC Masterclass. I'm concerned it's not really hands on? Is it? Isn't it? I see they're using the Alexa and going through the most current workflows etc but is it mostly learning through demonstration or are we able to get our hands on the tech, lights & set up some shots? Anyon
  12. i'm shooting a music video mostly in 60P with lip sync, and want to be able to timecode slate it so, for example, i can shoot a 15 second segment mid-way through the song and know exactly where to slot it into my edit. the tricky part of course is that my camera's framerate is 60P while the project framerate will be 24P. i won't have access to a proper professional slate with timecode (not that i'm sure it would help?) - i was planning on holding up a laptop running timecode from the song to use as a slate. the issue is, if i'm playing back the song on set at 250% with timecode so that it
  13. Award-Winning Technology Built by DigitalFilm Tree Experts NAB BOOTH: SL9016 (AWS) LOS ANGELES - Critique 4, developed by the people who brought you DigitalFilm Tree, will be unveiled at the 2016 NAB Show in Las Vegas, April 18-21. This new version of the popular cloud-collaboration software will be showcased at the Amazon Web Services (AWS) booth (SL9016). Critique 4 is already utilized by award-winning productions such as Modern Family, The Simpsons and NCIS: Los Angeles, among others. "Critique has undergone a significant upgrade and offers many new features and security contr
  14. I was wondering if anyone had any advice on ARRIRAW workflows. I am getting ready to shoot a feature with the D-21 recording ARRIRAW externally to an S.Two OB-1. I am most looking at most likely using dpx sequences for editing, but I was wondering if anyone had some advice in this area. Thanks in advance.
  15. Hello all, I am in my final year of studying film production and I am currently doing research about cinematography and color grading. I am trying to find out more about the collaboration/ workflow between the DP and the Colorist and the issues regarding the authority over the look. I am also looking into whether new, aspiring cinematographers should be their own colorists. I was wondering if you could please share your opinions about this from your experiences so far. As a Cinematographer, how were your collaborations with Colorists ? (and vice-versa). What can DPs/Colorists do to
  16. Hello all, For the current film I'm working on, I had to go through an odd process to do what I needed to it. First, I imported the footage into Premiere so as to trim it down and piece it all together. Then, I opened up After Effects, and imported the project from Premiere into AE so as to do some edits to it that I could only do in this program. Then, after finishing these edits, I opened Premiere back up and imported this AE timeline that I had added the edits to into a timeline on Premiere. Basically, I did all this without ever having to export from a program. Just some spec
  17. Hello everyone, I have researched online and can't come to any solid conclusions about how sound design and/or mixing is done when you're working optically. For instance: I'm making a movie and seriously considering taking it the full photochemical route, ie. shooting on 35mm scope, processing the film at Fotokem, getting a work print made (no DI), cutting the film on a flatbed, conforming the negative, timing the answer print, and striking a release print. The idea is to keep my movie completely off a computer. But the thing I can't seem to wrap my brain around is the audio part of
  18. So I'm on a project that is based around multirotor helicopters. Needless to say I have a lot of gopro footage coming my way. I was wondering if anyone had any advice or leads to good resources on matching gopro footage and cinema log footage in the grade I would be much appreciated! Here is what I've been capable of so far. Ignore the last 18 minutes it's black video there was an encoding error. http://youtu.be/Isge70aoLtE
  19. It looks absolutely awesome... but it's a bit pricey. I'm wanting to add a few extra ports to how I'm working as a data wrangler (I'm primarily an Editor) and this Echo 15 looks like it may be twisting my arm. However, the price tag had me searching for other solutions. I found one other dock that had USB 3.0, eSATA, Thunderbolt & FW. That was the Akito Thunderbolt Dock (with a couple less USB 3.0) and there's not much in the price difference. If I was to chose from these two the winner would be the Sonnet for sure. I thought about it and tried searching a little more... keeping in
  20. International Cinematographers Guild to Field Workflow Panel at Cine Gear Los Angeles, June 3, 2014…The International Cinematographers Guild (ICG, IATSE Local 600) is producing a panel discussion on “New Workflow Choices and the Director of Photography” at the 2014 Cine Gear Expo in the Sherry Lansing Theatre on the Paramount Pictures lot this Saturday, June 7, from 10:15 to 11:30. The panelists are Paul Cameron, ASC, Director of Photography (Total Recall, Dead Man Down), Mark Doering-Powell, Director of Photography (ABC’s Super Fun Night; CW’s Everybody Hates Chris), Steven Poste
  21. Here is a tutorial video I posted on YouTube on how to get timecode on DSLR clips and other post production workflow tips. Mac centric.! Or you can read my blog post at http://remoteaccesspost.com/adding-timecode-to-dslr-footage/ Hope you find it useful!
  22. Hi guys, After watching the excellent THR cinematographers roundtable, I feel compelled to draw more attention to one of the key issues they discuss - the lack of control of the final image in todays modern world of different screens and projector standards. I've been lucky enough to have a few films I've shot recently coloured by Rob Pizzey and Adam Glasman at Co3 in London and we've achieved results I've been delighted with in their colouring sweet, both in the P3 space on their projector, and in Rec709 on their Dolby monitors. The problem however, is when we output to home deliv
  23. Hello there, I am a freshmen undergrad in film school and recently got the position to work as a DIT and editor on an upcoming short. The short is a collaborative effort of one of our school clubs where we managed to get together to funds to shoot with an epic. During the shoot, which is coming up this spring, I am to apprentice a professional DIT and learn the ropes. Eventually taking over once I am comfortable with the procedures and so forth. I am also going to be grading and editing the RAW footage. So prior to when my apprenticeship begins I would like to have a firm knowledge of wha
  24. Hi there, I am new to the cinema DNG workflow and I just started working with the Ikonoskop a-cam-dii. Although I have been doing a lot of research on the subject, I would like to have some advice from someone with some experience in the field. My questions is the following: for projects that do not need massive color correction, would it be acceptable to throw away the DNG files after transcoding them to Prores 4444 or Prores HQ 422 and use these Prores files as the master files? What would the disadvantages be in this case, if any? Thanks
  25. Gentlemen (and ladies), as some of you know I have shot on film and digital. My first short was shot on super16 way back in 2001 and I had a 35 blowup for festivals. A little trailer I cut in December from an HD scan of our blowup... http://www.youtube.com/watch?feature=player_embedded&v=tMFRPMHTiZ0#! Over the last three years I have shot a number of shorts, some using DSLRS and some 8mm (a format I love). Right now I am in talks with some people about a feature film project and while everyone wants to shoot on the RED EPIC, just because the EPIC is cool and easy and cheap (
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