I’ve recently written about proxies and how at times they’re treated like a one-size-fits-all panacea. As capture resolutions keep increasing, file sizes grow, too. Proxies become a way to tackle the enormous amount of data that has to wend its way through the post-production workflow.
But simply asking to “create proxies” without care oftentimes... Read more
The term proxy gets thrown around a lot in this industry. For many, the term is a panacea for everything. “We’ll generate proxies during the shoot…”, “I’ll give you a drive with the proxies…” and “Can they just use the proxies?” are all commonly heard.
It appears people mistakenly think that when they say “I need proxies” they... Read more
The end-of-the-year pro video/digital cinema convention held in Amsterdam was where the action was for new product announcements in 2019
IBC 2019 is the end-of-the-year pro video/digital cinema convention held in Amsterdam.
Whenever we think we have the media cycle down for the announcements of new cameras and gear, it seems as if we get thrown for a loop. This year, the disruptor was IBC 2019. The convention takes place in Amsterdam and over the past few years, it felt as if IBC would... Read more
A recent beta release of Blackmagic Design’s DaVinci Resolve introduced a boring detector. By detecting long shots in your sequence, it can help highlight all the yawn-inducing scenes in your project.
I imagine it would light up like crazy if you edited “2001: A Space Odyssey” or “Rope” or “Birdman.” Maybe the next beta release will give... Read more
Fixing a common mistake when you use stock footage
Previously, I posted about a common mistake that occurs when you use stock footage. I gave the example of inserting a slo-mo 24 fps stock clip into a montage of 30 fps footage. The sequence was natively 30 fps. (I’ve rounded 23.976 fps to 24 fps and 29.97 fps to 30 fps for clarity.)
It turns out that edit software is so obliging when it inserts... Read more
I recently wrote about coming across stock footage where the clip metadata didn’t align with the actual clip. In particular, a file may say it was shot at 23.98 frames per second, but in reality, it was shot at a different frame rate and then conformed to 23.98fps.
There are other times when the metadata lines up properly but things still go wrong.... Read more
Find out if the features on this new Canon EOS cinema camera will catch your attention
By Dan Brockett
The C500 Mark II is the first digital cinema from Canon that’s truly modular. Pictured here with the optional V-mount back, shoulder mount/baseplate, rods, lens support, handgrip extension
At IBC 2019 in Amsterdam today, Canon introduced a new digital cinema camera, the C500 Mark II. I’m not going to go deep into the specs of the camera as they... Read more
A new film explores a master photographer, who left his unique home in New York City after nearly a half-century
By Amy Touchette
I recently watched Jay Myself, a documentary film about the monumental move of renowned photographer and artist, Jay Maisel, who, in February 2015 after forty-eight years, begrudgingly sold his home—the 35,000 square-foot, 100-year- old landmark building in Manhattan known simply as “The Bank.” Sold for over 50 million dollars, it was the largest... Read more
Stock footage has become a commodity. Sometimes I use a single stock shot and other times—for example, with a pitch piece—all I work with is stock footage.
As will all commodities, the quality varies. Some shots look great, others only look okay. Oftentimes you don’t know which until you buy the shot and can look at the full resolution files.... Read more
Using nesting to fix a problem with speed changing a clip
In a previous post, I recounted a problem I ran into when I tried to match an offline sequence to a finish or online sequence. Basically, the camera originals were very long and had been trimmed because it wasn’t feasible to render out color-graded full-length clips. I tried to duplicate the edit using those trimmed clips.
When I compared the graded,... Read more
Video/digital cinema production in 2019 feels as if there are some groundbreaking changes underway. Here's a look at three of them.
A view of Cine Gear 2019 at Paramount Studios.
Video/digital cinema production in 2019, to me, feels as if there are some groundbreaking changes underway. I’m not sure if you have felt this lately, but I definitely have.
BMD Resolve 16.1 public beta has some interesting Ai features that are supposed to preemptively help editors cut more efficiently.
Seismic... Read more
You might think that the image that leads this post is missing. Or maybe it’s a mistake. I can assure you that it’s not. It’s exactly the image that should be there. In fact, it’s perfect.
Before I explain the image, I want to talk about the tools that editors have at their fingertips. A lot of the tools are all about making a difference on... Read more