Here’s a handy tutorial by Charlie White that shows how to use a PPro 2.0 feature called Clip Notes. Clip Notes allow you to export a video clip inside a specially formatted PDF document, simplifying the process of client draft feedback.

(Via Make Better Media)

The title says it all. Includes warm and cool card variations. Details here.

We recently mentioned the new HPX300, an interesting offering from Panasonic that offers a host of useful features and tools in a shoulder-mount camcorder configuration. Zacuto has created a good introductory video on the topic, embedded below. It looks like this camera is now in stock at B&H, with a price point of $8495 USD. Not bad for a camera that offers AVC-Intra, interchangeable lenses, a host of formats and framerates, and 720p/60 overcranking. It’s a unique offering that should spark a lot of interest with those that like the shoulder-mount configuration. In addition to the Zacuto video below, there are also two introduction/walkthrough videos on the HPX300 over at AbelCine’s site.

Introducing the Panasonic HPX300 from Steve Weiss, Zacuto USA on Vimeo.

If you aren’t subscribed to the free ProVideoCoalition Newsletters, you missed the early release of the Post-Production articles, including an excellent greenscreen primer by Alex Lindsay.

FreshDV will have an audio podcast in the next newsletter edition, on the topic of Distribution. It’s a very interesting discussion with two special guests, offering practical real-world advice for independent filmmakers on how to market and monetize their filmmaking efforts. The Distribution newsletter comes out on April 1 (no joke), so subscribe here.

Cinevate recently unveiled their camera sliders, or what they are calling Pegasus Linear Tracking Systems. A slider is basically a short dolly system for relatively lightweight cameras, and they are generally quicker to setup and easier to use than a full dolly (if you can work within the size and weight limitations). Cinevate is offering two separate Linear Tracking Systems at varying features and price points. One is intended for adapter users and smaller camcorders, the other (the Heavy Lifter) is rated at cameras up to 30lbs. To get users up to speed on what each offers, and some of the tips and tricks, they’ve created a few demonstration videos that really show off the power and extensibility of each system. Check them out at Cinevate’s Video University page, listed under Pegasus Linear Tracking Systems.

While checking out VideoGuys new website design, I ran across this little blog post on the Datavideo CKL-100, a painless chromakey solution. In this particular case, the user in question was testing the CKL-100 with a Canon 5D MKII. Check it out.

We mentioned the ASL Rip Kit recently. The Rip Kit is a complete A/V connection replacement for the Red One camera, including a matching breakout box that can be located up to 50′ away from the camera using a single DVI-I cable connection. It appeared to be a robust solution to a common set of issues and concerns with the Red One. Over at Final Cut User, I ran across a video review of the kit that really shows it’s strengths and explains the full featureset. If you are a Red One owner or shooter, I highly recommend you watch the two video segments below.

Via Shane Ross comes a link to a FCP plugin from Singular Software called Plural Eyes. Apparently this software can automagically sync up multiple camera angles without the use of synced/jammed timecode, or manual slating methods. It looks like a very useful tool, you can watch a demo here and download a beta version here.

The Reel Show has an excellent video segment up featuring Rodney Charters ASC, cinematographer for the hit-series “24.” Rodney recently spent some time traveling the world with a Red One camera, and he takes some time to talk about his experiences with the camera and the specific lightweight setup that he used. It’s a great practical look at his use of the camera, and in particular it’s cool to see the hardware and mounting options he used on the camera, from a Clairmont Camera custom-machined handle setup, to the rock-solid EVF mount, to the Canon electronic lens mount.

One thing that struck me as odd is when Rodney suggested the Red should be rated at 250 ASA, not the 320 that the community at large seems to have agreed upon. Here’s the quote; “The restraint on this camera right now is that noise does creep in above 250 ASA.” He mentioned that when testing the Red on the set of “24,”, one concern was lighting…the crew normally shoots on film stock rated at 500 ASA and they light at extremely low levels, nearly available light. He felt that the Red needed to be shot at f/2.0, but their cine zoom lenses bottom out at f/2.8. He suggested that without faster lenses, they need either a more light sensitive chip, or new software improvements that enable shooting at higher ASA ratings without excessive grain.

It was refreshing to hear Rodney also talk about the post-production side of things, he mentioned using the Monkey Extract tool, and ProRes as an acceptable master format. One theme that Rodney really seems to have grabbed onto is the price point and savings of the Red…he mentioned a feature film that someone showed him that had been shot on Red and posted complete with special effects for just $125K. It’s a fascinating video segment, and great to see how an experienced DP approaches the camera system. Check it out.

(Thanks to Tyler Ginter for the link)

Episode 6 of Zacuto’s FilmFellas series is out, entitled “Mumbling to a Generation.” In this episode, Steve Weiss talks with independent filmmakers Joe Swanberg (Kissing on the Mouth, Hannah Takes the Stairs), Susan Buice (Four Eyed Monsters) and Kris Williams (Young American Bodies). Watch below.

FilmFellas - webisode 6 from Steve Weiss, Zacuto USA on Vimeo.

I read an excellent article today on the state of 3D technology in cinema. This lengthy article goes in-depth on the digital cinema transformation, the state of 3D adoption, and the pros and cons from a business and consumer standpoint. It’s a great summary of where we stand right now, and where we are headed. Here’s an excerpt:

“…it’s still unclear whether 3D technology is just a gimmick or the beginning of a mainstream trend. Whitehouse points out that many innovations in cinema technology are initially exploited as gimmicks. Some, like Smell-O-Vision and AromaRama, which dispersed scents into the theater, quickly fade. But others live on past the gimmick phase to become a standard part of the movie viewing experience. As an example of the latter, Whitehouse cites Sensurround, which used powerful low-frequency speakers to add ground-shaking effects to movies like 1974’s Earthquake. While Sensurround came and went, slightly less intense low-frequency subwoofers became a standard component of multi-channel theatrical sound systems and home theater systems.

Whitehouse stresses that 3D similarly needs to advance beyond the gimmick stage. “We need to move beyond jutting objects off the screen at the audience and use depth as a natural component of the world on screen,” he says. Critics such as Roger Ebert have panned 3D technology because they feel it diminishes the story telling in favor of special effects.

Clemons adds that 3D can detract from the movie-going experience. For 3D movies to be much better than alternatives, it “requires that the 3D experience does not eliminate the joys of sharing. Going to the movies can be a social experience, but not if you are in a 3D headset that eliminates interaction with people around you.”"

I also noticed a few quotes in there from Scott Kirsner of CinemaTech. Speaking personally, I feel that 3D on a “traditional” film is a distraction from the story and is actually more difficult to watch. I saw Journey to the Center of the Earth in 3D, and it quite honestly was a pain. I would have been able to enjoy the film much more without the 3D aspect. That being said, films like Monsters vs Aliens are probably going to be best experienced in 3D. I think it’s a question of content really.

Via FreshDV reader Thomas Roberts comes this link to a series of video tutorials put out by Red Giant Software. They look to be an excellent resource, in fact I just finished watching Episode #13 on Compositing with Final Cut Pro. Editor John Flowers shows some of the common issues faced when using FCP’s built-in keying tools, and then demonstrates the power of Primatte, and how it can help simplify the process. It’s an eye-opening example, and really showed the value of having the right post-production tools. I highly recommend you check this tutorial out.

Here’s an interesting post over at CinemaTech on a little squabble between Disney/ABC and the Writers Guild of America. Apparently, ABC was sourcing ideas from viewers for a web-series called “In the Motherhood.” The WGA was quick to point out that such goings-on were a violation of it’s contract. Interesting development, and I would say we’ll see more issues like this in the future as traditional media blends more and more with the wild and woolly online world.

Wired has a blog post up with some quotes from Alex Proyas, director of the new film Knowing, which was shot on the Red One. Alex isn’t bashful with his praise for the digital cinema camera. Here’s an excerpt:

“The results we’ve achieved are extraordinary especially when the film is projected digitally. It’s completely grainless and there’s almost a three-dimensional quality where you feel as if you can reach into the screen because there’s an incredible depth to it. I’m a total convert.”

One of the duties of the Assistant Camera role on a production set is to log Camera Reports. These notes on magazine and shot info are an essential part of tracking what is created on set. Kendal Miller wrote an article at PVC on proper camera reports, entitled Camera Reports Done Right. There’s also another handy resource I happened across the other day, this is a camera report template that was created specifically for Red One shooters. It eliminates a lot of the film-related items you’d normally see on a standard report, and provides columns for just the simple essentials of digital shooting.