Why Final Cut Pro X? Todo Lo Demás

By Mike Matzdorff

Dave Cerf”s accomplishments are varied and vast. To name a few: He has composed music for Sam Green’s Academy Award nominated The Weather Underground. He has written manuals for legacy versions of Final Cut Pro. He assisted editor Walter Murch on two feature films, Hemingway and Gellhorn (HBO) and Brad Bird’s Tomorrowland (Disney), and he volunteered at the Dalai Lama’s video archive in India. He recently completed scoring, editing, and post-production for Mexican filmmaker Natalia Almada’s award-winning fourth feature film, Todo Lo Demás, starring Academy Award nominee Adriana Barraza.

In my interview with Dave, I was impressed by the depth of his experience. Dave talks about his creative process—rhythms of sounds and music, experimenting with picture edits, and sonic choices—right alongside technical aspects, such as Python scripts, Filemaker Pro databases, and the power and possibilities of XML.

Final Cut Pro X allows for a great deal of mastery thanks to a deep feature set and a responsive user interface.” – Dave Cerf, Editor

MM: Did the director have input on how the editing was done? Did she care?

DC: Technically speaking, not much. Natalia edited her previous three documentaries using Final Cut Pro “Classic,” but the scale of this project required a more modern NLE. Premiere Pro was considered briefly, but the imminent release of Focus made Final Cut Pro X a viable option (thanks Mike!). Simplemente (who also provided the RED camera and Quanum storage) and FCPWorks consulted with us and connected any workflow dots we were concerned about.

Like many people, Natalia experienced the infamous 1–2-week Final Cut Pro X adjustment period, but after that it was pretty smooth sailing.

MM: How did Natalia’s documentary experience relate in Final Cut Pro X? In what ways did she adopt that workflow? Was there any one thing (or more) in particular that stood → continue…

From:: Pro Video Coalition

Artlist music library out of beta: download an unlimited number of royalty free songs for a flat fee

By Matthew Allard ACS

I have been a big fan of Artlist.io ever since it was announced back in December 2015 and have used songs from their catalogue on numerous productions. A new model…

The post Artlist music library out of beta: download an unlimited number of royalty free songs for a flat fee appeared first on Newsshooter.

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From:: News Shooter

V-mount battery solution for the CAME-TV PRODIGY gimbal

By Matthew Allard ACS

CAME-TV has released a new V-mount battery solution for powering their CAME-PRODIGY gimbal. The CAME-PRODIGY is the companies largest gimbal and can support larger cameras and lenses. VM05 V-Mount Battery…

The post V-mount battery solution for the CAME-TV PRODIGY gimbal appeared first on Newsshooter.

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From:: News Shooter

8 Reasons Why “The Proposition” is a Modern Classic of Western Cinema

By David Zou

The Proposition

Throughout much of the middle of the 20th Century that made up the Golden Age of Hollywood, the most popular and financially successful film genre was the Western. In this time, John Wayne was one of the biggest box office draws, and films like Stagecoach, High Noon, The Searchers, and The (original) Magnificent Seven were counted as among the strongest of their era.

As the 1970s drew near, more gritty and violent Westerns like The Wild Bunch, as well as Sergio Leone’s famed Spaghetti Westerns, helped redefine and reshape the classic tales of cowboys, outlaws, and settlers facing the harsh reality of life on the frontier. But, in the final decades of the last century, the genre mostly faded away into nostalgia and obscurity – save for a couple of lone gems like 1992’s Unforgiven and the somewhat problematic Dances with Wolves (1990).

Fortunately, the new century brought with it a resurgence in Western films. Quentin Tarantino’s two Western projects, Django Unchained and The Hateful Eight, brought a new generation of viewers into the classic American narrative.

A bevy of fantastic Westerns – like The Revenant, True Grit, The Assassination of Jesse James by the Coward Robert Ford, Open Range, Blackthorn, The Missing, Bone Tomahawk, and Slow West, among others – have made their way to theaters over the past 17 years.

However, one film that often gets tragically lost and overlooked amongst this Western Renaissance is John Hillcoat’s 2005 effort The Proposition. While many of the aforementioned films attracted Academy Award and Golden Globe nominations, The Proposition truly stands out as a new classic of the Western Genre for a number of reasons.

1. The Antiheroes

It has long been a staple of Westerns to challenge traditional ideas of good versus evil. Protagonists of the genre have → continue…

From:: Taste Of Cinema

4 Cinematic Techniques Alfred Hitchcock Used in ‘Rear Window’ to Turn You into a Voyeur

By V Renée

This is how the Master of Suspense made audiences become voyeurs whether they wanted to be one or not.

Watching Alfred Hitchcock’s 1954 thriller Rear Window is an interesting and somewhat unusual experience. On one hand you’re a passive spectator watching a film about a recently-incapacitated photographer spying on his neighbors out of boredom, but on the other you are an extension of good ol’ Jimmy Stewart’s intrusive gaze. In essence, you become another person confined to that stuffy old apartment with nothing more than a pair of binoculars and a morbid curiosity that goes a little too far. But how does Hitchcock put you into that voyeuristic role? That’s a question that Matt Draper answers in this interesting video essay.

For all intents and purposes, Rear Window is a film about voyeurism, so it makes sense that Hitchcock’s approach to the film would be to force audiences to become voyeurs. And there are a lot of cinematic elements at play in Rear Window that help put audiences into the role.

Read More

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From:: No Film School

REVIEW – Digital Rebellion’s Pro Maintenance Tools

By Kevin P. McAuliffe

A few standout applications makes this a must check out for Mac editors!

I’ve been an editor on a Mac for almost 20 years now, and I’ve had my share of problems. Well, let’s say that I’ve had my share of system problems, to be more specific. I was one of those editors who made the daring switch over to Final Cut Pro when the first release of Final Cut Studio came around (don’t get me wrong, I was still cutting on a Media Composer on evenings and weekends, but my day job was cutting about 80-90% in FCP), and with that switch, came some interesting issues that I always seemed to be running into, and what I needed at the time was a good system and application maintenance package that would get me out of a jam whenever I needed it to. I ended up finding something along those lines called ONYX, which is a fantastic system maintenance application for the Mac that, to be honest, I can’t tell you how many times it got me out of a jam when FCP didn’t want to play nice. It was great because it was pretty simple to use, and it was free. The big issue with it, though, was the fact that it wasn’t specifically for any editing application, and at the time, Premiere wasn’t really in the picture, and just about everyone had Avid’s Support contracts, so we figured we would just let them deal with the issues, as we couldn’t be bothered. Well, now we’ve moved onto the days where we’re all our own one man/woman islands in the editing world, and the burden falls on us when we’re at the eleventh hour, and a client is sitting beside us, and the NLE’s → continue…

From:: Pro Video Coalition

The Wandering DP on this weeks Go Creative Podcast

By Matthew Allard ACS

Patrick O'Sullivan

On this weeks Go Creative Show podcast host Ben Concoli speaks to Patrick O’Sullivan, known as “The Wandering DP“. Patrick started his career as a colorist but quickly transitioned into…

The post The Wandering DP on this weeks Go Creative Podcast appeared first on Newsshooter.

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From:: News Shooter

RAW vs LOG vs Compression Codecs vs Uncompressed HDMI and SDI: A Primer

By Sareesh

There’s a lot of confusion between beginners and even some professionals on what the differences are between RAW, Log, Compressed Codecs and Uncompressed HDMI and SDI Video. This video explains the differences in simple terms and also helps you figure out when to use which:

Exclusive Bonus: Download my free cheatsheet (with examples) of tried and tested ways to cover a scene or action that will save your skin when your mind goes blank (PDF file optimized for mobiles and tablets).

To learn more about each subject please go through the following articles:

For RAW:

For Log:

For Compression and Codecs

For Uncompressed Video:

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From:: Wolfcrow

10 Totally Awesome 80s Comedy Movies You Might Not Have Seen

By Derich Heath

There was no shortage of cinematic comedy during the 1980’s. Zany parodies a’la the Zucker Brothers were extremely popular, as were the sentimental teen pictures of John Hughes. Sex comedies in the vein of Porky’s and Revenge of the Nerds emerged regularly, and Saturday Night Live certainly had a profound impact.

Then there were unexpected, bizarre successes like Crocodile Dundee, Yahoo Serious (Young Eintein, anyone?), and Ernest P. Worrell. If one is willing to dig deep through the forgotten oddities of 80’s cinema, a large number of hilarious gems are waiting to be found. Here’s a handful of often-overlooked 80’s comedies that are well worth your time.

1. Forbidden Zone (1980)

Forbidden Zone (1980)

The Mystic Knights of the Oingo Boingo was a musical theater troupe founded by Richard Elfman in the early 70’s. When Richard decided to pursue filmmaking full-time, he offered little brother Danny Elfman the chance to take his place in the Mystic Knights; Danny readily agreed (later shortening the name to simply Oingo Boingo) and Richard dove headfirst into the process of making his first feature: Forbidden Zone.

The script came from Mathew Bright (Freeway, Ted Bundy), a fellow member of the Knights who, like Richard, was totally unfamiliar with the world of making movies.

Describing the plot of Forbidden Zone is no easy feat, but here goes: it tells the story of the Hercules family – mother Virginia, father Pa, son Flash, daughters Frenchy and Rene. They’ve just moved into a new home, and discover a gateway to the Sixth Dimension in their basement.

First Rene passes through, then Frenchy goes to find her; waiting for them on the other side is a warped kingdom ruled by a perverted dwarf, King Fausto (Herve Villechaize), and his insane wife, Queen Doris (Susan Tyrrell). There’s → continue…

From:: Taste Of Cinema

Watch: Creating the Perfect Blend of Suffering, Sorrow, and Humor for a Tragicomedy

By V Renée

How do you write a story that has elements of both comedy and tragedy?

Plenty of those in the film industry have offered their commentary on the dichotomy between comedy and tragedy. Charlie Chaplin once said, “Life is a tragedy when seen in close-up, but a comedy in long-shot.” Carol Burnett said, “Comedy is tragedy plus time.” Even Aristotle speaks about these literary elements in Poetics. So, clearly the two are closely linked, but how have screenwriters used this relationship to create stories that are equally hilarious and heart-wrenching?

In this video essay, Jack Nugent of Now You See It explores the delicate dance between tragedy and comedy, how the two intermingle to not only expose and intensify one another but to expose and intensify the emotion of the audience as well.

Read More

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From:: No Film School

The Air Selfie: Just a toy or a serious drone?

By noreply@redsharknews.com (George Shaw)

Image sin the palm of your hand. Or floating just over them anyway...

The Air Selfie can fly out to a preset distance, take a picture and return. Indoors or outdoors. And the best part is, it fits inside your iPhone case. But is the Air Selfie a serious drone for capture or just another aerial toy?

  • Drone
  • UAV
  • Selfie

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    From:: RedShark News

    Magic Carpet – Camera Slider + Motion Control from Syrp

    By Cinescopophilia

    The Syrp Magic Carpet is a simple, portable solution for obtaining buttery smooth tracking slider shots. Designed with a full roller-bearing carriage and quick-release levers the Magic Carpet ensures your time on-location is well spent creating amazing footage rather than dealing with the technical set up of your shoot. The Magic Carpet also comes motion […] → continue…

    From:: Cinescopophilia

    Gaff Tape Vs Photo Black Tape

    By Cinescopophilia

    Dave Donaldson AKA Grip Tips, looks at Gaff Tape Vs Photo Black tape. In this episode we talk about why gaff tape should almost never be used and an industry standard tape that is used all the time but never spoken about. → continue…

    From:: Cinescopophilia

    Meet The Gaffer Luke Seerveld looks at the Kino Flo Select 30 Lights

    By Cinescopophilia

    Meet The Gaffer’s Luke Seerveld compares the workhorse of the commercial and broadcast industry, the Kino Flo 4 foot x 4 Tube unit and it’s LED replacement, the Kino Flo Select 30. → continue…

    From:: Cinescopophilia

    The Teaching Cinematography Conference

    By tonycosta100@gmail.com (Tony Costa)

    Taking in consideration the remarks received from the attendees about the Teaching Cinematography Conference we can consider it was a great success. In fact, for the organization the most optimistic expectations were clearly overcome. When the IMAGO Education Committee began preparations and planning for the conference it was estimated that we could have around 40 attendees or maybe we could have as maximum up to 50. But it ended up by having 120 attendees from 30 different countries and some came as far as Australia, Saudi Arabia and South Africa.

    The success cannot be majored only for the number of attendees. The quality of the key speakers, the presentations, the round table discussions the intensive program enriched considerably the event.
    The highly number of attendees prove that the subject matter of teaching cinematography is an actual concern for schools, teachers and cinematographers in general. The IMAGO Education Committee was right in organizing such an event. It proved that the topic is still a matter of concern even after one decade passed from the digital cinema acquisition revolution. The revolutionary RED One which appeared in the parking lot in Las Vegas during NAB in 2006 still deploys some passionate discussions between those who defend film versus digital.
    The education method has swing quite a few degrees not to say that swung 180 degrees. The classic method of educating cinematography by teaching to students’ skills to manipulate cameras, magazines, film stock, exposure, should have now a different approach. The image is directly on a display. This fact makes quite a great difference. Apparently gives an overall sensation that there is lack of discipline and commitment to learn. More discipline should be implemented and new tools must be thought like exposure reading devices like waveforms and false colour systems, like Stephen Lighthill ASC, teacher of → continue…

    From:: Imago News