Los Angeles

Roadtrip Review Redux: The Fujifilm X100F

Beautiful flowers in golden sunlight along the southern California coast

I had to leave all my musical instruments in Cincinnati when I first moved to Seattle three years ago. Recently, I found the time to road trip back and collect them. Seattle is about as far removed from the rest of the United States as a major US city can be, while still being part of the ‘lower 48’. This means that if you’re headed a great distance East, there are a number of ways you can go. And when you work at DPReview, there are also a number of cameras you can take.

Welcome to my journey down the West Coast, where I have decided to discuss one of my favorite cameras from the past couple of years to use as a point and shoot. That ‘point and shoot’ bit is very important. This is my vacation. All of these photos have been taken in a state of total relaxation, focused much more on enjoyment and capturing places I have traveled. With enjoyment in mind, I take you to where my journey began:

This photo was shot alongside the 101 in Washington state, where it all began.

Highway 101 is a road that circles the Olympic peninsula and runs all the way down Washington, Oregon, and California, with large sections of it skirting the Pacific coast. My plan was to avoid the interstate freeway entirely until I made it to Los Angeles two days later. It turned out to be a good decision.

Now, to the camera: the Fujifilm X100F.

The first time I impulsively decided to drive cross-country it was right around the end of 2012. I had a week of time → continue…

From:: DPreview

AOTC with editor of the documentary “KEDI”

By Steve Hullfish

Mo Stoebe currently works as freelance editor of both documentaries and narrative films in Los Angeles. He got his start in the industry as motion designer and animator for commercials and music videos, but his love for film eventually brought him to editing long-form content. He’s completed five documentaries and a feature and loves learning something new about the art of editing every day.

Art of the Cut discusses one of his latest project, the documentary Kedi which has received praise form many fronts. It is currently available on Netflix.

HULLFISH: While there are English subtitles, the language spoken in this documentary is Turkish.

STOEBE: Yes, and my Turkish is very bad.

HULLFISH: I’ve edited in other languages myself, Spanish mostly, and I don’t speak much Spanish. But I feel that you can get a sense of the rhythm of the language. I don’t speak Turkish, but I always felt like the rhythm of the language as you edited it was good.

STOEBE: I am from Austria and grew up bilingual as my mother is originally from the Netherlands so I’ve always been interested in different language. In the case of Kedi, the producers had the forty or so interviews and many verité scenes they had captured fully translated and transcribed. That meant that I was able to see the words that were said transcribed as subtitles as well as their English translations in the frame. I tried to string out interview portions I thought were relevant in this way. Of course there was quite a bit of fine-tuning and adjustment required by Ceyda Torun, who is the director of the film and fluent in Turkish.

HULLFISH: So are you saying the actual video files had translations on them?

STOEBE: Yes we had a small army of people going through all → continue…

From:: Pro Video Coalition

Gabriel Portnof Joins Framestore as CG Supervisor

By Staff

The visual effects company Framestore, has announced that their New York office has hired CG supervisor Gabriel Portnof. A born and bred New Yorker, Gabriel returns to the city that never sleeps after fifteen years with Los Angeles based Dreamworks. During his tenure at Dreamworks. Gabriel supervised films such as Turbo, Madagascar 3, Kung Fu […]

The post Gabriel Portnof Joins Framestore as CG Supervisor appeared first on Below the Line.

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From:: BLT News

IFH 158: How to Avoid Legal Pitfalls in Indie Film with Walter B. Batt Esq. – Indie Film Hustle

By Alex Ferrari

How to Avoid Legal Pitfalls in Indie Film with Walter B. Batt Esq.

If paperwork, contacts and E&O Insurance was as sexy as a new 8K camera then filmmaker would never get into legal trouble when making their film. Alas it is not sexy and filmmakers, myself included, hate even thinking about that side of the business. One thing I’ve learned over the years is if you don’t understand the business side of “show business” you will get burned.

Filmmakers ask me legal advice all the time, why I have no idea, and I always say you should speak to an attorney and cover your butt. I’ve been wanting to have an attorney on the show for a while now to answer not only your legal questions but mine as well. Today’s guest is entertainment attorney Walter B. Batt Attorney at Law.

Here’s a bit about today’s guest: Walter Batt is an Entertainment Attorney located in Los Angeles, California. Mr. Batt is a graduate of Arizona State University with a Bachelor of Science in International Business and a Juris Doctor from the University of Miami-Coral Gables. Licensed in Florida and California, his boutique practice focuses, negotiation and contract development in addition to production support for films. With experience in myriad areas of entertainment and general business, Mr. Batt’s client base is diverse consisting of actors, production companies, public relations and marketing agencies, entrepreneurs, and distilled spirits manufacturing and distribution. As a former prosecutor, Mr. Batt occasionally represents selective clients in litigation matters, when required. As an avid exercise guy, Mr. Batt enjoys the gym in addition to films, friends and most of all his best clients–his dogs.

Here are some of the filmmaking legal pitfalls we discuss:

AbelCine Pre-Summer Service Special

By Jenna Ipcar


Now’s the perfect time to visit our Tech Services department, your one stop destination for cleaning and repairs. To give you a head start on your spring fixer-upping, we’re offering 10% off any service over $135 in both New York and Los Angeles. Don’t wait, this offer is available only through June 22.

We service a variety of ARRI, Canon, Sony, and Panasonic camera systems, along with electronics repairs on Alphatron, Bartech, Litepanels, Preston, TVLogic and more. Both AbelCine service locations also offer tripod maintenance and accessory repairs for ARRI, Chrosziel, Manfrotto, Miller, OConnor, Ronford-Baker, and Sachtler. AbelCine only uses genuine manufacturer service parts, and our repairs come complete with a 30-day warranty on the work performed.


We offer skilled lens repair on a large variety of cinema lenses: from full maintenance, overhaul and repair services to matching and in-depth comparison on nearly all cinema lenses, as well as third party optical devices and lens adapters.

Our technicians have all received extensive factory training, and both our Burbank and New York City optical departments are fully equipped with the analysis and calibration equipment required to provide sophisticated, factory level service. As the first Carl Zeiss Authorized Service Partner in the Americas, AbelCine is the sanctioned Warranty Service Center for all Carl Zeiss cine lenses in North and South America. We are also an authorized Angenieux and Canon Cinema EOS lens repair facility.


Dropping off your gear is as easy as walking into our one of facilities, no appointment is necessary, and our administrators will be there, ready to help check in your equipment. For more information on our camera, accessory, lens or tripod repair services, you can visit our Technical Services page, or feel free to contact our LA or NY service departments → continue…

From:: Abel Cine

Blackmagic Design Announces NAB 2017 Roadshow

By Brian Hallett


Blackmagic is coming to a town near you this summer with their newly announced roadshow. Think of this as Blackmagic Design’s NAB 2017 show booth hitting the road for all of those who could not make the trip to Las Vegas for the April broadcasting convention. The extension of NAB tour will hit up eight major North American cities in nine weeks.

NAB 2017 Roadshow

At these events, you will be able to stop by and get your grubby hands all over Blackmagic’s new gear they showed off at NAB 2017. But, hands-on is only part of the tour. Blackmagic Design will also demonstrate the newly released DaVinci Resolve 14, ATEM Television Studio Pro HD, the Blackmagic URSA Mini Pro, my favorite camera of theirs, as well as all of their other products. Seriously, if you are wondering about the Web Presenter, or any other streaming technology Blackmagic announced a month before NAB 2107, then this tour might be a great place to see that little converter box in action.

What cities will Blackmagic Design visit while on their roadshow? Well, you could just look at the image above, or I can list them. Blackmagic will go to Vancouver, Portland, Salt Lake City, Denver, Toronto, Boston, and Washington DC. Blackmagic has already gone through Los Angeles. It is a shame for this Southern writing this post to see Blackmagic will not be stopping by either Austin or Atlanta, but I bet Blackmagic has its reasons.

To find out more go here: https://www.blackmagicdesign.com/usatour-2017 and register to attend the Blackmagic Design NAB 2017 Roadshow.

The post Blackmagic Design Announces NAB 2017 Roadshow appeared first on ProVideo Coalition.

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From:: Pro Video Coalition

RedShark West Coast writers wanted

By noreply@redsharknews.com (David Shapton)

Can you use one of these (the keyboard, not the coffee mug)?

The RedShark team is off to Cinegear in Los Angeles in a couple of weeks and I just wanted to mention that we are looking for new writers in the US, particularly on the West Coast.

  • RedShark
  • writers
  • LA
  • West Coast
  • Cinegear

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    From:: RedShark News

    How to Turn an On-Set Day Job Into Your Own Film [PODCAST]

    By Liz Nord

    Renée Felice Smith and C.A. Gabriel parlayed everything they learned on other people’s sets into SXSW’s most inventive low budget feature, ‘The Relationtrip’.

    Renée Felice Smith and C.A. Gabriel may have higher profile industry experience than you or I do. Renée has been a lead actress on one of TV’s most popular shows, NCIS: Los Angeles, for eight seasons, and C.A. has composed commercial music for high-profile brands like Chrysler, Kraft Foods, and Jose Cuervo. But when it comes to making indie films, they’re in the same boat: trying to make their vision a reality with limited time and resources.

    In fact, they may be even more fiercely committed to independence because they are normally beholden to the creative visions of their bosses or clients—which is something that many of us who have day jobs in the industry can relate to.

    “Your questions on set become your strength.” -Renée Felice Smith

    Read More

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    From:: No Film School

    ART OF THE SHOT: “Atlanta” DP Christian Sprenger

    By Brian Hallett


    In this edition of the Art of the Shot, I had to opportunity to talk to “Atlanta” Director of Photography Christian Sprenger. The FX show starring Donald Glover is about two cousins, with different views on art versus commerce, as they work their way through the Atlanta rap scene. Christian and I talked about how he achieved the in-camera look unique to “Atlanta,” and the future of lighting fixtures: HMI versus LEDs.

    HALLETT: Tell me a little bit about yourself and how you got to where you are in your career?

    SPRENGER: I’m from Chicago originally studied cinematography at Columbia College. I moved out to Los Angeles right after graduating and started working right off the bat. I arrived in LA during the writers’ strike so it was a tough time to break into the industry but I was pretty lucky. I teamed up with some pretty successful young directors who were also starting out and hit a really good lucky streak I guess.

    HALLETT: How did that lucky streak begin?

    SPRENGER: I guess the catalyst was starting out in music videos. You know, music videos are often everyone’s in, because 9 times out of 10 you’re working for free or for close to free but they can be a really great way to advance early in your career. While I was shooting music videos, some of the directors I was working with started doing these little internet videos for sites like Funny or Die and College Humor. No one really knew how to make money in internet video yet and so these companies were very eager to find young new voices who were cheap to hire. A lot of those directors → continue…

    From:: Pro Video Coalition

    Pulp Fiction: Breaking Down Quentin Tarantino’s Masterpiece – Indie Film Hustle

    By Jonathan Roberts

    Pulp Fiction: Breaking Down Quentin Tarantino’s Masterpiece

    In 1994, pulp fiction became the first independent film to gross more than $200 million. Over two decades later, the American neo-noir crime black comedy film is still Quentin Tarantinos’ finest work, a movie that changed modern cinema. So what went into the making of the movie that now has a permanent place on the must-watch list?

    Back in 1992, producer, Lawrence Bender, and TriStar Pictures, invested $900,000 in a project which would prove to be the film which revived John Travolta’s career and make stars of Samuel L. Jackson and Uma Thurman. Before all of this happened, 30-year-old Quentin Tarantino sat in a one-room apartment without a phone, pouring himself into reorganizing a script about a community of criminals on the peripheral of Los Angeles. The screenplay was in bits and pieces, hundreds of pages had yet to be put together to make sense.

    “It was about going over it one last time and then giving it to the typist, Linda Chen, who was an excellent friend of mine,” says Tarantino. “She helped me.”

    The two had met while Linda was a struggling typist and script consultant for Robert Towne.

    “Quentin was fascinated by the way I worked with Towne and his team,” says Linda. “It began with calls where he was just reading pages to me,” she goes on.

    But it soon turned into her picking out an endless list of grammatical errors. The script was late, the producer and TriStar Pictures pressed for its delivery which was already late. They had a feeling of $900,000 going down the drain.

    Quentin finished the screenplay in May 1993. On its release, Pulp Fiction was coined as “a high point in a low age” by Stanley Crouch in the Los → continue…

    From:: Indie Film Hustle

    Street Magic: Directing Sleight

    By matnewman Director J.D. Dillard discusses his collaboration with cinematographer Ed Wu on this indie effort. By Jim Hemphill A superhero origin story combines with coming-of-age drama and an anthropological study of life in Los Angeles in Sleight, a 2016 Sundance Film Festival sensation that has now arrived in theaters courtesy of Blumhouse and WWE Studios. The → continue…

    From:: The ASC

    It’s a Deal: No Writer’s Strike, But Tensions Still High

    By Emily Buder

    A writer’s strike has been averted—for now. Here’s how it all went down.

    Late last night, the Writers Guild of America and the Association of Motion Picture and Television Producers reached a hard-won agreement that addresses the needs of television writers, narrowly averting what would have been the second major writer’s strike in a decade.

    The process of negotiations has been touch and go since they began on March 13. The deal comes a full day past the strike authorization deadline. Had no agreement been reached—and it was close—Hollywood might have suffered a massive economic, not to mention creative, blow, costing upwards of $200 million per week and driving audiences off cable channels and onto digital platforms in the absence of new content. The previous writer’s strike, in 2007, saw a 100-day walkout over compensation for digitally distributed shows and cost the Los Angeles economy an estimated $2 billion.

    Studios have thrown TV writers under the bus in order to pay for longer, more cinematic productions.

    Read More

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    From:: No Film School

    You can now apply for the new expanded Sony PRO support program!

    By SonyAlpha Admin

    With all that A9 buzz we had no time to cover another good news: Brian Smith reports that Sony expanded their Sony Pro Support network with a new 24/7 phone support in the USA! There are also new walk-in locations in New York and Los Angeles where Pro Support members can speak face-to-face to a […]

    The post You can now apply for the new expanded Sony PRO support program! appeared first on sonyalpharumors.

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    From:: Sony Alpha Rumors