Converge is just a few days away now. They have just posted an interview with Philip Bloom at the Converge website, and if you’re in the UK use the box in the right hand column to order your ticket. The event is in London at the BFI on the South Bank. March 1st (Tuesday) has all the talks and screenings, then March 2nd (Wednesday) is the workshop day.
Month: February 2011
[vimeo]20347579[/vimeo] I have recently had some criticism that my reviews were going a bit high end end, what with Letus rigs, DitoGear sliders and SmallHD monitors. Well I have decided to address that and review some more affordable options for the no budget filmmaker.
Sony will eliminate the optical viewfinder on all future DSLRs. Sony Spain let slip in a presentation that the Japanese electronics giant plans to release all future Alpha DSLRs with the SLT translucent mirror technology found on the A33 and A55. No more optical viewfinders and traditional mirror-box DSLRs from Sony. In fact the name ‘DSLR’ will be consigned to history and replaced with Alpha SLT.
Above: Editing my footage – slowly Apple are said to be preparing a massive overhaul to Final Cut Pro, the biggest single change to the software since it was created 10 years ago. It’s said to include massive interface changes and a brand new 64bit codebase. TechCrunch say that Apple are conducting an internal beta program on the Apple campus with various video professionals testing Final Cut Pro 8. “According…
If you’d only go on eBay’s prices you’d assume the Iscorama anamorphic lenses had God-like properties. Maybe they’d part water with their patented easy focus mechanism. Could they heal a leaper with their flare? Possibly the hallowed Iscorama is able to bless you with a cinematic image.
I was guest of ReWo today at MBF, a rental shop in Berlin. They originally planned to do a head to head with a RED and Sony F3 but since these cameras were stuck in Frankfurt we instead had a play with the GH2 versus AF100.
[vimeo]20219795[/vimeo] Diopters are somewhat of a miracle with anamorphic lenses. My Tokina +0.4 helped cut the minimum focus distance of my Isco down to less than 4ft from 2 meters and helped sharpen it up at fast apertures like F1.4.
Find the full details on the DP6 here We are filmmakers. So why are we all shooting in the TV widescreen standard 16:9 and not 2.35:1?