Manufacturers showed tons of new gear of all kinds at this month’s NAB Show in Las Vegas. Because my time at the show was limited, I focused primarily on new professional digital video cameras.
Some of these cameras were also involved in a 12-camera shootout – the Single Chip Camera Evaluation, a screening presented by Image Quality Geeks. More on this soon. Over the next two posts, I’ll preview a number of impressive new cameras introduced at or just before this NAB.
. . . CONTINUE READING: NAB 2011: Cameras
In Manchester, England, we check into the Radisson Edwardian, well situated in a recently gentrified, reconstructed, and re-imagined section of downtown. On our arrival night, we are just in time for a late dinner at the restaurant in the lobby, which repeats its name in an endless sign across its glass wall. In our jetlagged haze, both Jim and I could swear the joint is named Palo Alto (where he grew up and we both went to school), but a closer inspection shows the name is really Alto. Or Altoaltoaltoaltoaltoaltoaltoaltoaltoalto.
We have four nights at the Radisson: our arrival day, a day of scouting, and two days of shooting. In all that time, the temperature stays between 30 and . . . CONTINUE READING: Around the World in 11 Days: Part 2
In Brazil, our story was based in Ribeirão Preto, (pronounced something like “HEE-bay-roan PRAY-toe,” though all Brazilians laughed at our attempts to say it) a city of a half million, three or four hours inland from São Paulo. Our final shoot was at the local campus of the Universidade de São Paulo. In search of an interview background that was neither a glass hotel nor a slum, our local production assistant Erica took us to the university.
The Ribeirão Preto campus of “OOS-pee,” as USP is known, is spread out, tree-covered, and rural. Driving through campus, Randy chose a spot in front of a blue house with some mottled light coming through the trees in the background, then . . . CONTINUE READING: Eerie Times at USP
Preserving the sanctity of your original media has always been one of the cardinal rules of production.
In my first week of film school, I learned about work print. The original film negative is used once to make this cloned copy, then the original is locked away, presumably in a climate-controlled vault environment. The work print is used for editing, with all the scratches, tears, gouges and dirt endemic to the mechanical film editing process. The pristine original negative is only brought out at the end of the process to make printing masters, then locked away again.
When I first started shooting video, one advantage it had over film was that the tapes could be erased and reused, or so . . . CONTINUE READING: Living in Oblivion: On Creating, then Destroying Your Original Video Media