I wonder if (until we find a vaccine for COVID-19, or it naturally burns out) in the near future we'll see a shift back to more single camera shooting instead? 

Could mean more shooting days, but there could be a strong desire to shoot with the smallest minimal crews possible. As the bigger the crews, the bigger the risk someone comes down with COVID-19, causing the entire production to be shutdown!

With one exception, I can see the sound department needing to add an extra boom op than they'd usually budget for. Because lav-ing a person is quite intimate, I can see for the next few weeks/months that lavs will be avoided. Thus it becomes even more essential than usual to make sure you get the best possible coverage with the boom. 

Wonder too what will happen to the generous film incentives these scripted productions get from states/countries? When their state budgets are already under massive stresses from increased costs and a reduced tax intake, they'll be looking to cut "costs" (although I'd argue it is not a cost, but merely a tax rebate? Tax money the state would have never got otherwise, if the production wasn't shot there).

These tax rebates / film incentives will be especially vulnerable to attack if they were implemented under the basis of being "marketing for the region" to help promote tourism. Was where is the tourism now?? Dead. There is very little tourism to promote, and many regions would not want to promote tourists coming! As they want to lock out everyone who is "non-essential".

Moving on from the scripted narrative world, to the corporate world of videography and also event shooting. Am expecting a rise in live streaming. Soon nearly everyone will need to offer, just like the shift from SD to HD, everyone had to offer HD. (and we're almost at that point with 4K now)

Who charges extra for 4K these days? Most don't, or only a small token extra amount. 

So will be the case with live streaming I think, you'll either throw it in to get the job or just a modest upsell extra cost. 

And because an ATEM Mini Pro costs only US$599 you can easily eat that cost, as if it only gets you a couple of extra jobs that you wouldn't have otherwise, then it is worth it!

https://www.sgo.es/mistika-insight/

http://www.mediaproductionshow.com/

Initially I'd got the impression that I'd find many stands for props, locations and specialist studios. In the event there was one stand for prop rental, one for derelict locations and 5 or so stands for very big (out of my league!) studios. So all in all I didn't find what I was expecting. From a PV perspective I guess many of us are in the independent boat where affordable locations and props can make a real contribution to our work.

However this show is smaller and more quiet than the BVE show which is held at Excel. The MPS show was held at the West Hall Olympia. All the main players were there, Holdan, BlackMagic, Cooke, Canon etc. I found it much easier to get onto the stands to look and try kit.

Around the periphery of the show there were many seminars, I stopped by to listen to a colour grading session about the new Resolve. It was presented by a jobbing colourist and in my view was both well presented and really useful - I now know a bit more about the face tracking features of Resolve.

At the moment I'm in the market for some thunderbolt 3 storage, because the big players were there I stopped by to check out their offerings. In both cases the systems on show had dreadful read speeds (sub 500MB/s). What was slightly more worrying is that the people on the stand didn't understand the performance and were of the view that it was a 'prototype firmware issue'.

I was quite taken by one stand that had built a sound isolated studio in an ISO container (the type seen on ships and lorries).

Would I go again? Well, if I happened to be in London perhaps, one of the main impressions I got from the show is that the vendors already knew who they expected to be there, and knew their key visitors by name.

• Adobe Encore CS6
• Adobe Media Encoder CS6
• Adobe Story Plus
• After Effects CS6
• Audition CS6
• Photoshop CS6
• Prelude CS6
• Premiere Pro CS6

• Speedgrade CS6

• An optimized Mercury Playback Engine that is faster than before in software-only mode, and also sports a broader range of choices in graphics cards.

• Adobe Mercury Transmit gives Adobe I/O hardware partners, such as AJA, Black Magic Design, Bluefish444, Matrox, and MOTU direct access to the Mercury Playback Engine. Using external monitors, you’ll get full-screen playback while maintaining all the real-time performance benefits of the Mercury Playback Engine.
• Warp Stabilizer and Rolling Shutter Repair, which were previously only in Adobe After Effects.
• Unlimited cameras in Multicam.
• New and enhanced editing tools such as adjustment layers very reminiscent of After Effects, trimming directly in the Program Monitor, and a redesigned Audio Mixer. You can now double click to apply effects to selected clips.
• Three-Way Color Corrector effect, that uses GPU acceleration
• Adobe Media Encoder is now fully 64 bit software with a much expanded preset list and more efficient batch encoding that makes multiscreen delivery a breeze.

After Effects part

• Native support for Adobe SpeedGrade .Look files, cineSpace .csp files, and overrange IRIDAS .cube files.
• Not only is Mocha still there, but you can launch it directly from within After Effects.
• Global RAM cache. This is a vastly improved frame caching system that allows you to try different options and Undo without a penalty in productivity, as well as render and cache a comp’s work area in the background.
• Persistent Disk Cache. Previews done in a previous session are saved and immediately available the next time you open a project.
• New graphics pipeline. With more efficient use of OpenGL, the work environment in After Effects is more highly responsive and smoother. You’ll get faster manipulation of layers with graphical overlays such as masks, motion tracker points, and motion paths. Depending on the hardware, functions may be speeded by anywhere from 1.5 to 16 times!
• Intelligent 3D Camera Tracker effect.
• Ray-traced 3D rending engine giving you the capability to quickly design fully ray-traced geometric text and shape layers in 3D space. Pair this engine with, say an nVidia Quadro 2000, and you’ll see over 10 times the performance over CPU-only rendering by a stock Intel i7 3960X processor!
• Variable mask feather lets you set any number of points along a closed maks and define the width of the feather on a per-point basis
• Pro Import, previously available as a separate product from Automatic Duck, is now included with After Effects CS6.
• Effects that were previously 8bpc now support 16bpc or 32 bit float including all of the HD plug-ins of the included CycoreFX HD Suite.

Links:

http://success.adobe.com/en/na/programs/events/1203_16108_nab.html
http://success.adobe.com/assets/en/downloads/guides/PL_CS6_WN_Reveal.pdf
http://success.adobe.com/assets/en/downloads/guides/SG_CS6_Intro_Reveal.pdf
http://blogs.adobe.com/premiereprotraining/
http://blogs.adobe.com/toddkopriva/
http://blogs.adobe.com/insidesound/

Trials:

http://www.adobe.com/cfusion/tdrc/index.cfm?product=production_premium&loc=en_us&sdid=JUJDJ&virid=adbe2012-JUJDJ
http://www.adobe.com/downloads/

Buy:

http://www.adobe.com/products/catalog/software._sl_id-contentfilter_sl_catalog_sl_software_sl_creativesuitecollection.html

DaVinci Resolve NOT INCLUDED. Tripod mount hole has been re-coiled with new 1/4-20 helicoil thread so it's good to go! One of the mount holes on top has been redone as well. Camera body has some scratches and indentations from screws on the top and bottom of unit. See photos for details. Touch screen works fine, no scratches. Sensor is clean.

No original box, but comes with AC charger, strap, hood, plus cd manual/software.

Price includes shipping to 48 US states. Paypal only.

RARE: 16-160MM CONSTANT F/2 M4/3 CINEMA SPEED LENS IMMACULATE CONDITION

1. INFINITY FOCUS. The lens is made "parfocal", providing proper infinity focus. Minimum focusing distance with this lens is about 3 to 4 feet.

2. PRECISION GLASS. Manufactured in Japan, this zoom precision lens is nearly perfect in optical quality. As the photos demonstrate, the glass on this lens is stunning, though it only resolves 1080p.

3. PARFOCAL. With most zooms you lose focus as you zoom the lens. However, this lens maintains perfect focus throughout the entire zoom range of 16mm to 160mm. (See photos straight off GH2)

4. ZOOM. The zoom throw on this lens is about 55 degrees, the zoom barrel is tight with no play. It is smooth and a pleasure to shoot with.

5. VERY FAST. This is a constant F/2 lens which is an exceptional low light performer. An 8 blade aperture produces a nice round bokeh. The declicked aperture for silent, butter smooth operation. Aperture throw is 45 degrees.

6. NO VIGNETTING. As set up and tested on the BMPCC and the GH4 in 4K in UHD, there is no vignetting anywhere on this lens. This lens covers the 4K image circle on the GH4, but it only really resolves 1080p resolution, you need Canon Cinema lenses to resolve 4K… As you consider, remember that this lens has a CONSTANT aperture of f/2 all the way out to 160mm! Please be aware, the lens has better sharpness at F/5.6... F/2.0 wide open, like any lens, is relatively soft.

If you are interested in purchasing this lens from me, please send me a PM or contact me below... This lens is valued at $500USD, but I am willing to sell it for $400USD and free shipping because I know people like good deals! Besides, I need to buy a Canon XA35 so this lens will no longer be needed by me. You win!

Please visit https://www.dropbox.com/sh/6qy72l557o3h9em/AABsnc2nzu38jiwa8ZyhjgA4a?dl=0 for high resolution photos.

Contact: Brennan Kirkpatrick brennan@infinichair.ca 613-466-0222

Let me recap. We shot the short on an fs700 coupled to an Odyssey 7q+. Wonderful, powerful couple, even if I'm not the biggest fan of Sony colors. I decided to stick between 2000 iso and 6400 iso for night shots, as we didn't have the budget for a lot of lighting equipment. 6400 iso noise is a bit bad, but workable. At most I could augment and mold natural light. We decided pretty early on that Anamorphic lenses would add a cinematic twist but also contribute to a sense of realism / immersion we were after in the production. Now, these new and very expensive anamorphics are sharp enough / corrected enough to be shot wide open and the mechanics are obviously top notch, making them as functional as any high quality spherical lens. Another things is; the short was shot almost entirely hand-held and when it comes to anamorphics, that can really skew things up badly if an adapter is only slightly off axis f.i.. I was a bit worried during the first day of shooting, as we didn't have a working live-grade setup for correcting the footage, however, I did not need to. These are perfectly corrected to not skew things up in a bad way, no matter how you shoot.

We ended up with the Cookes as the Arri/Zeiss ones had been booked by someone else, but they did not dissapoint one bit. After checking some tests online I chose the 40 and 75 as the former looked to have less CA / have better correction than the wider 32, while the 75 had some CA but allowed for different framing (The Arri Zeiss ones seem to be pretty identical, but the Cookes have some differences in-between them) and differences in distance emphasis, depending on location space. The lenses are massive, over 2 kg's, and I had to put together pieces from 2 different rigs to make it work, all in all we ended up with setup weighing in at around 10 kg's. After that, however, we hardly had to think any differently, though at the end of the shoot my eyes seemed to want to squeeze reality into 2x.

The bottom line, having lenses of this quality in the production allowed us to use anamorphics in the first place, to get a clear anamorphic look without the potential caveats of working with them, never taking time from the shoot. For a more extreme look, well, you may have that option with a bigger budget but then again, it's always possible to push things in the grade. (in doing both I retain control)

The lenses can be used at 2.3T (with sufficient sharpness), though I prefered to stay at 2.8 for most night exteriors. I'll add some sample frames here shortly, and update when I get into pregrade. If there are any surprises, I'll let you know.

It's an app called Magisto (iPhone, iPad, Android, Chrome, etc) that automatically edits your videos into highlight style videos with effects and music. It's certainly not a "pro" application and there's not much you can do to customize the videos it makes but it's perfect for quick and dirty edits of footage that might end up sitting on a hard drive forever.

I personally shoot a lot on my iPhone that I think I'll get around to editing but I never do :-) There is a free versions of the app so it doesn't cost anything to give it a try. The paid tier subscriptions are a little pricey but the free version works well enough.

I know it's a big advance on the GH2--which I think is pretty amazing for $600 but which I still wouldn't use on a feature even after Upstream Color. But if it has advanced enough, there's a lot to like about the GH4--low cost for high quality crash cams, low weight for aerials and Movi-type work. 4K, etc.

It you were helming a 500K-1M feature that had a tight BTL production budget but also high expectations in footage quality, would the GH4 be your choice?

Which factors are important? How do I get colors as true as possible? Do you guys have any recommendations?

I found that one from EIZO:

• http://www.eizo.com/na/products/foris/fs2434/index.html
• http://www.eizo.com/na/products/flexscan/ev2336w/index.html

Thank you in advance.

http://www.youtube.com/playlist?list=PL-jvR5L4qMbXdIod18v1BqQJf3_fkF74N

The relationship between [Documentary] filmmaker and subject can be similar to that between a benevolent, or perhaps not so benevolent, dictator and his subjects. What limits should be voluntarily adopted to safeguard the dignity and rights of the subject?

from Bill Nichols, "What to Do About Documentary Distortion? Toward a Code of Ethics" http://www.documentary.org/content/what-do-about-documentary-distortion-toward-code-ethics-0

I have done the best I can do put together a truthful and factual post. I am constantly finding myself explaining my decision why I don't use apple products and often my explanation end up being helpful for the people who hear it in making hardware decisions.

If you find anything inaccurate in this post please let me know and I will correct it. Otherwise take it for what it is, opinion. You may disagree with me and if you do I welcome a discussion on the matter

http://www.wix.com/arturodebernardi/photos#

As it is stated there: "Planet of Babel" is a story of the Greatest Recession told by ordinary people (not talking heads or experts) from various countries. We explore the impact of the global economic collapse on families and individuals who are totally unfamiliar yet very connected to each other. The world of global economy might have been flat as T. Friedman once proclaimed, but now people's lives are flattened by the Recession.

"Planet of Babel" provides a panoramic view of the catastrophe from Greece, Italy, Spain in Europe to Argentina and Mexico in Latin America, Pakistan and China in Asia, Ethiopia in Africa and many more countries all the way to the United States of America as the home-place of the new Tower of Babel."

So after some extensive discussions we are getting closer to the production stage. Me and my assistant (Nikon d800 and hacked gh2) will be traveling around Europe (and hopefully Asia and America too) starting next week. I wonder if broader masses of the personal-view inhabitants might want to take part in the project? It can either be your own story or your footage/ideas/contacts that you contribute to the project (we have a budget to compensate for the good stuff. not enough to make a living, but still). Meanwhile with Vitaly's help I'm trying to start a new discussion board based on the wiki engine so that those who are interested can communicate more easily and productively.