Bay Area Filmmakers Podcast » Filmmaking

5d mk II Firmware details at DP review

ThomasKoch — Wed, 03 Mar 2010 05:21:42 +0000

DP review has a press release from Canon indicating new features of 5d mkII firmware. http://www.dpreview.com/news/1003/10030201canoneos5dmkiifirmware.asp

London, 2nd March 2010 – Canon today pre-announces the release of a firmware update for the multiple award-winning EOS 5D Mark II. Originally announced in late 2009, the update adds 24* and 25 frames per second (fps) recording to the camera’s EOS MOVIE video function, and will be available as a free download from the middle of March.

Developed following feedback from photographers and cinematographers, Firmware 2.0.3 further enhances the EOS 5D Mark II’s excellent video performance. The addition of new frame rates expands the camera’s video potential, providing filmmakers with the ability to shoot 1080p Full HD footage at 24fps (actual 23.976fps) – the optimum frame rate for cinematic video. 25fps support at both 1920×1080 and 640×480 resolutions will allow users to film at the frame rate required for the PAL broadcast standard, while the new firmware will also change the 30fps option to the NTSC video standard of 29.97fps.

A new histogram display for shooting movies in manual exposure, shutter-priority (Tv) and aperture-priority (Av) have been added, and exposure modes will also be available in movie mode. Improved audio functionality will allow users to set sound record levels manually using a sound-level meter displayed on the LCD screen. The audio sampling frequency has also been increased from 44.1KHz to 48KHz, providing the optimum audio signal typically required for professional or broadcast material.

We finally have all the features of the Magic Lantern Hack with a fully supported firmware. This will be installed on all my 5D’s as soon as it is available. Next we need to talk about headphones…

RED DAY February 13th

ThomasKoch — Fri, 29 Jan 2010 19:08:13 +0000

RED Digital Cinema held a RED DAY on February 13th of 2010. I was in one of three sessions that day. I attended not as a RED ONE owner, but as someone very interested in the new cameras, specifically the Scarlet S35 model, as well as a fan of the RED ONE camera. It was from this perspective that I actually still wonder what the point of RED DAY was.

The session began with an introduction by Jim Jannard and introduced the last RED reel shown through a new Sony 4K projector. This footage was amazing on the large screen. High production value shots, created by very talented people. They then showed the new MX Reel. This footage was a lot less spectacular, but the shots they showed blew away the image quality of the original reel. The new MX sensor is going to give the Canon dSLR’s a run for their money in terms of low light. Of course, the RAW and image quality are 100 times better already.

Then Michael Cioni of Light Iron Digital gave an overview of the latest build of REDCine-X. Again, this is awesome. Simply amazing the things you can do with REDCine-X, especially if you have a RED ROCKET Card. I’ve used Redcine a fair amount in the past and this version is so much more intuitive and user friendly. You can also set looks now, and put those in the camera. Something that was supposed to be in the camera long time ago now is. Bravo!

But I knew that already. I knew the Mysterium-X sensor was awesome. I knew REDCINE-X was awesome. What I want to know is, when can I get a Scarlet? When? When can I buy this?

The answer to that is sadly still unclear.

What is clear though is the time line is not known, even by RED.
The first thing that will happen is that the Tattoo program will start “in a couple weeks” and there will only be 20 Tattoo cameras made.
From there, Stage 2 through 4 will happen.

Then, only AFTER stage 2 through 4, scarlet Fixed 2/3″ will ship to RED ONE owners. I’m thinking this is in the October time frame. Then they will be released to Non-RED ONE owners, my guess is January of 2011.

Then we’ll get the Scarlet s35, which will probably be around March or April of 2011.

Those are just my guesses based upon what has happened with RED. I had my deposit in on a RED ONE in May of 2008 and when my number came up, it was the October 2008 announcement that Scarlet would change into a whole system including a super35 based model and they would be out in June of 2009. So I canceled my RED ONE order. Then come the October 2009! announcement that not only are the cameras not anywhere close to being ready, if you didn’t have a RED ONE you would not get nearly the benefits.

Then, at RED DAY Februrary 2010, they didn’t even have a prototype s35 Scarlet and that it wouldn’t be released until well after every other camera was out, it’s like a kick to the teeth over and over again. I should have just jumped on the RED ONE when I had the change.

An excellent thing happened. I bought a RED ONE for my work. However, it will not get all the goodies when I hand it back to RED for the Epic. But I couldn’t sit back and not shoot on the RED ONE for a lot of our projects. HD is just not enough anymore.

Nominate EXIT: Stage Left for a Streamy

bayareafilm — Fri, 18 Dec 2009 04:30:01 +0000

It’s awards time! For the second year, NewTeeVee and Tubefilter are sponsoring the Streamy Awards. This is the year of EXIT: Stage Left. There are several categories that I think would fit very well with the streamy awards. Take a moment to watch all of season 1:

To vote please visit the Public Submissions Page at http://www.streamys.org/submit/public-submissions-people/

Might I suggest a few:

Best Cinematography in a Web Series
Thomas A. Koch

Best Directing in a Comedy Web Series
Sinohui Hinojosa

Best Male Actor in a Comedy in a Web Series
Michael Navarra

Best Male Actor in a Comedy in a Web Series
Steve Budd

Best Male Actor in a Comedy in a Web Series
Matthew Bridges

Best Female Actor in a Comedy in a Web Series
Annamarie MacLeod

Best Female Actor in a Comedy in a Web Series
Giovannie Espiritu

Best Female Actor in a Comedy in a Web Series
Terri J. Freeman

Best Female Actor in a Comedy in a Web Series
Ilea Matthews

Best Original Music in a Web Series
Joel H Hinojosa

Best Editing in a Web Series
Joel H Hinojosa

Best Writing in a Web Series
Sinohui Hinojosa, David Hokenga

Best Guest Star in a Web Series
Derrick O’Connor

Canon 7D blog from Amy Puzia

bayareafilm — Sat, 21 Nov 2009 02:59:03 +0000

This blog is reposted from http://www.amypuzia.com/blog

At first after hearing that the 7D is official I was disappointed. I recently bought a 5D Mark II and I felt Canon betrayed us by releasing a cheaper, better camera. The 7D has some great features at a good price. The body only is $1699. It has a full frame viewer, 18 megapixels, shoots 8 frames per second and the video now has the option of 24 fps at 1080p. This product is an upgrade for the 50D users and covers some needed middle ground between the 50D and the 5D cameras. You still have the 1.6 crop factor like the 50D but the 2 processors get’s you the 8 frames per second. This is ideal for someone who shoots sports. The megapixels on the 7D is an upgrade from the 50D’s 15 MP to the 7D’s 18 MP. There is also a new feature on the 7D the flash is also a wireless control. You can slave up to 3 groups of 4 flashes without an external wireless control. For comprehensive specs I like to visit www.dpreview.com. The 5D Mark II is still a great camera but I’m a little jealous of the new 7D.

The 7D may also give Canon a leg up on Nikon. Both cameras are in the same price range but compared to the Nikon D300s Canon has it where is counts. Canon beats Nikon’s 12 MP. It also shoots video at 1080p instead of Nikon’s 720p.

It’s a great combination of the 5D Mark II and the 50D. Now all I can do is continue to request a 24 fps video firmware upgrade for the Mark II for Canon.

EDIT: Canon has announced that they will release a firmware in 2010 to add 24p to the camera. This is what happens when there is a popular uprising and we demand change.

93 studios – 10 things web series actors should know

bayareafilm — Sun, 01 Nov 2009 20:48:57 +0000

Just read the great blog at 93 studios about web series acting.

Great article.
http://ninetythrees.com/screenings/10-things-web-series-actors-should-know/

Is Dr. Horrible a web series?

bayareafilm — Tue, 29 Sep 2009 04:19:21 +0000

Okay, so up until 10 minutes ago I hadn’t seen “Dr. Horrible’s Sing-Along Blog.” As a web series producer, I suspect that is some sort of faux pas seeing as, next to “The Guild” it’s the most recognizable web series.

After seeing it, straight through on Hulu, I have to wonder; is it really a web series? I mean, come on. 3 episodes! 3 Acts! 42 minutes! THAT IS A SINGLE EPISODE OF A TV SHOW. That’s not a series. Just because a character looks into a webcam and pines about their life, does not make it a “web series.” Sure, that technique unfortunately is part of most successful ones, it’s not the defining characteristic. The defining characteristic, should be that it’s a series. A series on the web. Three, a series does not make, to paraphrase Yoda.

As someone who has produced 13 episodes of a web series, I think I could spot that little inconsistency. As I write episodes of Beer15, I’m writing episodes. individual story lines that develop in 7 minutes Beginning-middle-end. Sure, when put into 3’s they just happen to make a 22 minutes story, and YES, the end result is a feature length story with a beginning middle and end. But THREE? Really?

What really is it? An Experiment? A short? Half a feature? Is it really anything other than a story that Joss Whedon decided to make. He even calls it what it is, “ONE WEEK ONLY! AN INTERNET MINISERIES EVENT!” on his own website. I suppose, if a regular web series is 90 minutes spread over 7 to 12 episodes, then 3 would indeed be a “mini-series”.

Why then, did it win all those Streamy Awards? Shouldn’t it have competed in the mini-series category and not the full fledged series category? Looking to the future of the web series, I sure hope recognition comes for all those people out there making full fledged web series, not just short 3-episode wannabees.

By the way. If you haven’t seen “Dr Horrible,” you should. It’s freaking awesome. It’s so well done, it puts a lot of web video to shame, and honestly just solidifies how completely cool NPH really is.

Canon Releases 7D with 23.98 24P video

bayareafilm — Sun, 06 Sep 2009 00:44:26 +0000

Argh. Seriously? WTF. As an owner of a Canon 5DmkII I have been stoked to shoot awesome 21 Megapixel stills and decent 30P video. But as a filmmaker, I NEED 24P. Canon just delivered that to another camera. So I’m stuck. This video puts it nicely in perspective:

I contacted Canon Tech Support and was told basically that there we no plans to introduce 24P to the 5DmkII. That sucks and sucks big time.

Please Canon, release a firmware for the 5DmkII with 24P.

Beer 15, the Web Series seeks advertising sponsor

bayareafilm — Sun, 16 Aug 2009 21:47:41 +0000

WHAT WE NEED:
Beer 15, the new web series from Webasodic Productions in association with Emerging Artist Productions is currently seeking fiscal sponsorship for the 13 episode season. The story features the power of beer to bring people together and then humiliate them. Our perfect sponsor is a brewery or beer company looking to reach the college-aged market. To discuss the sponsorship opportunity please contact us at info@beer15.com

BEER FIFTEEN – Internet Series Synopsis

Beer Fifteen is the story of Mike Jacobus and his best friend Ty Bodeman. Mike is a Junior in college at San Jose Sate University, and rhythm guitar player for the band Beer Fifteen. The band plays comedic songs similar to Spinal Tap, Pat McCurdy, Flight of the Concords, Tenacious D, etc. Ty is his lifelong best friend, roommate, and perennial shenanigans maker. The Beer Fifteen web series is ultimately the story of how Mike meets his girlfriend, Stephanie as told through the hi-jinks of the two campus celebrities. This small scale, “entourage-esque” show is character driven in it’s comedy. The story begins as Mike and the band set up for a late summer barbeque. At the barbeque Mike and Stephanie meet, only to have their first contact result in a mysterious rash. The first few episodes feature Mike, Ty and friends hunting down the source of the rash and clearing Mike’s reputation.

Throughout the rest of the series we see Mike’s life as he dates Stephanie and the havoc their relationship has on Ty and the band.

Beer Fifteen is a college comedy series, much like Todd Phillips’ “Old School” and “Road Trip.”

BEER FIFTEEN – The Producers

Beer Fifteen is produced by Webasodic Productions in association with Emerging Artists Productions, producers of the hit web series, “EXIT: Stage Left.”

Thomas A. Koch – Producer, Writer, Director, Series Creator – Webasodic Productions.
Sinohui Hinojosa – Producer, Emerging Artist Productions
Bernard Fok – Producer, Emerging Artist Productions

Tilzy.TV discusses live web video & EXIT: Stage Left

bayareafilm — Tue, 11 Aug 2009 21:06:19 +0000

Tilzy.tv, a website dedicated to web content highlights EXIT: Stage Left in a recent article about Live events on the web.

Sinohui and I discuss the live episode in episode 15 of the Bay Area Filmmakers Podcast.

EXIT: Stage Left Live recap

bayareafilm — Sat, 18 Jul 2009 19:06:07 +0000

July 25th, 2009. On a warm July night, EXIT: Stage Left, a web series featuring the story of an off-Broadway theater company and their struggle to put on a play, streamed live to the world. While many Television shows in the past such as ER, Cheers, and others have done a live episodes, this is the first for a scripted web series.

The biggest question for this blog is “How did we do it?”

The answer to that is, exactly how I do my day job. My day job is Technical Directing and Compressing live webcasts for a fortune 500 company. At the company we use Windows Media as our main live streaming solution, but have been working with Flash and Quicktime for certain events. For “Exit” we knew we wanted to go with Flash to offer the most compatibility. Flash has a huge installed base and works quite well for streaming. Bit for Bit, it’s not the best looking codec to use, but it is cross platform and browser compatible.

We set up a computer running an Intel Quad Core processor, a Digital Rapids capture card and Flash Media Live Encoder. We set up our RMTP stream to a server running Flash Media Server. We originally tested this on an HP AMD64 machine that was a few years old, but it was choking and only allowed 19 or 20 frames per second, which is why we went to a brand new Quad-core system.

Using Flash CS-4, CSS, and HTML I created a simple front end to run the video in. I searched the web and found AJAX chat and implemented it.

That was the down and dirty funcionality of the Streaming Part. We were lucky enough to have my friend Greg set up the encoder and test the stream.

Moving on to the video production side of things, is where we ran into a few problems. We were working with a number of unknowns prior to the actual event. We didn’t have the time or budget to have a day of rehearsal on the 24th as we were hoping to do. So that left us just the 25th to set up test, light, and rehearse. This caused us a lot of pain during the event, which is why we ended up running a bit behind.

I’m used to working with full studio configured cameras, such as the Sony D50 that allows me to control Iris, color balance, and black balance from video village. In this case however we did not have access to a flypack with our limited budget. Instead we went with 3 HVX-200 cameras and a Sony EX-1. The sony was graciously donated to the production from Brett at Prompter People and the additional HVX was from SJSU.

We ran those cameras with S-video cables through monitors, and into a Panasonic MX-70 8 input switcher on the main inputs. A 5th input came from a Mac Pro through an AJA I/O HD via SDI. The playback of the Audio and Video Roll-ins was from a Final Cut Pro Timeline. This is also how we rolled in our countdow.

Audio consisted of a Mackie 16 channel mixer, 8 wireless Sennhieser microphones as well as a few off brand wireless mics. We have a boom op covering one scene where we didn’t have enough microphones to cover everyone.

Throughout the morning and early afternoon, I set up video village while Chris and crew set up all the lighting and the show. Video village set up took longer than originally planned, as we were waiting on some equipment to arrive after it was used. This is also due to the new aspects were were not counting on. The AJA I/O was freshly opened up and drivers downloaded and installed. This was it’s maiden voyage if you will. Set up basically contined all the way up to 6:50 at which point we realized that we needed AT LEAST one rehearsal. Well we didn’t get it. We did however get about 4 scenes into the show 10 minutes before we went live. So, we in all essences didn’t have a single rehearsal for the live show. The live was our rehearsal.

It was crazy. No one really knew when things were happening and the script that I had, wasn’t up to date. Things changed in editing the produced episode to they had to be handled on the fly. We also had problems with our Clear-com, as the wireless wasn’t working and I had only one way communication with 3 of our 4 cameramen. The 4th was flying free out there.

So that’s the basic story of how it happened and the gear we used to do it.