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Editing in 3D

Df-04531_SFWAt Oasis Imagery in Hollywood, Calif., Chief Visionary Officer Scot Barbour has created the setup for the offline and finishing of the Russian 3D film Napoleon. The editor chose Avid Media Composer Nitris DX as his tool, and Barbour reports that he has set two workstations up connected to a Unity.

“There are a few choices to editing 3D,” Barbour explains. “You can cut the project with [Apple] Final Cut Pro (FCP) or Avid. One method is to use the codec CineForm, which is a great workflow when the editor wants to take it home. But you start in CineForm, you have to finish in the CineForm Neo3D codec.” Barbour likes to set up the system so that in the Avid or FCP system monitor the editor has three views: the left eye, the right eye and the combined image. “In the editing application, instead of one picture, you have three pictures to choose from,” he says.

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Shooting Polar Bears on Arctic Ice, in 3D, with a Thin 2D Crew

ShootingIn3D_IMG_0201SFWWhen planning to shoot a 3D documentary on polar bears in the Canadian Arctic, Filmmaker Adam Ravetch, an Arctic wildlife doc veteran, needed a rig that was capable of vertical and horizontal configurations. He used a prototype of Element Technica’s mid-sized Pulsar 3D rig coupled with Sony P1 HD cameras. “With the Pulsar we could configure the cameras side by side, or one atop the other in the beamsplitter mode,” reports Ravetch. “This enabled us to keep our weight to a minimum while having multiple 3D shooting options, depending upon how close we were to the subject that day.”

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Top Notch International Locations 2011

TopInt_Singapore_THE-FULLERTON-HOTEL_1-Fullerton-Square_SFWAs international competition intensifies to host the world’s highest-budget features, filmmakers are getting meticulous when it comes to researching the ideal place to shoot their cinematic epics. Furthermore, the ongoing financial challenges of our global economy exacerbate the underlying negotiations for the financial incentives that will best cater to filmmakers’ ambitions. With that in mind, P3 Update collects data on the most popular international filmmaking destinations for 2010.

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Academy Award® Nominated Films Shot with Angenieux Lenses.

Angenieux’s Optimo PL mount zoom lenses were used in the production of two of this year’s Academy Award nominated films. Production of the 35mm film “The Fighter,” nominated for seven Academy Awards, was shot with the Angenieux Optimo 28-76mm lens and the large format digital cinema production of “Winter’s Bone,” nominated for four Academy Awards, was shot with the Optimo 24-290mm lens and the 15-40mm lens.

“We are extremely proud to be associated with some of the industry’s most recognized films,” said Eva Paryzka, Sales Manager, Cinema Products, Thales Angenieux. “The selection of Angenieux lenses by the world’s top cinematographers is a testament to the quality and performance of our lenses.”

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Expert Advice for Scriptwriters

Writer_Michael_ArndtIn a recent panel discussion equipped with an incredible line up of writers including Michael Arndt (Little Miss Sunshine and Toy Story 3), Lena Dunham (Tiny Furniture), Nicole Holofcener (Walking and Talking, Lovely & Amazing and Friends With Money), Billy Ray (Breach, Shattered Glass and State of Play) and moderator Robin Swicord (Memoirs of A Geisha and Little Woman), hot topics were discussed on characters, feedback and ambition.

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North American 3-D Movie Box Office Revenue Nearly Doubles in 2010

Box office revenue generated by three dimensional (3-D) movies in North America nearly doubled in 2010, as more screens were upgraded to 3-D capability and studios delivered more 3-D motion pictures, new IHS Screen Digest research indicates.

North American 3-D movie theater revenue amounted to $2.2 billion in 2010, up 85 percent from $1.2 billion in 2009. The 3-D segment rose to account for 20.6 percent of total North American movie theater box office revenue in 2010, up from 11.0 percent in 2009.

The attached figure presents the IHS Screen Digest historical estimate of North American 3-D box office revenue.

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CineBags 2011 CB-25B Revolution Backpack

 

Los Angeles based bag manufacturer CineBags is proud to introduce our new CB-25B RevolutionBackpack. Designed with the tools of todays camera owner in mind, the new CB-25B Revolution
Backpack securely transports and protects most medium sized HD Cameras as well as the latestDSLR rig with accessories..
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Don Morgan ASC Chooses Schneider for TVLand Series Retired at 35

Schneider Optics announces that Emmy-winning cinematographer Donald A. Morgan ASC has chosen Schneider’s Classic Soft filters for the new TVLand series, Retired at 35, starring George Segal and Jessica Walter.

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PANASONIC ANNOUNCES AVCCAM IMPORTER SOFTWARE ACCELERATING AND STREAMLINING IMPORT OF AVCHD FILES INTO FINAL CUT PRO

Panasonic Solutions Company has introduced AVCCAM Importer software, a QuickTime plug-in that eliminates the need to convert AVCHD files to ProRES422 files before editing in Final Cut Pro.

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Audio in the Post Phase

The entire film and TV industry has been going digital by adopting tools and adding online and mobile platforms. But many companies, such as 5 Alarm Music, Jingle Punks and Syndicate 17, are already there as they take post audio to a whole new level. And with the proliferation of new platforms ─ from iPad and the Internet to mobile phones ─ music copyrights have become more complex.

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