HD Magazine – HD Mag – How Apples iPad Streamlines Work On Set.
I’ve had many people ask me if I’m going to buy and iPad. So far I haven’t seen any good reason to spend the money because I always carry both an iPhone and my 15″ MacBook Pro.
However, this is a great description of how useful an iPad can be on-set, and how it can be used to help manage the TBs of data generated when shooting with a file-based digital HD camera.
Being a color geek myself, I wanted to give a shout-out to our friend Patrick Inhofer of FINI.tv He has a new website devoted to educating people about the art and science of color grading: The Tao of Color
Shooting Dark Prophecy on the Canon 5D – Level 26.
A well-written, highly detailed article on using the Canon 5D for production for the next installment of Anthony Zuiker’s LEVEL 26.
ProVideo Coalition.com: Adobe Beyond Adobe by Adobe | Vendor Blog.
This post has a very easy to understand explanation on the differences between 4:4:4, 4:2:2, and 4:2:0 color sub-sampling in video.
It also points out that the Canon HD-DSLR cameras shoot in a compressed MPEG-2 format with a color space of 4:2:0, which doesn’t necessarily mean that you get “more color” if you convert the clips to 4:2:2 or 4:4:4.
One of the best reasons I can see for converting or transcoding the H264 encoded Canon clips to something like ProRes422 in software like Grinder, is that the resulting uncompressed file (or more correctly less compressed) file will give you more wiggle room to push pixels around in compositing and/or color grading.