Very interesting.  My little brain is whirring away trying to figure out how they’re doing it…what app, is it a blending mode?   or tonemapping?

Regardless, this video is awesome.

There is yet another chance to catch our short, L’ACCORDATORE. This time we’re an official selection of the Arizona Underground Film Festival , which runs September 18th – 25th, 2010 in Tucson, AZ.

I would love to attend this one, but I’ll actually be out in Los Angeles for Lee Stranahan’s 3D BOOTCAMP on Saturday the 25th, learning to shoot 3D with a dual RED camera rig.

Just finished the second 16 hour day on a music video shoot here in San Francisco.  Lots of green screen, set pieces, and waves of red satin.  I’m finally getting to shoot with our AJA KiPro. This morning I shot with the EX-1 using 35mm Nikon glass on a CineVate adapter.  It was feeding the  1080p video via HD-SDI.  Later on in the afternoon (and into the night), I had it hooked it up to the Canon 7D, acquiring picture via HDMI.  I can’t wait to see the images.

More details later, when I’m sure it’s OK to talk about.

For tickets, schedule, and venue details: www.svfilmfest.org

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.

A well-written, highly detailed article on using the Canon 5D for production for the next installment of Anthony Zuiker’s LEVEL 26.

I don’t think I’ll be able to be there for the screening, as I’ll be at Comic-Con earlier in the week and then I’ll be on my way up to Vancouver, BC, (the center of the sci-fi TV universe) via Portland, OR, for a bit of vacation.

It’s been crazy since I returned to Nyack a couple of weeks ago, so it doesn’t surprise me that I completely forgot to post about our trip to Sin City.  Still, how on earth could I ever forget that we won Best Short Film!  We screened in the first block of Shorts on Saturday afternoon, and on Sunday morning producer George Elias and myself took part in the Filmmaker’s Panel.

The Philly Indie Fest was last weekend, and in a few weeks, we screen out in Los Angeles at LA ShortFest.

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.