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	<title>Filmmaker Magazine &#187; Cinematography</title>
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	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
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		<title>Talking with Michael Di Jiacomo and John Turturro about 1-900-Tonight</title>
		<link>http://filmmakermagazine.com/70011-talking-with-michael-di-jiacomo-and-john-turturro-about-1-900-tonight/</link>
		<comments>http://filmmakermagazine.com/70011-talking-with-michael-di-jiacomo-and-john-turturro-about-1-900-tonight/#comments</comments>
		<pubDate>Fri, 03 May 2013 13:00:57 +0000</pubDate>
		<dc:creator>Lauren Wissot</dc:creator>
				<category><![CDATA[Actors]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[1-900-Tonight]]></category>
		<category><![CDATA[john turturro]]></category>
		<category><![CDATA[Michael Di Jiacomo]]></category>
		<category><![CDATA[Shooting]]></category>
		<category><![CDATA[Somewhere Tonight]]></category>
		<category><![CDATA[Starz]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70011</guid>
		<description><![CDATA[One of the most frustrating things about covering film festivals is making discoveries that few movie lovers will ever see. Filmmaking is an industry after all, and as such, artistry will always play second fiddle to marketability. Even so, I was quite surprised to learn that one of my favorite films from the 2011 edition of the prestigious Karlovy Vary International Film Festival never found U.S. theatrical distribution. Surely someone could have figured a way to sell a John Turturro-starring, NYC-set story about two lost souls on opposite ends of an adult chat line? (Especially considering Turturro last year appeared &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70011-talking-with-michael-di-jiacomo-and-john-turturro-about-1-900-tonight/feed/</wfw:commentRss>
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		<title>The Druid City: Interview with Kristyn Ulanday and Max Esposito</title>
		<link>http://filmmakermagazine.com/69566-the-druid-city-interview-with-kristyn-ulanday-and-max-esposito/</link>
		<comments>http://filmmakermagazine.com/69566-the-druid-city-interview-with-kristyn-ulanday-and-max-esposito/#comments</comments>
		<pubDate>Mon, 29 Apr 2013 14:00:53 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Editors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Canon 5D]]></category>
		<category><![CDATA[Canon 5D Mark 2]]></category>
		<category><![CDATA[FCP]]></category>
		<category><![CDATA[FCPX]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69566</guid>
		<description><![CDATA[Kristyn Ulanday and Max Esposito graduated from the journalism department of Boston University in 2010. They both work commercially as freelance photographers and filmmakers, but in 2011 they also began a collaborative project called Full Frame America to tell the stories they wanted to tell. The first result of that collaboration is a 24-minute documentary, The Druid City, that focuses on the town of Tuscaloosa, Alabama and how the residents have coped after the town was hit by an EF4 tornado in April 2011. &#160; Filmmaker: How did you come to make this movie? Esposito: We both felt like we &#8230;]]></description>
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		<title>Using a Stair Climber for a Crane Shot</title>
		<link>http://filmmakermagazine.com/68951-using-a-stair-climber-for-a-crane-shot/</link>
		<comments>http://filmmakermagazine.com/68951-using-a-stair-climber-for-a-crane-shot/#comments</comments>
		<pubDate>Fri, 19 Apr 2013 13:00:09 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Production]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68951</guid>
		<description><![CDATA[Sometimes a piece of everyday equipment can be used for an unusual purpose. While shooting a recent music video for the band Run 8 Rider, director Sean Meehan noticed a stair climber at the location and wondered if it couldn’t be used to create some kind of crane shot. An additional twist is that the shot would consist of three sequences shot at different times in the shooting day and be spliced together. Sean explains how the shot was made: We walked in, I saw this stair climber and my first thought was &#8220;That&#8217;d be really cool to use for &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68951-using-a-stair-climber-for-a-crane-shot/feed/</wfw:commentRss>
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		<title>Blackmagic Puts Some Life – and 4K – into NAB</title>
		<link>http://filmmakermagazine.com/68215-blackmagic-puts-some-life-and-4k-into-nab/</link>
		<comments>http://filmmakermagazine.com/68215-blackmagic-puts-some-life-and-4k-into-nab/#comments</comments>
		<pubDate>Tue, 09 Apr 2013 13:57:11 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Blackmagic Cinema Camera]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68215</guid>
		<description><![CDATA[When it comes to cameras, this year’s NAB was looking to be a consolidation year, rather than one of great innovation. Sony had only recently begun shipping their F5 and F55 4K cameras, and had no real camera announcements, though they did announce the prices for their 65” and 55” 4K displays. Canon announced that they were developing a 35mm cine lens and a few other things, but no new cameras. But then along came Blackmagic to disturb the status quo by announcing two new cameras: the Blackmagic Pocket Cinema Camera and the Blackmagic Production Camera 4K. The latter is &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Festival Cinematography Notes – At Berlin, Back to Black</title>
		<link>http://filmmakermagazine.com/67638-festival-cinematography-notes-at-berlin-back-to-black/</link>
		<comments>http://filmmakermagazine.com/67638-festival-cinematography-notes-at-berlin-back-to-black/#comments</comments>
		<pubDate>Wed, 27 Mar 2013 16:51:54 +0000</pubDate>
		<dc:creator>David Leitner</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[cameras]]></category>
		<category><![CDATA[Lighting]]></category>
		<category><![CDATA[Shooting]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67638</guid>
		<description><![CDATA[Back in February, I had the privilege of giving two workshops, “Intro to Large-sensor Digital Cinema Cameras” and “Large-sensor Digital Cinema Cameras in Detail” at the 11th edition of the Berlinale Talent Campus. For those not acquainted with this Berlin Film Festival initiative: the Talent Campus each year invites 300 directors, producers, editors, and cinematographers – “talented emerging filmmakers in the first years of their career” – each with a film or two under their belts. Most seem to be in their late 20s. This year over 4,400 applied from 137 countries. Clearly a hot ticket. The 300 lucky ones &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Sidewalk Traffic: Interview with D.P. Dave Kruta</title>
		<link>http://filmmakermagazine.com/67429-sidewalk-traffic-interview-with-dp-dave-kruta/</link>
		<comments>http://filmmakermagazine.com/67429-sidewalk-traffic-interview-with-dp-dave-kruta/#comments</comments>
		<pubDate>Mon, 25 Mar 2013 14:00:55 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Dave Kruta]]></category>
		<category><![CDATA[Sidewalk Traffic]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67429</guid>
		<description><![CDATA[The last time we spoke to David Kruta [DP David Kruta on Shooting the Movie Concussion], he’d just finished DP’ing the independent movie Concussion, which was directed by Stacie Passon. Concussion went on to become an official selection at the 2013 Sundance Film Festival and has secured a distribution deal with The Weinstein Company&#8217;s TWC_RADiUS division. Kruta recently talked to us about his latest project, Sidewalk Traffic. Principal photography just ended, and the movie will probably be completed by the end of the year. Filmmaker: What is Sidewalk Traffic? Kruta: Sidewalk Traffic is Anthony Fisher’s first feature film; he&#8217;s a &#8230;]]></description>
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		<title>@SXSW: Digital Bolex and New Beyond the Bolex Documentary</title>
		<link>http://filmmakermagazine.com/67018-sxsw-digital-bolex-and-new-beyond-the-bolex-documentary/</link>
		<comments>http://filmmakermagazine.com/67018-sxsw-digital-bolex-and-new-beyond-the-bolex-documentary/#comments</comments>
		<pubDate>Sat, 16 Mar 2013 18:33:25 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaker Videos]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Alyssa Bolsey]]></category>
		<category><![CDATA[Bolex]]></category>
		<category><![CDATA[Digital Bolex]]></category>
		<category><![CDATA[Joe Rubinstein]]></category>
		<category><![CDATA[Kickstarter]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67018</guid>
		<description><![CDATA[Sharing a booth at the SXSW trade show were the teams behind the forthcoming Digital Bolex RAW-file camera and Beyond the Bolex, a new documentary film by Alyssa Bolsey, whose great grandfather invented the celebrated and influential camera. I stopped by the booth on the last day of the conference, and spoke very briefly to one of its inventors, Joe Rubinstein, above. In my video, Rubinstein says he expects the release of the camera soon. Red Shark News has reproduced a post from the Digital Bolex forum by member James M, who also stopped by the booth and provides more &#8230;]]></description>
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		<title>Celebrating the Obsolete: Films on Film at SXSW</title>
		<link>http://filmmakermagazine.com/67006-celebrating-the-obsolete-films-on-film-at-sxsw/</link>
		<comments>http://filmmakermagazine.com/67006-celebrating-the-obsolete-films-on-film-at-sxsw/#comments</comments>
		<pubDate>Fri, 15 Mar 2013 21:09:31 +0000</pubDate>
		<dc:creator>Sarah Salovaara</dc:creator>
				<category><![CDATA[Around Austin]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[SXSW]]></category>
		<category><![CDATA[andrew bujalski]]></category>
		<category><![CDATA[Computer Chess]]></category>
		<category><![CDATA[Josh Johnson]]></category>
		<category><![CDATA[Rewind This!]]></category>
		<category><![CDATA[SXSW 2013]]></category>
		<category><![CDATA[VHS]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67006</guid>
		<description><![CDATA[It’s no secret that the independent film industry has been irrevocably altered by the modern financing and distribution landscapes. With new technologies rendering traditional media — both film itself and releasing platforms — obsolete, filmmakers have managed to weave the presence of such nostalgias and tropes into their work. In Josh Johnson’s Rewind This!, which had its world premiere at SXSW, the effects of the home video revolution are dissected by collectors, fanatics, programmers, and critics alike. Andrew Bujalski’s Computer Chess, which screened at SXSW following its world premiere at Sundance, is a comedic period piece in which programmers and &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Kodak Cinema Tools, a Free App for Filmmakers</title>
		<link>http://filmmakermagazine.com/66734-kodak-cinema-tools-a-free-app-for-filmmakers/</link>
		<comments>http://filmmakermagazine.com/66734-kodak-cinema-tools-a-free-app-for-filmmakers/#comments</comments>
		<pubDate>Mon, 11 Mar 2013 15:32:20 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Columns]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[app]]></category>
		<category><![CDATA[Kodak]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66734</guid>
		<description><![CDATA[Kodak has updated their free iOS app Cinema Tools to add a simple Aspect Ratio feature. Using a default picture, or one loaded from your photo library, you can choose from 2-perf, 3-perf, 4-perf and 16mm motion picture film formats and then choose between 2.35:1, 1.85:1, 1.18:1 (16&#215;9) or 1.33:1 (4&#215;3) aspect ratios. The image is then cropped to display the results. Unfortunately, you can’t choose a focal length for the imaginary lens, so the tool is very limited. (For a better web-based example that covers digital cameras, check out AbelCine’s Field of View Comparator.) While several of the tools &#8230;]]></description>
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		<title>Five Questions with Touba Director Elizabeth Chai Vasarhelyi</title>
		<link>http://filmmakermagazine.com/66467-five-questions-with-touba-director-elizabeth-chai-vasarhelyi/</link>
		<comments>http://filmmakermagazine.com/66467-five-questions-with-touba-director-elizabeth-chai-vasarhelyi/#comments</comments>
		<pubDate>Fri, 08 Mar 2013 18:42:24 +0000</pubDate>
		<dc:creator>Vadim Rizov</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[SXSW]]></category>
		<category><![CDATA[SXSW Features]]></category>
		<category><![CDATA[Elizabeth Chai Vasarhelyi]]></category>
		<category><![CDATA[Shooting]]></category>
		<category><![CDATA[SXSW 2013]]></category>
		<category><![CDATA[SXSW Film Festival]]></category>
		<category><![CDATA[Touba]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66467</guid>
		<description><![CDATA[Elizabeth Chai Vasarhelyi&#8217;s Touba was seven years in the making: five of shooting, two of post-production. It grew out of her second documentary — 2008&#8242;s Youssou N&#8217;Dour: I Bring What I Love — which followed the legendary Senegalese musician before and after 2004&#8242;s Egypt album, whose religious themes raised the ire of the country&#8217;s religious argument. Her newest film began life on vibrantly grainy 16mm, following an annual Senegal trek undertaken by hundreds to the city of Touba to visit the home of Sheikh Amadou Bamba, founder of the Mouride Brotherhood. Like her last film, Vasarhelyi&#8217;s newest focuses on Islam &#8230;]]></description>
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		<title>Sony Responds to RED, Blackmagic Fix and Avid Continues to Decline</title>
		<link>http://filmmakermagazine.com/66162-sony-responds-to-red-blackmagic-fix-and-avid-continues-to-decline/</link>
		<comments>http://filmmakermagazine.com/66162-sony-responds-to-red-blackmagic-fix-and-avid-continues-to-decline/#comments</comments>
		<pubDate>Mon, 04 Mar 2013 14:16:34 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Adobe]]></category>
		<category><![CDATA[Avid]]></category>
		<category><![CDATA[Blackmagic Cinema Camera]]></category>
		<category><![CDATA[FCP]]></category>
		<category><![CDATA[Red]]></category>
		<category><![CDATA[Sony]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66162</guid>
		<description><![CDATA[Two weeks ago RED announced that they were suing Sony for patent infringement for technology used in Sony’s PMW-F5, PMW-F55, and F65 cameras. Last week Sony posted a response on their Pro video website. First noting that the F65 has been commercially available for over a year, and that the F5/F55 were announced in October, they go on to say: Sony has now had an opportunity to study Red&#8217;s complaint and the asserted patents, and categorically denies Red&#8217;s allegations. Sony intends to defend itself vigorously in the Red lawsuit. Sony looks forward to prevailing in court, thus vindicating the Sony &#8230;]]></description>
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		<slash:comments>4</slash:comments>
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		<title>Oscar-Nominated Cinematographers Discuss Filmmaking</title>
		<link>http://filmmakermagazine.com/65700-oscar-nominated-cinematographers-discuss-filmmaking/</link>
		<comments>http://filmmakermagazine.com/65700-oscar-nominated-cinematographers-discuss-filmmaking/#comments</comments>
		<pubDate>Mon, 25 Feb 2013 14:00:18 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Ben Richardson]]></category>
		<category><![CDATA[cameras]]></category>
		<category><![CDATA[Claudio Miranda]]></category>
		<category><![CDATA[Darius Khondji]]></category>
		<category><![CDATA[Greg Fraser]]></category>
		<category><![CDATA[Janusz Kaminski]]></category>
		<category><![CDATA[Lighting]]></category>
		<category><![CDATA[Robert Richardson]]></category>
		<category><![CDATA[Rodriego Prieto]]></category>
		<category><![CDATA[Roger Deakins]]></category>
		<category><![CDATA[Seamus McGarvey]]></category>
		<category><![CDATA[Shooting]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65700</guid>
		<description><![CDATA[The problem with the Oscars is that you spend three hours watching the show and at the end you haven&#8217;t learned anything from the winners about how they did what they did. In celebration of the event, and with congratulations to the winners, here’s some interviews with the nominees for Best Cinematography. One of the interesting themes you&#8217;ll note in these articles is that the switch from film to digital remains a hot topic: Anna Karenina &#124; Seamus McGarvey “Anna Karenina was filmed with anamorphic lenses, which require slightly more light, and some of the lighting used is older in style, &#8230;]]></description>
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		<title>Karaoke Girl&#8217;s Visra Vichit-Vadakan and Sandi Sissel</title>
		<link>http://filmmakermagazine.com/65316-karaoke-girls-visra-vichit-vadakan-and-sandi-sissel/</link>
		<comments>http://filmmakermagazine.com/65316-karaoke-girls-visra-vichit-vadakan-and-sandi-sissel/#comments</comments>
		<pubDate>Fri, 15 Feb 2013 21:16:37 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Hybrid]]></category>
		<category><![CDATA[IFP Narrative Lab]]></category>
		<category><![CDATA[Karaoke Girl]]></category>
		<category><![CDATA[Sandi Sissel]]></category>
		<category><![CDATA[Visra Vichit-Vadakan]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65316</guid>
		<description><![CDATA[Receiving its world premiere in the 2013 Rotterdam Film Festival&#8217;s Tiger Awards Competition, San Francisco-based Visra Vichit-Vadakan&#8217;s Karaoke Girl is an evocative character study of a Bangkok working girl, a singer in a nighttime karaoke bar for whom memories of her rural past and dreams of romantic fulfillment form a pulsing lifeline away from an emotionally depleting world. A hybrid documentary/fiction film, Karaoke Girl stars newcomer Sa Sittijun as a character largely based on herself. The documentary sections of the film follow her back to her real hometown, and feature interviews with her real family, while the &#8220;fiction&#8221; sequences are &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Canon C100 Does 4:2:2 with the Ninja Video Recorder</title>
		<link>http://filmmakermagazine.com/64918-canon-c100-does-422-with-the-ninja-video-recorder/</link>
		<comments>http://filmmakermagazine.com/64918-canon-c100-does-422-with-the-ninja-video-recorder/#comments</comments>
		<pubDate>Thu, 07 Feb 2013 15:21:37 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Canon C100]]></category>
		<category><![CDATA[Ninja]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64918</guid>
		<description><![CDATA[In yesterday’s article “Canon C100 or C300: Which One to Get?” I wrote about the ability to attach an external recorder to the C100 and record 4:2:2 video, but added: Is 4:2:2 out of the C100 exactly the same as 4:2:2 from the C300? That’s a question I haven’t yet seen a definitive answer to, though a lot of people are assuming it is, or it’s very close. Today, I’m at least a step closer to answering that question. Paul Antico of Anticipate Media, and host of the NeedCreative Podcast, sent me some sample frames taken from Atomos Ninja 2 &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/64918-canon-c100-does-422-with-the-ninja-video-recorder/feed/</wfw:commentRss>
		<slash:comments>6</slash:comments>
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		<item>
		<title>Canon C100 or C300: Which One to Get?</title>
		<link>http://filmmakermagazine.com/64847-canon-c100-or-c300-which-one-to-get/</link>
		<comments>http://filmmakermagazine.com/64847-canon-c100-or-c300-which-one-to-get/#comments</comments>
		<pubDate>Wed, 06 Feb 2013 21:56:13 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Canon C100]]></category>
		<category><![CDATA[Canon C300]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64847</guid>
		<description><![CDATA[For many, the release of the Canon C100 has prompted one question: Which one do I get? Or, in other words, is the C300 really worth $9,500 more than the C100? These cameras have the same sensor and very similar bodies, and Canon even includes C-Log on both, but there are a lot of differences. Perhaps the most notable: C300 records internally 4:2:2 MPEG-2, while the C100 records 4:2:0 AVCHD 60p recording (at 720p) is available on the C300 but not the C100 C300 has HD-SDI &#38; Genlock, C100 just has HDMI C100 is smaller There are other differences: The &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/64847-canon-c100-or-c300-which-one-to-get/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Festival Cinematography Notes – At Sundance, Alexa Rising</title>
		<link>http://filmmakermagazine.com/64666-festival-cinematography-notes-at-sundance-alexa-rising/</link>
		<comments>http://filmmakermagazine.com/64666-festival-cinematography-notes-at-sundance-alexa-rising/#comments</comments>
		<pubDate>Tue, 05 Feb 2013 23:37:08 +0000</pubDate>
		<dc:creator>David Leitner</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[ARRI Alexa]]></category>
		<category><![CDATA[cameras]]></category>
		<category><![CDATA[Canon 5D]]></category>
		<category><![CDATA[Canon 7D]]></category>
		<category><![CDATA[Kodak]]></category>
		<category><![CDATA[Panasonic]]></category>
		<category><![CDATA[Panasonic GH2]]></category>
		<category><![CDATA[RED Epic]]></category>
		<category><![CDATA[Sundance Film Festival]]></category>
		<category><![CDATA[Sundance Film Festival 2013]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64666</guid>
		<description><![CDATA[The day Sundance began, Daily Variety’s lead article kicked off with: “In this brave new indie world of VOD, shifting release windows, RED cameras [italics mine] and social media marketing…” I was struck by how little any of this has to do with indie filmmaking alone. As a token of digital revolution, RED cameras are so five years ago. It’s hard to storm the ramparts when last year’s #5 and #7 box office hits were shot with RED Epics (The Hobbit: An Unexpected Journey, The Amazing Spider-Man). In fact, not only were last year&#8217;s #1 and #4 hits filmed with &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/64666-festival-cinematography-notes-at-sundance-alexa-rising/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Using a Home Projector for Rear Projection</title>
		<link>http://filmmakermagazine.com/64570-using-a-home-projector-for-rear-projection/</link>
		<comments>http://filmmakermagazine.com/64570-using-a-home-projector-for-rear-projection/#comments</comments>
		<pubDate>Mon, 04 Feb 2013 16:34:29 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Canon C300]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64570</guid>
		<description><![CDATA[Rear projection, a technique that involves projecting a background image onto a screen behind your actors, is a technique that was popular in the 40s and 50s, particularly for shooting vehicle interiors. It wasn’t perfect; the image can seem washed out compared to the foreground actors making it easy to spot the technique, and rear projection requires a fairly large studio space. Rear projection has been mostly replaced, first by front projection, and by blue- and green-screen techniques. Even low-budget NLEs now include very good green-screen filters that produce excellent results; though it’s your technique when shooting the footage that &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/64570-using-a-home-projector-for-rear-projection/feed/</wfw:commentRss>
		<slash:comments>5</slash:comments>
		</item>
		<item>
		<title>Seeing RED at Sundance</title>
		<link>http://filmmakermagazine.com/64353-seeing-red-at-sundance/</link>
		<comments>http://filmmakermagazine.com/64353-seeing-red-at-sundance/#comments</comments>
		<pubDate>Wed, 30 Jan 2013 05:15:52 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Adobe]]></category>
		<category><![CDATA[RED camera]]></category>
		<category><![CDATA[Sundance Film Festival 2013]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64353</guid>
		<description><![CDATA[If you’re shooting a full-length feature, the cost of purchasing, developing and transferring your film to digital can easily be more than the cost of a digital camera. (If your shooting ratio is 4:1, you’d spend over $10,000 for 16mm and $20,000 for 35mm.) And in some cases more than the total budget of your film. It’s no wonder then, that digital cameras have become dominant in indie film production, and that RED, with its head start as an “affordable” digital cinema camera, has become dominant at Sundance. Ted Schilowitz, co-founder of RED Digital Cinema, noted that “there are so &#8230;]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Getting the Shot: Scenes from the Making of the Music Video, “Ready or Not”</title>
		<link>http://filmmakermagazine.com/63515-getting-the-shot-scenes-from-the-making-of-the-music-video-ready-or-not/</link>
		<comments>http://filmmakermagazine.com/63515-getting-the-shot-scenes-from-the-making-of-the-music-video-ready-or-not/#comments</comments>
		<pubDate>Mon, 21 Jan 2013 20:41:36 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Canon C300]]></category>
		<category><![CDATA[music video]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=63515</guid>
		<description><![CDATA[In a previous article (An Afternoon Music Video Shoot with the Canon C300) I documented a day shooting scenes for a new music video for the band Air Traffic Controller. The completed video, as well as a making-of piece have now been posted. Director/DP/Editor Rick Macomber explained that he decided to do this video after seeing Dave Munro from ATC perform the song acoustically. Said Rick “I was listening to the lyrics and I knew how close the song was to Dave&#8217;s personal life and it touched me. So when he came to me and asked which song I would &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Shooting the Short BART: an Interview with the Director and DP</title>
		<link>http://filmmakermagazine.com/62639-shooting-the-short-bart-an-interview-with-the-director-and-dp/</link>
		<comments>http://filmmakermagazine.com/62639-shooting-the-short-bart-an-interview-with-the-director-and-dp/#comments</comments>
		<pubDate>Tue, 15 Jan 2013 13:44:30 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[cameras]]></category>
		<category><![CDATA[Canon C100]]></category>
		<category><![CDATA[Lighting]]></category>
		<category><![CDATA[Pre-Production]]></category>
		<category><![CDATA[Shooting]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=62639</guid>
		<description><![CDATA[When L.A.-based director Rich Landes was offered the chance to shoot a short narrative piece for Canon he jumped at the chance. Landes has extensive experience as a commercial director, but this was a chance to direct a narrative based on his own idea, and with few restrictions from the “client.” But first he had to come up with an idea and treatment in two days. Then he had to fly to New York and cast, find locations, and hire a DP in four days, and then shoot the whole thing over the course of two days. None of this &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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