Authors — Michael Murie
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Canon C100 or C300: Which One to Get?
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 & Genlock, C100 just has HDMI C100 is smaller There are other differences: The […]
by Michael Murie on Feb 6, 2013 -
Using a Home Projector for Rear Projection
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 […]
by Michael Murie on Feb 4, 2013 -
Animating the Inanimate: Interview with Charlie Collier
At 20 years of age, Charlie Collier of Zapamation may be a young filmmaker, but he’s already got almost eight years of stop-motion experience behind him. A self-taught animator, he says he was able to get into this partly because of the flexibility he gained from being homeschooled; he was able to incorporate animation into the curriculum. When he finished high school he decided to try his luck as a full-time freelancer. He hopes to attend film school some time in the future when he has built up “a little bit of a portfolio.” Collier has already created animations for clients […]
by Michael Murie on Jan 31, 2013 -
Seeing RED at Sundance
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 […]
by Michael Murie on Jan 30, 2013 -
Tempo: A budget VFX lesson from Seth Worley and Red Giant
Red Giant is known for their effects software, including Magic Bullet Looks, Colorista and Trapcode Particular. But they are also developing a name for themselves with a series of short films that are both entertaining and great demos of how-to-do effects on a budget. It probably doesn’t hurt that they also demonstrate how to use their software too! Director Seth Worley and Aharon Rabinowitz, director of Communities at Red Giant, spoke at a recent meeting of the Boston Creative Pro Users Group about the production of their latest short, Tempo. Worley first came to Red Giant’s attention when the company […]
by Michael Murie on Jan 28, 2013 -
Fringe Issue in Older Canon C300’s Solved?
Since its release, the Canon C300 has received a lot of praise for its image quality and low-light sensitivity. But some users have reported problems with color fringing: incorrectly colored pixels that appear on in-focus vertical or horizontal borders adjacent to a blown out – or nearly blown out – background. This most commonly appears on man-made objects like railings and window edges, though it can also be seen in specular highlights on ocean waves. The Canon C300 is not unique in suffering problems like this. By all accounts the Sony NEX-FS100 exhibits far stronger fringing. Any single-sensor camera is […]
by Michael Murie on Jan 24, 2013 -
Getting the Shot: Scenes from the Making of the Music Video, “Ready or Not”
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’s personal life and it touched me. So when he came to me and asked which song I would […]
by Michael Murie on Jan 21, 2013 -
Shooting the Short BART: an Interview with the Director and DP
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 […]
by Michael Murie on Jan 15, 2013 -
4K comes to CES and Canon announces new Cine Primes
The Consumer Electronics Show (CES), which ran January 7-10 in Las Vegas, is not the place to see the latest pro gear, but it is a good place to see the general direction of the electronics entertainment industry. Just a couple of years ago 3D was the rage, with manufacturers showing off their 3D displays and headsets. By all reports, 3D wasn’t so hot this year. Instead, we saw the first salvos in the 4K battle to convince consumers to part with their money for another high-end display. But when it comes to televisions, 2013 may be seen as the […]
by Michael Murie on Jan 14, 2013 -
Behind The Scenes on BART: a Narrative Short Shot with the Canon C100
Recently we published an interview about the making of the short film Pulse, which was financed by Canon and shot on their new C100. Canon subsequently contacted us about a second short, BART, which was also shot on the C100. While Pulse is a documentary piece, BART is a four-minute short that is entirely an exercise in narrative story telling. Canon was specifically looking for a film that had little language and had a lot of visuals to it. BART will premiere next week at a special screening and workshop at the Sundance Film Festival, but today Canon is releasing […]
by Michael Murie on Jan 14, 2013
