Tuesday, May 25, 2010

Recommended Film Editing Books

Summer is up around the corner,
great time to go out and film the best short movies...
Get back home, edit them and while we wait for rendering....

Why not get a good book and read from the best???

What do you think of these books? Any other you think are really worth it? please share!


Tuesday, May 18, 2010

Riviera Maya Underground Film Festival


The organizing committee of the RIVIERA MAYA UNDERGROUND FILM FESTIVAL on its 5 edition invites every audiovisual producer to participate in the “Riviera Maya Underground Film Festival” 2010. That will take place at Playa del Carmen, Quintana Roo Mexico from October 13 to October 17, 2010.
RMUFF is a meeting point between audiovisual producers, filmmakers, and every person who is interested on the subject. At this international forum the creators will be able to exhibit their short films, the experts will emit their opinions, and the assistants will learn important aspects of the Cinematographic Culture.

more info here

Friday, May 14, 2010

Cameras at NAB 2010

Missed The Show? Don't Miss These!
By Charlie Wade @ videoediting.digitalmedianet.com


Missed NAB 2010 this year? Lots of people did but I know you still want to know what was hot. For you who live for camcorder technology, here are six of the hottest cameras (or camera announcements in some cases) at NAB 2010.


Read reviews on Panasonic, JVC, Sony, Arri Alexa, Canon, RED,


here

Monday, May 10, 2010

editing on iPhone


Professional video editing app for the iPhone

VeriCorder has released the world's first professional quality video editing app for the iPhone.
by MACVIDEO.TV

1st Video was recently unveiled at the National Association of Broadcaster's 2010 Convention in Las Vegas. It is the world's most advanced video editing suite running on a mobile device.
It's powerful enough for professional broadcasts and podcasters, but so easy to learn that anyone can use it. And at the low introductory price of $9.99,
Other editors may let you string together a few clips. 1st Video allows users to create professional quality news items, movies or podcasts, with multi-track audio, on an iPhone 3GS device. The secret is VeriCorder's advanced audio /video editing software, which lets you seamlessly blend multitracksound with video clips from multiple recordings in a powerful but easy to learn, touch-based, non-destructive editor.
VeriCorder CEO Gary Symons is a former radio and television reporter whose goal was to build a true editing solution for professional journalists. But, Symons says, 1st Video is equally appropriate for everyone who likes making videos in this world of social media and YouTube.
"Basically, I can do the same things on my iPhone with video that used to require a powerful laptop and expensive editing software," Symons says. "This puts the power of video story-telling in the hands of everyone. Now, we can all be storytellers, reporters, podcasters, bloggers. We are the media, and the iPhone with 1st Video is the tool we use."
As well, VeriCorder has released 1st Video Net, an even more powerful program for broadcast networks, that is fully integrated into newsroom systems like ENPS, Octopus, AVID, and many others.
"1st Video is a complete solution for anyone who needs to quickly record, edit, send and distribute video for traditional or web media," Symons says. "It is the most advanced mobile video editing solution on the market today, on any platform. It's ideal for creating news stories on the fly, and posting directly into a newsroom or to an automated video podcasting system."
1stVideo is already garnering praise from industry professionals, like Taz Goldstein of the acclaimed mobile media site, HandHeld Hollywood.
"This without a doubt was the highlight of the [NAB] show. This little product just knocked my socks off. Professional interface, very responsive, very quick.
Great editing tools. All on the iPhone! Can't really go wrong with that!" (Taz Goldstein, HandHeld Hollywood)
1st Video works only on the iPhone 3GS, as it requires the iPhone video camera to operate. It does not yet work on the iPad, but the developers are working on an iPad version.
VeriCorder does make two other lines of iPhone editing software. VC Audio Pro is a professional quality recorder and sound editor. ShowCase has the same editing power of VC Audio Pro, but adds the ability to create audio slideshows with a slick, user-friendly interface.
More information and demo videos at: www.vericorder.com

Thursday, May 6, 2010

iPhone HD?


New iPhone could include HD video

Developers’ kit reveals that the new iPhone has the option to record 720p HD video.

Apple logo
Rumours abound about what Apple might do with the next iPhone, expected this summer.
The next generation of the Apple iPhone looks more likely than ever to include HD video. In the developers’ kit for the new device, there is now the option to record at a higher resolution, 1280 x 720, which is otherwise known as 720p.
Although this is the lowest recognised level of HD, it would still fit with the suggestions that the new iPhone is going to include a 5mp camera and be called iPhone HD.
The suggestion came to light when developers noticed two lines of code in the iPhone 4 OS developers’ kit that has already been released by Apple. Currently there is only the option to record at 640 x 480, or VGA levels, but now software engineers can choose either “AVCaptureSessionPreset640x480” or “AVCaptureSessionPreset1280x720”.
The new iPhone OS’s developers’ kit include more access to video capture information than has been available in previous versions. This could lay the ground for both new editing software and new augmented reality programmes, which overlay information on images.
Although a range of other phones already capture HD video, including the HTC HD2, the Samsung Omnia and the Sony Ericsson Vivaz already offer HD video, the inclusion of the feature on the iPhone would go some way to addressing concerns that the devices camera has been a weak point.

Steve Carell stays in L.A.


CALIFORNIA TAX INCENTIVE KEEPS CARELL MOVIE IN L.A.

May 5, 2010 by StudioBriefing.net

The California Film Commission has approved more than $20 million in tax credits for Warner Bros.’ films being shot in and around Los Angeles this year, including $5 million for Steve Carell’s latest romantic comedy, currently untitled, which has a total budget of $35 million, the Los Angeles Times reported today (Wednesday). The newspaper said that originally the movie was set in New York or New Jersey but that the setting was changed to Los Angeles in order to take advantage of the tax credit — and accommodate Carell’s TV schedule. David Siegel, the movie’s unit production manager, told the Times

The New Premiere Pro, Worth it?


Premiere Pro CS5
By Antony Bolante @ MacWorld

When Premiere Pro debuted on the Mac as part of Adobe CS3, it was as though Adobe took the license plate off that old moped in the garage and put it on a hot new motorcycle. With Premiere Pro CS4 ( Macworld rated 4 out of 5 mice ), Adobe continued to retool the program and retrofitted the Mac version to more closely match the Windows package. The latest version of Adobe's professional video editing program doesn't look much different at first glance. But taking it for a spin reveals that most of the work went into the engine.

Premiere Pro CS5 sports the Mercury Playback Engine, a software mechanism that improves the program's performance--especially when paired with a qualified GPU. And like some other programs in CS5, Premiere Pro has become a native 64-bit application, shattering the RAM limitation imposed by 32-bit programs. Other features include expanded tapeless format support, scalable playback resolution, the Ultra chromakey effect, better still frame export, and the ability to export directly from Premiere Pro. But apart from enhanced performance and stability, the most notable new feature is how Premiere Pro CS5 fits into a workflow that integrates new software and services.


Wednesday, May 5, 2010

George Lucas on building a 3,000 USD studio


NYFA Student Omri Bezalel Interviews George Lucas

May 5th, 2010 Posted in NewsStudent & Alumni Activity
290410-film_without_borders
Photo: Courtesy of The Jewish Chronicle Online
New York Film Academy student Omri Bezalel learned that good deeds and great filmmaking sometimes produce unexpected rewards when he was granted the opportunity to interview George Lucas for an upcoming project.
Omri Bezalel was born in Tel Aviv and has lived all over world. He believes his passion for film began when he was nine years old and spent his summer toying with a camcorder and filming commercials with a friend.
In October 2009, Bezalel began his studies at the New York Film Academy. “It’s a great program which is very intense and hands on,” he reports of his experience with NYFA. A dedicated filmmaker, he publishes all of his work, including his film projects with the New York Film Academy, on his website, Carlito Montana Productions.
Bezalel is currently working with Films Without Borders, a program to teach Israeli, Palestinian and Rwandan teenagers filmmaking skills and promote peaceful interaction between the three communities. Television producer Jill Samuels, the idea-lady behind Films Without Borders, happens to be a former employee of George Lucas. Lucas accepted her invitation to back the project, and this past April, 26 year old Omri Bezalel found himself walking into the Picadilly editing suites in London to interview the iconic director.
During Omri’s interview, Lucas explains that the silver lining encircling today’s economically precarious environment offers a special place for young filmmakers.
You live in a wonderful time. Because the consortium of rich corporations which used to control the entire medium is now doomed. Now anyone can make movies - you can buy a studio, everything, for around $3,000. And it’s as high quality as anybody has. And now with the internet you also have a distribution center which no one controls.
Considering the delicate and overwhelmingly grim political circumstances that inspired Film Without Borders, Lucas’ subsequent comments concerning the enjoyability of a film are fitting. The content of a movie, no matter how serious, should still be appealing enough for the audience to want to watch it. ”Hopefully, in the process of entertaining them, you give them insight into their own lives and into their own world, but you can’t lose sight of the fact that people are giving you their time and money,” Lucas advices that it is important that a film entertain, not preach; otherwise, it is unlikely to gather many viewers.
In his final words with the director, Bezalel voiced his anxiety that every good story has already been told. George Lucas admitted that, yes, they have, but reevaluating tropes is by no means a negative. “People have been telling stories for 10,000 years, ” is Lucas’ explanation, “There are only 32 kinds of story. So don’t think you’re going to tell a new story - the only thing that changes is the way you tell the story.” Retelling an archetypal journey, or a combination a several, is in the nature of all modern storytelling, and consequently, finding a unique way to do so is an integral part of cinema.
Armed with the words of one of the world’s most influential directors, Bezalel has no dearth of inspiration to bring to his work with Film Without Borders and to Israel’s blossoming film industry. Omri Bezalel’s commitment to filmmaking is illuminated by his respect for his own nation’s work in cinema. “A lot of Israeli films I see are better than studio films. Film is an international language,” articulates the New York Film Academy student, “I want to see Israeli film celebrated at the Oscars for what it is, in the Best Film [sic] category, not Best Foreign-Language Film.” When Bezalel graduates from the New York Film Academy, he plans to return to Israel to teach a course for Film Without Borders. Bezalel has already made impressive progress bringing attention to Israeli film and using cinema to spread peace. We’ll certainly keep our ears open for more news about his ongoing projects.

Tuesday, May 4, 2010


Frost & Sullivan: Nonlinear Editing Solutions in Demand, but Price Fall Reins in Market Growth

Posted on: Monday, 3 May 2010, 12:00 CDT



MOUNTAIN VIEW, Calif., May 3 /PRNewswire/ -- Driven by the increased adoption of digital products for video creation across markets, there is an increased availability of enhanced, feature-rich, nonlinear editing solutions at highly competitive prices.

(Logo: http://www.newscom.com/cgi-bin/prnh/20081117/FSLOGO)

New analysis from Frost & Sullivan (http://www.digitalmedia.frost.com), World Video Nonlinear Editing Market, finds that the market earned revenues of over $630 million in 2009 and estimates this to exceed $1.0 billion by 2016.

If you are interested in more information on this study, please send an e-mail to Jake Wengroff, Corporate Communications, atjake.wengroff@frost.com, with your full name, company name, title, telephone number, company e-mail address, company website, city, state and country.

"Software-based nonlinear editing products are quickly making the leap from nice-to-have to need-to-have competitive professional products for both high-end and low-end video segments," says Frost & Sullivan Global Industry Manager for Digital Media, Vidya Subramanian Nath. "The availability of highly competitive, economical, off-the-shelf products has ensured an increase in millions of professional users for nonlinear editing software."

In addition, with increasing efficiencies of processors, capture cards, low-priced storage, and networked workflows, these popular nonlinear editing software can be used for even high-end applications in broadcast and film editing.

While the price advantage has ensured mass penetration of these products, on the flip side, the low price points have had a telling effect on the market's revenue growth.

These products are available for as low as $800 and can be built on a complementary system for $5,000, which is typically one-fourth the price of higher-end systems. The economic downturn only compounds the pressure on revenue growth and narrows the market further for competitors.

To address these challenges, vendors will have to absorb the impact of drivers, such as open-source solutions, digitization, file-based and networked workflows, and high-definition video in the media market, and create competitive innovative products that are convenient for a versatile creative professional.

"The growing avenues for video across multiple media are driving all vendors in the nonlinear editing market out of their respective niches and pushing them to launch competitive products for all segments, including independent professional videographers," cautions Nath. "This will help them shield themselves from tremendous attrition and ensure brand penetration over the long term."

World Video Nonlinear Editing Market is part of the Digital Media Growth Partnership Services program, which also includes research in the following markets: World Disk Storage for Digital Media Market, World Broadcast and DTT Video Encoders Market, World Pay-TV Video Encoders Market, World Enterprise, Broadband and Mobile Video Transcoders Market, Digital Asset Management Market, World Video Switchers Market, Content Protection and Digital Rights Management, and World Video Servers Market. All research services included in subscriptions provide detailed market opportunities and industry trends that have been evaluated following extensive interviews with market participants.

About Frost & Sullivan
Frost & Sullivan, the Growth Partnership Company, enables clients to accelerate growth and achieve best-in-class positions in growth, innovation and leadership. The company's Growth Partnership Service provides the CEO and the CEO's Growth Team with disciplined research and best-practice models to drive the generation, evaluation, and implementation of powerful growth strategies. Frost & Sullivan leverages over 45 years of experience in partnering with Global 1000 companies, emerging businesses and the investment community from 40 offices on six continents. To join our Growth Partnership, please visit http://www.frost.com.
World Video Nonlinear Editing Market N715

Contact: Jake Wengroff Corporate Communications - North America P: 210. 247.3806 F: 210.348.1003 E: jake.wengroff@frost.com http://www.frost.com




SOURCE Frost & Sullivan
Source: PR Newswire

Monday, May 3, 2010

What Does a Film Editor Do?


Job Description of a Film Editor
by Diane Dannenfeldt @ HowStuffWorks


A film editor is a mechanic who removes the unneeded and fits pieces of film together to make a finishedmovie. He is a collaborator who works with cinematographers and sound editors to bring sight and sound together. And he is an artist who captures a director's vision and tells a compelling story.

film editor
© Andy Sotiriou/Photodisc/Getty Images
A film editor combines hours of film footage together to make a movie.

Being a film editor requires hours of looking through footage and then assembling a film a half-second at a time, while working quickly to meet the filmmakers' deadlines. Describing the job to a National Public Radio reporter, film editor Walter Murch said it is "a cross between a short-order cook and a brain surgeon" [source: National Public Radio].
While a skilled movie editor's contribution can mean the difference between a hit and a so-so film, film editing done well is completely invisible to the audience.
Here are some of the most important elements in the job description of a film editor:
  • Read the shooting script and meet with the director to understand his  vision for the film.
  • Make visits to the locations during filming to gain a sense of how the shooting is progressing.
  • Go through footage, once shooting is done, and select scenes based on their dramatic and entertainment value and contribution to story continuity. The editor is looking for the best combination of photography, performance, consistency and timing.
  • Trim the segments of footage to the lengths needed for the film and assemble them into the best sequence to tell the story.
  • Work with sound effects editors, sound editors and musical directors on sound, score and film sequences that will be added to the film.
  • Insert music, dialogue and sound effects, using editing equipment.
  • Review the edited film, make corrections and prepare it as a first cut, or rough cut, for themovie director and movie producers to view. The first cut may take up to three months to assemble.
  • Make revisions, as requested by the director and producers, and prepare the final cut for release to the film house for production. The final cut may take an additional month to finish
[sources: State of California Occupational Guide and Learner]
    While movies traditionally have had a single lead film editor, the trend with big-budget features is to split work between two editors. For "Charlotte's Web" (2006), Director Gary Winick started with Susan Littenberg, an established feature film editor he had used on previous projects. Because the movie combined live action with animation sequences, he also brought in Sabrina Plisco, an editor experienced with visual effects.
    The two editors split up the scenes, edited them, and then swapped and re-edited each other's. By the time shooting was complete, they had plenty to work with -- 1.5 million feet of film. But more than simply selecting and assembling footage in the desired sequence, they had the challenge of combining footage of the human actors with that of animals who seemed to be talking, like Wilbur the pig, or were simply animations, like Charlotte the spider [sources: Editors Guild and IMDB].
    A film editor needs to have both technical and artistic movie-making skills. Go to the next page to find out what these are.

    Sunday, May 2, 2010

    Looking for Film Crew

    Camelo Films is seeking qualified students for the following roles:

    Assistant Director

    Director of Photography

    Sound

    If you HAVE YOUR OWN EQUIPMENT, please send a resume to engelcm@yahoo.com I work close to ABC Disney, this is for a short film themed about Family. 

    We will be shooting two days at the end of May. Loation will be in Studio City, CA 91602.

    NOTE: This is not a student project

    Thank you and good luck!



    Posted at Studentfilms.com Forum
    Killer Film Fest & Challenge

    Killer Film Fest, a non-profit organization, supports the love of the indie horror film genre. In its 2nd year, Killer Film Fest introduces Killer Film Challenge, a 3-day film race to write, shoot and edit a short horror film.

    Killer Film Fest 2010 will be held in Providence, RI and as the fest grows, it is likely to expand into different major cities throughout New England making Killer Film Fest a regional New England annual film festival.


    Avid to Final Cut Pro?

    If you are making the switch, here's a site that will definitely help you around taking on those steps. Its designed for those moving completely from one software to the other but if you are only expanding your skills and learn bits from FCP, then it will also be very useful to you.

    Edit Fest

    American Cinema Editors,

    Edit Fest 2010 to be held @ New York & Los Angeles during a whole weekend

    Video Résumés

    Use of video résumés is on the upswing

    For a sales associate job opening at Orbit Baby, the maker of strollers, car seats and toddler accessories in Newark, president and co-founder Joseph Hei wants something from applicants no one else on Craigslist is requesting: a video résumé.

    The reason: Orbit Baby needs someone who is confident, outgoing and, perhaps most important, technology-savvy. Hei says a traditional Microsoft Word document wouldn't necessarily show him the skills he's looking for. The person hired will have to be comfortable leading demonstrations in groups and using video communication programs like Skype to talk with clients.

    Hei explains, "There are two broader objectives here: First, are you comfortable enough with media and technology to be able to meet these requirements; and ... can you upload a five-minute video? ... We want to see if people are relatively comfortable with the way things work these days."

    The company has received responses from applicants living as far away as Africa.

    Around the workplace, a variety of employers say they are seeing more video résumés from job candidates, and in academia, an increasing number of institutions are accepting video résumés with applications for admission.

    Among the latter is Pitzer College, a private liberal arts school in Claremont. Admissions director Angel Pérez says the videos they've received are "fascinating to watch. One of the reasons we think this is a good idea for us is we are a bit of a niche school. We want to make sure we are admitting the right students, and fit is really important to us. One of the things the videos have done is allow us to put a face to the name and a personality to the application. We will actually pull up the video in front of the admission committee and let it play."

    Video technology has come into wider use partly because cameras are inexpensive, with some costing less than $100, and video editing software is standard on many computers, says University of San Francisco professor Ryan Wright, who teaches classes in technology management and strategy. He predicts a video component will become more common for hiring in years to come.

    Video résumés give potential employers "a greater degree of understanding of the person ... (including) how they speak, how they tell a story," Wright adds.

    He required students in his Internet Business Applications class to create such a résumé. Christian Hernandez, a senior, chose to highlight his travel experiences and sports prowess.

    "It's a pretty neat experience, because we were basically doing it to see how easy it is to upload a video and embed it into our Web sites," Hernandez says. "A video résumé can show you a person is more creative, and it can give you a better insight on the person."

    Though Hernandez was making his résumé just for the practice, Edwina DiSilvestre of San Jose created one at the San Jose Silicon Valley Chamber of Commerce to attract customers to her business as a personal assistant, named 28 in 24.

    She was coached during the process by SanJose Stock.com founder Kymberli Brady. The result was a commercial-like video recorded in front of a photo backdrop highlighting DiSilvestre's skills, including writing personal notes for busy businesspeople.

    "A video gives another view or picture of my business, which is really a presentation of my personality," DiSilvestre says. "It will give potential employers a sense of who I am."

    SanJoseStock.com's Brady says she jumped into the video résumé business after losing her job as a videographer for the San Jose Chamber of Commerce. She says, "If you do a bad one, it can knock you off the potential list for a job, and if you do a good one, it can put you at the top of that list." Her company offers video résumé services starting at $100.

    There are also video résumés online from which job seekers can learn, whether it's what to do or what not to do. Some people use goofy graphics or make hyperbolic claims about their skills.

    San Francisco resident Dina Boyer, a video professional, avoids such pitfalls. In her simple, self-made, one-minute video on YouTube, she shares her skills.

    "My video résumé has gotten me work," Boyer says, "nothing permanent — just a few music video and photography gigs. I don't think video résumés are appropriate for all careers, but I believe it was very necessary for me. I am a broadcaster, videographer and photographer, and showing the work on video is proof of my accomplishments and automatically gives me more credibility."