3 Pillars of Editing: Cuts, Effects, and Motivation


This post is by Nick Friend from No Film School


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It’s not only important to know how to cut and apply effects but to also know why you should (or shouldn’t).


There are only three kinds of cuts to make when editing. Obviously, there are derivatives of the three kinds of cuts, but for all of the flashy, flamboyant, and fun-filled films we watch with magnificent, magical, mind-blowing visuals, they all utilize the same baseline of three unbelievably simple kinds of edits.




The three basic cuts


Before you type your fingers into bloody nubs at the end of Continue reading “3 Pillars of Editing: Cuts, Effects, and Motivation”

Rumor: Canon Ahead Of Schedule With New EOS-R Camera


This post is by Nick Friend from No Film School


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Does Canon have a new mirrorless camera coming sooner than expected?


The camera manufacturer is apparently working on a Canon 1D-X Mk II-equivalent mirrorless camera based on the architecture of the EOS-R line of mirrorless cameras. The exciting news about this is that the estimated announcement date is now late-2019 or early-2020, which is a considerable bump up from the previously estimated timeline, according to Canon Rumors.



The new camera is expected to be saturated with high-end professional features. We assume it’s meant to go toe-to-toe with the likes of Continue reading “Rumor: Canon Ahead Of Schedule With New EOS-R Camera”

There’s Now An E-Mount Adapter For Nikon Z6/Z7 Cameras


This post is by Nick Friend from No Film School


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It’s the “world’s first Sony E to Nikon Z autofocus adapter.”


Techart Pro recently unveiled an adapter, the TZE-01, that fits Sony E-Mount lenses onto the new Nikon Z6 and Z7 cameras.



It offers support for AF-S, AF-C & MF modes for both still and video shooting, as well as Face & Eye Detection of Z-mount cameras, lens vibration reduction, and timelapse.



It’s still in the prototyping stage and, as such, is not expected to be a perfect performer.



That being said, the Continue reading “There’s Now An E-Mount Adapter For Nikon Z6/Z7 Cameras”

Many Different Ways To POWER Your Entire Camera Rig [VIDEO]


This post is by Nick Friend from No Film School


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Clever solutions to power your camera setup without breaking the bank (or your back).



Caleb Pike at DSLR Video Shooter is constantly providing budget-friendly filmmaking hacks, tips, and tricks for the one-man-band filmmaking community. Covering everything from a DIY director’s monitor build to a live-streaming how-to guide for buying old cinema cameras, Caleb has a lot of our needs covered.



In this video, he’s breaking down ways you can power your camera rig. Check it out:





Here’s a rundown of Caleb’s top picks for Continue reading “Many Different Ways To POWER Your Entire Camera Rig [VIDEO]”

The Future Is Here: You Can Now 3D Print Edelkrone Gear at Home


This post is by Nick Friend from No Film School


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The quirky cinema support company tags in its customers to help make new products.


Edelkrone has announced Ortak, the company’s new approach to manufacturing that provides customers 3D printing source files so they can 3D print products on their own.



The first product on the docket is the FlexTilt Head, which is available now for $29. After the purchase of Edelkrone’s bespoke CNC’ed hardware that controls the damping on the pan and tilt functions, as well as the friction locking function on both axes, the end user can then take the Continue reading “The Future Is Here: You Can Now 3D Print Edelkrone Gear at Home”

DJI Quietly Introduces New Drone and Cinematography Service


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post





And it comes with its own crew. And a truck.


Usually film gear companies make a lot of noise when announcing their new products. However, without a whole lot of pomp and circumstance, right in the thick of CineGear 2019 no less, DJI quietly unveiled not only their new drone but also their custom aerial cinematography service in a video on YouTube.



The DJI Storm drone features 8 rotors, 40.7lb payload capacity, 50mph top speed, and 15-minute flight time, as well as Ronin 2, Master Wheels, and Force Pro support Continue reading “DJI Quietly Introduces New Drone and Cinematography Service”

Angenieux Unveils a New Line of Optimo Prime Lenses


This post is by Nick Friend from No Film School


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Angenieux is bringing back primes after over 50 years of outstanding zooms.


Starting at 18mm at the widest, Angenieux will release a full set of cine prime lenses, all the way up to 200mm, all at T1.8.



At CineGear 2019, Angenieux showcased the 40mm T1.8 prototype. The entire lens set will cover Full-Frame image formats and will come in PL and LPL mounting systems.



Crucially, the optics are matched to the legendary Optimo Zoom lenses that have become ubiquitous on big-budget Continue reading “Angenieux Unveils a New Line of Optimo Prime Lenses”

AutoDCP Makes Delivering Your Film to Festival as Cheap as $5/Minute


This post is by Nick Friend from No Film School


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Now you can simply and automatically create DCP files of your film.


AutoDCP came out to CineGear 2019 to talk about its film encoding and delivery service, providing a time-saving tool aimed at festival and theater runners as well as independent filmmakers.



AutoDCP provides a cloud-based, user-driven e-delivery service that ingests your video file and encodes it into a DCP (digital cinema package) for delivery and full-quality digital projection onto a movie screen.



Based off of a Dropbox platform, AutoDCP, once installed, shows Continue reading “AutoDCP Makes Delivering Your Film to Festival as Cheap as $5/Minute”

GL Optics Has an Impressive Array of Rehoused Vintage and Idiosyncratic Cine Lenses


This post is by Nick Friend from No Film School


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GL Optics has a laundry list of vintage and re-housed cine lenses from which to choose.


Starting with the new Mark IV housing for their re-housed cinema lenses, Avi Cohen of GL Optics walks us through their new lineup.



With everything from fully re-housed, re-worked Canon FD lenses to some truly unique Zeiss Contarex re-housed lenses that have an insane “ninja star” iris blade setup, the options are vast and well thought out.



Some of the highlights:


A Closer Look at Preston’s HU4 Follow Focus (and That Big Ol’ Touchscreen)


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post








Preston utilizes new touch-screen technology with its industry-standard FIZ controller.


Preston are one of the most venerable names in remote follow focus, with digital lens control devices dating back to the 1980s. As the market has gotten flooded with competitors, they still maintain a position in the top of the pack by staying at the cutting edge of features that make life easier for focus pullers. As sensor sizes get bigger, depth of field gets smaller, and focus tools need to get more sophisticated to keep up.



Continue reading “A Closer Look at Preston’s HU4 Follow Focus (and That Big Ol’ Touchscreen)”

Bright Tangerine ‘Blows Us Away’ With New Matte Box System


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post








Bright Tangerine introduces a uniquely helpful matte box at CineGear 2019.


The idea came from a simple place: camera operators at festivals and shows, dealing with inclement weather, had to continue to wipe down the front lens element on their camera setups.



Enter the Prodigy from Bright Tangerine, which uses a torrential thrust of air, continuously blown across a glass element in front of the lens via a very powerful blower, at 300 miles per hour, keeping the image clean, crisp, and clear.



Continue reading “Bright Tangerine ‘Blows Us Away’ With New Matte Box System”

GLASWERK ONE and ONE+ 2x Front Anamorphic Lenses


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post





Another contender to anamorphic primes emerges.


Glaswerk Optics just unveiled their ONE and ONE+ line of 2x anamorphic prime lenses at CineGear 2019.



Focal ranges include: 25mm, 32mm, 40mm, 50mm, 60mm, 75mm, 100mm, 135mm, 180mm. All focal lengths are at T2.4. Plans for the 25mm lens to join the ranks are confirmed, but details on how soon we’ll see it aren’t.

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Up Close and Personal with Panasonic’s 6K Full-Frame Mirrorless S1H Camera


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post








Panasonic throws a haymaker with its new mirrorless full-frame camera.


While Panasonic still doesn’t have a Full Frame Varicam Cinema camera to compete with the Sony VENICE and Alexa LF, it did just drop the price more than a third on the Varicam LT, which is a good sign that something is coming there. They released the full frame mirrorless S1 in february, and now at Cine-Gear they’ve just released the S1H, the “video flavored” version of the camera. It comes capable of shooting 6K video 4:2:2 10bit internal, hopefully at Continue reading “Up Close and Personal with Panasonic’s 6K Full-Frame Mirrorless S1H Camera”

Watch: First Footage from Panasonic’s 6K Full Frame Heavyweight, the S1H


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post








The Panasonic S1H boasts full frame, $4000, 6K 3:2, 14+ stops of dynamic range.


Caught your attention yet? Watch the video for all the juicy details.



Panasonic is taking a stab at the high-end prosumer/professional owner/operator with the S1H.



Here are the highlights:


TM Camera Solutions Launches MasterBuilt Vista-M Lenses


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post





The Canon Sumire lenses have a new competitor in the market.


The MasterBuilt Vista-M lenses take a nuanced approach to high-end cinema prime lenses. They come in a 6-lens set, with focal lengths at 18, 25, 35, 50, 85, 105, and 135mm, all at a constant T1.4.



The lenses are specifically made for full frame coverage. Most of the lenses also cover up to the Alexa 65’s sensor size. What makes these lenses special is their proprietary “prescription” that gives the lens tack sharp centers but has a very organic Continue reading “TM Camera Solutions Launches MasterBuilt Vista-M Lenses”

1-Minute Color Correction Crash Course


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post





Rapid fire color correction basics…comin’ atcha.


Now, I’m not a professional colorist, but even I know that compiling all of the information on color correction, grading, and timing (color correction with film stock is commonly referred to as “timing,” but that’s another conversation…) would take eons. It’s an incredibly complex art form that can’t be learned from one 2-minute video.



Having said that, here’s one 2-minute video teaching you the complex art form of color correction.



Wait, wait, wait…before you punch this article in Continue reading “1-Minute Color Correction Crash Course”

Guess What’s Inside Tom DeLonge’s Camera Bag


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post





Angels & Airwaves and Blink-182 frontman Tom DeLonge has serious G.A.S.


Which stands for “gear acquisition syndrome.” How do we know this? We got a look inside his camera bag.



YouTuber and filmmaker Peter McKinnon is currently shooting a behind-the-scenes documentary about Angels & Airwaves and while shooting got this:






It’s not a bag. It’s a closet!


Turns out DeLonge is a bit (hah!) of a gear nerd.

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The New HU4 Gets a Massive Touchscreen (and Other Cool Stuff, Too)


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post





Preston’s new follow focus is like an Infinity Gauntlet for filmmakers: you can control everything.


Preston Cinema Systems is one of Hollywood’s top-tier FIZ (focus, iris, zoom, commonly referred to as “fizz”) control companies. It just released the new Hand Unit 4 (HU4) follow focus, which has significant improvements over the HU3 in terms of weight, usability, and precision controls.



With everything from hand controls to motors and motor drivers to focus assist systems like the Light Ranger 2 (LR2) and even zoom controls, Preston pretty much has your lens controls Continue reading “The New HU4 Gets a Massive Touchscreen (and Other Cool Stuff, Too)”

How to Shoot Cinematic Video from a Smartphone: The Basics [VIDEO]


This post is by Nick Friend from No Film School


Click here to view on the original site: Original Post





Soderbergh isn’t the only one who can make smartphone movies.


Phones are everywhere. You very well may be reading this on a phone (and hopefully sharing it… okay, enough with the self-promotion). Every day, they’re getting more and more powerful and easier to use. The benefit of this for filmmakers and videographers is that the quality of video that is instantly available to us goes up with every passing generation of hardware. Lately, that’s been every year (in some cases, even more frequent).

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