Will you take part in filming the next movie? ‘One Day on Earth’: The Most International Movie Premiere Ever! by Zoe Fox Eighteen months after thousands of volunteer filmmakers in every country on the planet shot 3,000 hours of footage in one day, One Day on Earth will have the most widespread one-day premiere in history. The film will be screened for free at the U.N. General Assembly in New York at 4 p.m. Sunday. The film is an entirely crowdsourced project, inviting anyone to join the shooting process. Its website has become a social hub for filmmaker members, who can post updates and photos, and connect with other members. “We’re a different kind of film,” Executive Producer Brandon Litman told Mashable. “A lot of people have an emotional stake. We’re really excited to put it out via our online community.” Director Kyle Ruddick added, “We created this as a participatory film event and the only way for people to be recognized for their contributions is through this niche social network within the site.” Mobile technology is at the heart of much of the footage from the developing world. Because of inexpensive video recorders — some of which were donated to One Day on Earth, others of which are part of mobile phones — the film captures images of parts of the world rarely seen on camera. “The balance of classy profession footage and grainy lower quality really humanizes it,” Litman says. The next step for this annual project: a One Day on Earth mobile app for content creation that will let you geo-tag and upload footage shot during the window for shooting. All of the footage in the first edition of the film was shot on 10/10/10. The community mobilized for shooting again on 11/11/11 and the third date is planned for 12/12/12. SEE ALSO: How Thousands of Volunteer Filmmakers Captured “One Day On Earth” The first One Day on Earth addresses the environment and water issues, women’s rights, health, poverty and life cycle events in an effort to simultaneously show the commonalities and differences of life in different regions. “The film is loosely based on the cycle of life,” One Day on Earth Litman said at the Envision 2012 conference Tuesday, which was co-sponsored by the U.N. Department of Public Information, the Independent Filmmaker Project (IFP) and the Ford Foundation. “We’re basically a big reflection of what’s happening across the world. All these stories come in and we have to see what to make of them.” The international premier is supported by the U.N., Oxfam and Human Rights Watch, among other organizations. U.S. premiere locations are partnered with startup Tugg, which lets people vote to bring movies to local theaters
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Will you take part in filming the next movie?
‘One Day on Earth’: The Most International Movie Premiere Ever!

by Zoe Fox

Eighteen months after thousands of volunteer filmmakers in every country on the planet shot 3,000 hours of footage in one day, One Day on Earth will have the most widespread one-day premiere in history.

The film will be screened for free at the U.N. General Assembly in New York at 4 p.m. Sunday.

The film is an entirely crowdsourced project, inviting anyone to join the shooting process. Its website has become a social hub for filmmaker members, who can post updates and photos, and connect with other members.

“We’re a different kind of film,” Executive Producer Brandon Litman told Mashable. “A lot of people have an emotional stake. We’re really excited to put it out via our online community.”

Director Kyle Ruddick added, “We created this as a participatory film event and the only way for people to be recognized for their contributions is through this niche social network within the site.”

Mobile technology is at the heart of much of the footage from the developing world. Because of inexpensive video recorders — some of which were donated to One Day on Earth, others of which are part of mobile phones — the film captures images of parts of the world rarely seen on camera.

“The balance of classy profession footage and grainy lower quality really humanizes it,” Litman says.

The next step for this annual project: a One Day on Earth mobile app for content creation that will let you geo-tag and upload footage shot during the window for shooting. All of the footage in the first edition of the film was shot on 10/10/10. The community mobilized for shooting again on 11/11/11 and the third date is planned for 12/12/12.

SEE ALSO: How Thousands of Volunteer Filmmakers Captured “One Day On Earth”
The first One Day on Earth addresses the environment and water issues, women’s rights, health, poverty and life cycle events in an effort to simultaneously show the commonalities and differences of life in different regions.

“The film is loosely based on the cycle of life,” One Day on Earth Litman said at the Envision 2012 conference Tuesday, which was co-sponsored by the U.N. Department of Public Information, the Independent Filmmaker Project (IFP) and the Ford Foundation.

“We’re basically a big reflection of what’s happening across the world. All these stories come in and we have to see what to make of them.”

The international premier is supported by the U.N., Oxfam and Human Rights Watch, among other organizations. U.S. premiere locations are partnered with startup Tugg, which lets people vote to bring movies to local theaters

Source: Mashable

Start-ups, this is how design works! http://startupsthisishowdesignworks.com//
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Start-ups, this is how design works!

http://startupsthisishowdesignworks.com//

Why CRI really really matters! Howard Phillips Building on a previous post about LED lights ( “The flip side of LED lighting” ), since you are serious about lighting and establishing yourself as person with lighting and aesthetic skills, please consider the following simplified but important information: CRI – the Color Rending Index. Very briefly a way to think of CRI is how well the colors are represented to the recording device: if your camera’s white balance is set to 3200°K (Kelvin), and your LED Lamp claims to offer this same color output – how accurately, in fact, is the color reproduced. Our own eyesight, as we know, is too subjective, with our mental perception constantly performing an “auto white-balance” as well look around and even with the best of intentions, cannot really see the differences of a few degrees of color temperature , and we certainly can’t tell tell how accurately an imager (a DSLR chip, a CMOS or CCD chip, with their own internal filtering) will actually appear. Color ‘spikes’ produce impurities something like the way certain sounds can ‘run into’ each other and distort a recording. LED lights can be prone to this problem due to their huge demand, the sheer massive number of LED diodes being produced versus the need for high color-rendering accuracy in the Film & Photo worlds. So while an LED may look perfectly “daylight” or “tungsten” to the eye, its fair to say that most of them in true CRI-critical measurements, come up, well, “off-key” ! Currently its difficult to measure CRI with LED lights, due to the unique nature of the way lightwave are created – but that will be discussed in another posting. In the meanwhile, Lowel Light has a nice explanation of Color Rending Index as we in film/video/photography look at it: http://www.lowel.com/edu/color_temperature_and_rendering_demystified.html
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Why CRI really really matters!
Howard Phillips

Building on a previous post about LED lights ( “The flip side of LED lighting” ), since you are serious about lighting and establishing yourself as person with lighting and aesthetic skills, please consider the following simplified but important information: CRI – the Color Rending Index. Very briefly a way to think of CRI is how well the colors are represented to the recording device: if your camera’s white balance is set to 3200°K (Kelvin), and your LED Lamp claims to offer this same color output – how accurately, in fact, is the color reproduced. Our own eyesight, as we know, is too subjective, with our mental perception constantly performing an “auto white-balance” as well look around and even with the best of intentions, cannot really see the differences of a few degrees of color temperature , and we certainly can’t tell tell how accurately an imager (a DSLR chip, a CMOS or CCD chip, with their own internal filtering) will actually appear. Color ‘spikes’ produce impurities something like the way certain sounds can ‘run into’ each other and distort a recording. LED lights can be prone to this problem due to their huge demand, the sheer massive number of LED diodes being produced versus the need for high color-rendering accuracy in the Film & Photo worlds.

So while an LED may look perfectly “daylight” or “tungsten” to the eye, its fair to say that most of them in true CRI-critical measurements, come up, well, “off-key” ! Currently its difficult to measure CRI with LED lights, due to the unique nature of the way lightwave are created – but that will be discussed in another posting. In the meanwhile, Lowel Light has a nice explanation of Color Rending Index as we in film/video/photography look at it:


http://www.lowel.com/edu/color_temperature_and_rendering_demystified.html

The flip side of LED lighting

By Howard Phillips

It’s true of course that Light Emitting Diode aka LED lights are becoming more and more the norm, the standard not just for keychains and flashlights, but also for use in home lighting, and increasingly in stage lighting for theater as well as large music venues, and in the world of film & television. Great efficiency of draw (amperage) with very little heat output make this technological solution a good ecological choice too. Another very appealing aspect of LED lights is their lower cost. But its also very important to bear in mind one of the most important qualities that you must consider when testing for lights: what is the quality of the light fixture’s shadow?

When a cinematographer or any lighting technician is researching light fixtures, he or she considers price, efficiency, the fixture’s lifespan, as well as the quality of the lamps being used - the light color and light quality: hard light, as with a fresnel fixtures, where the light , traditionally emitted by a filament (tungsten or HMI ) is concentrated by a glass fresnel-patterned lens, which creates hard shadows, and a “punchy” light; or or a soft-light design where the light’s beam, or output, falls off gradually and does not create hard shadows. There are combinations and variations, but for the sake of simplicity, I’ll generalize by saying that the DP considers the light’s hard or soft quality first - and this quality is defined by its shadow!

Yet one rarely, if ever, sees this in advertisements or in the literature promoting LED lights: why, one must wonder… A very likely answer is that the very bright, highly-focussed (punchy) quality of the little diodes, with their built-in glass lens, are usually aligned in arrays of anywhere from 4,6,12 or more LEDs across, and sometimes as many rows of LEDs in height. This makes for a very pleasing bright light output, certainly, and yet – - multiple light sources create multiple shadows! Unlike fluorescent lights, LEDs by their very design are individual, micro-spotlights. Many lighting manufacturers address this problem by filtering the LED light ‘head’ in a diffused lightbox of various types. Exceptions to this design are the Rosco Lite Pad designs, which generate light with a very gentle single shadow; and some recent designs from PRG with their Truecolor design. A unique light from Aadyn also is unique in creating a single shadow. The well-loved Litepanels have been shipping the SOLA fixture which also works like a traditional focussing fresnel, creating a clean single shadow. Chimera, well known for their light-modifying accessories, is introducing their LED Lightbank units with LED light-arrays being diffused by a unique material which will also “unify the shadows” into a soft, single shadow.
So when shopping on-line, keep in mind that an array of lights, no matter how bright and portable and efficient, also should make your life easier, and hopefully not adding multiple shadows! The workaround of using diffusion on these units impacts the LED light’s efficiency, after all. These are incredibly exciting times to be working with lighting, and LED lighting is moving at the speed of… well, is moving quickly! Be sure to keep an eye on the shadow or shadows, these lights create when making your purchase or rental decisions. Here are some links to products mentioned in this article.

http://www.rosco.com
http://www.prgtrucolor.com
http://www.aadyntech.com
http://www.litepanels.com/
http://www.chimeralighting.com

Student Oscar Deadlines Approaching! The deadlines to submit entries for the Academy of Motion Picture Arts and Sciences’ 2012 Student Academy Awards competition are Friday, March 23, 2012 (Foreign Student Film category) and Monday, April 2, 2012 (all other categories). The 39th Annual Student Academy Awards presentation will be held on Saturday, June 9, 2012, at the Academy’s Samuel Goldwyn Theater in Beverly Hills. Gold, Silver and Bronze Medal awards, along with cash prizes, may be presented to student filmmakers in the following categories: Alternative, Animation, Narrative, Documentary and Foreign Student Film. The rules and online application forms are available at http://www.oscars.org/saa. http://www.deadline.com/2012/03/student-oscar-deadlines-approaching/
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Student Oscar Deadlines Approaching!

The deadlines to submit entries for the Academy of Motion Picture Arts and Sciences’ 2012 Student Academy Awards competition are Friday, March 23, 2012 (Foreign Student Film category) and Monday, April 2, 2012 (all other categories). The 39th Annual Student Academy Awards presentation will be held on Saturday, June 9, 2012, at the Academy’s Samuel Goldwyn Theater in Beverly Hills. Gold, Silver and Bronze Medal awards, along with cash prizes, may be presented to student filmmakers in the following categories: Alternative, Animation, Narrative, Documentary and Foreign Student Film. The rules and online application forms are available at http://www.oscars.org/saa.


http://www.deadline.com/2012/03/student-oscar-deadlines-approaching/

Q:WHERE WOULD YOU MOST LIKE TO VISIT ON YOUR PLANET?

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Figeac, France

The new improved Tascam DR 680! Tascam DR-680 Review : UPDATED DR-680 Hands on Review : Field and Sync Tests Feb 14, 2012 by Steve Oakley The DR-680 from Tascam is being offered at a very irresistible price. It claims to be a full 8 track recorder for under $660 street price. The question is, it worth adding to your gear ? Does it really perform or is it overspec’d and under performing in reality? Here is my take. First you can check out my video review of the device. I used it to record my sound while shooting on a EOS T2I. I went a full 12 minutes so you can see how it starts, and how it ends. You can also get an idea of the sound quality of the unit as well. Video Review On Vimeo of DR-680
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The new improved Tascam DR 680!
Tascam DR-680 Review : UPDATED
DR-680 Hands on Review : Field and Sync Tests
Feb 14, 2012 by Steve Oakley

The DR-680 from Tascam is being offered at a very irresistible price. It claims to be a full 8 track recorder for under $660 street price. The question is, it worth adding to your gear ? Does it really perform or is it overspec’d and under performing in reality? Here is my take.

First you can check out my video review of the device. I used it to record my sound while shooting on a EOS T2I. I went a full 12 minutes so you can see how it starts, and how it ends. You can also get an idea of the sound quality of the unit as well. Video Review On Vimeo of DR-680

Joint BOSCPUG BAVUG SMPTE-NE MIXER With Philip Hodgetts Thursday, February 16, 2012 from 7:00 PM to 9:30 PM (ET) Boston, MA Instead of just licking your wounds, all yee faithful FCP7 users, attend this amazing joint meeting to see how Phil Hodgetts is working to save your bacon, your projects and feeding your FCP habit! There is hope, be sure to sign up through Eventbrite, tagged here, and breath a lot easier..!
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Joint BOSCPUG BAVUG SMPTE-NE MIXER With Philip Hodgetts
Thursday, February 16, 2012 from 7:00 PM to 9:30 PM (ET)
Boston, MA

Instead of just licking your wounds, all yee faithful FCP7 users, attend this amazing joint meeting to see how Phil Hodgetts is working to save your bacon, your projects and feeding your FCP habit! There is hope, be sure to sign up through Eventbrite, tagged here, and breath a lot easier..!

Source: joint021612.eventbrite.com

I said hello to the new Vimeo

And it said hello right back! Seriously though, I just checked out the new Vimeo, and boy are my eyes excited. The videos looks better than ever, and there’s lots of other new stuff to get pumped about. Take it for a spin yourself at vimeo.com/new.

Source: vimeo.com

The Nikon D800 – Move Over Canon, Nikon Releases The DSLR To Beat. For Now… Posted by Neil Matsumoto * * * * * * * * As most of you know, the Canon 5D Mark II was the DSLR that kickstarted a filmmaking revolution and changed indie filmmaking as we know it. But it’s been over 3 years since the 5D Mark II was released and it’s getting, as they say, “a little long in the tooth.” But how many of you remember that Nikon was actually the first camera manufacturer to come out with an HD-enabled DSLR? The D90 was announced back in August of 2008 (it’s still in production) and like the 5D Mark II, it was a technological breakthrough with high-end cinematographers flocking to the large CMOS sensor to capture cinematic shallow depth of field. But perhaps the biggest difference between the two systems was that the 5D Mark II captured 1080 resolution, while the D90 only recorded 720. Although Nikon has upped their resolution to 1080 in recent years, another knock against the Nikon system was the difficulty in shooting in full manual mode (being able to manually control your shutter speed, exposure and ISO settings). The damage was done and as a result, Canon has created an army of DSLR filmmakers while Nikon has struggled to keep up. But no longer! (article continues)
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The Nikon D800 – Move Over Canon, Nikon Releases The DSLR To Beat. For Now…
Posted by Neil Matsumoto
* * * * * * * *
As most of you know, the Canon 5D Mark II was the DSLR that kickstarted a filmmaking revolution and changed indie filmmaking as we know it. But it’s been over 3 years since the 5D Mark II was released and it’s getting, as they say, “a little long in the tooth.”

But how many of you remember that Nikon was actually the first camera manufacturer to come out with an HD-enabled DSLR? The D90 was announced back in August of 2008 (it’s still in production) and like the 5D Mark II, it was a technological breakthrough with high-end cinematographers flocking to the large CMOS sensor to capture cinematic shallow depth of field. But perhaps the biggest difference between the two systems was that the 5D Mark II captured 1080 resolution, while the D90 only recorded 720. Although Nikon has upped their resolution to 1080 in recent years, another knock against the Nikon system was the difficulty in shooting in full manual mode (being able to manually control your shutter speed, exposure and ISO settings). The damage was done and as a result, Canon has created an army of DSLR filmmakers while Nikon has struggled to keep up.
But no longer! (article continues)

Source: hdvideopro.com