For Jamie Stuart, Sundance 2012 was a schizophrenic affair. Find out why in this video he made while covering the festival for Cinelan’s Focus Forward initiative. Appearances by Filmmaker‘s founding publisher, Karol Martesko-Fenster, Filmmaker correspondent, d.p. and director David Leitner, Morgan Spurlock, Jessica Yu, Frank Langella and more.
Sequelized from Focus Forward Films on Vimeo.… Read the rest...
Sequelized from Focus Forward Films on Vimeo.… Read the rest...
- 3/20/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
Update: Read David Leitner’s first take on Final Cut Pro X here.
This morning Apple released its long awaited, ground-up rethink of its professional editing software, Final Cut Pro. Available for $299 from the Apple Store, the new Fcp is both drastically lower in price than the previous version and contains numerous improvements, including, wrote David Leitner at Nab this Spring, a “dramatically revamped interface, 64-bit processor capability, no more Ram ceiling of 4Gb, and continual background rendering by means of unused Cpu cycles.” Leitner’s takeaway then:
With Fcp X, Apple is returning to the one-size-fits-all ethos of the original Fcp. In other words, no more Fcp Express. I think it’s revolutionary, in a democratic sense, to spend years to overhaul an epochal product to make it more powerful, more protean, yet more accessible, with the goal that my teenaged daughter and Walter Murch would both edit with the same software.
This morning Apple released its long awaited, ground-up rethink of its professional editing software, Final Cut Pro. Available for $299 from the Apple Store, the new Fcp is both drastically lower in price than the previous version and contains numerous improvements, including, wrote David Leitner at Nab this Spring, a “dramatically revamped interface, 64-bit processor capability, no more Ram ceiling of 4Gb, and continual background rendering by means of unused Cpu cycles.” Leitner’s takeaway then:
With Fcp X, Apple is returning to the one-size-fits-all ethos of the original Fcp. In other words, no more Fcp Express. I think it’s revolutionary, in a democratic sense, to spend years to overhaul an epochal product to make it more powerful, more protean, yet more accessible, with the goal that my teenaged daughter and Walter Murch would both edit with the same software.
- 6/22/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
I ordered the much sought-after Panasonic GH2 camera in February, and I just got it last week. And now, only a few days later, the Dslr is declared dead!
Okay, I’m being a bit facetious here, as is, I think, Michael Murie over at his Notes on Video blog, which I linked to in the above paragraph. Or maybe not… As he notes in a series of links and excerpts, the professional community is now backing away from the camera format that was being celebrated everywhere — including Filmmaker — just a few months ago. He writes:
The Dslr community seems to be splintering intro three groups: those who are moving on, those who see it as continuing to be a viable — though limited — tool, and those that are mounting the ramparts in its defense.
Still, he notes:
Alternatively, for the low-budget indie film maker, the Dslr’s are still attractive...
Okay, I’m being a bit facetious here, as is, I think, Michael Murie over at his Notes on Video blog, which I linked to in the above paragraph. Or maybe not… As he notes in a series of links and excerpts, the professional community is now backing away from the camera format that was being celebrated everywhere — including Filmmaker — just a few months ago. He writes:
The Dslr community seems to be splintering intro three groups: those who are moving on, those who see it as continuing to be a viable — though limited — tool, and those that are mounting the ramparts in its defense.
Still, he notes:
Alternatively, for the low-budget indie film maker, the Dslr’s are still attractive...
- 6/9/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Check out select stories from our new Spring issue.
Some of the stories you can read now include Mark Ruffalo talking about his directorial debut, Sympathy for Delicious; the team behind The Myth of the American Sleepover discuss their intimate film on teenage life; David Leitner highlights the latest crop of large-sensor HD cameras; Anthony Kaufman reports on the resurgence of studio indies; Lance Weiler explains how filmmakers can build audiences outside of the theater experience; and we look at the Tribeca Film Festival as it celebrates its 10th anniversary this year.
To read the complete issue on your desktop now, subscribe to our digital issue. Learn how to here.
Some of the stories you can read now include Mark Ruffalo talking about his directorial debut, Sympathy for Delicious; the team behind The Myth of the American Sleepover discuss their intimate film on teenage life; David Leitner highlights the latest crop of large-sensor HD cameras; Anthony Kaufman reports on the resurgence of studio indies; Lance Weiler explains how filmmakers can build audiences outside of the theater experience; and we look at the Tribeca Film Festival as it celebrates its 10th anniversary this year.
To read the complete issue on your desktop now, subscribe to our digital issue. Learn how to here.
- 4/18/2011
- by Jason Guerrasio
- Filmmaker Magazine - Blog
While I was following the premiere of the new Final Cut Pro X at the Las Vegas Fcpug Super Meet Up at Nab Tuesday night via Twitter (and posting some of the best tweets below), David Leitner, d.p. and editor who is reporting for us from the conference, was in the room. I got him on the phone as he left the presentation, and in this audio interview he talks about native editing, the changes in the Ui, the “magic” of Apple, the price, the shortcuts built into the app, the new capabilities of the timeline, the color matching, the Os requirements and more… He even managed to get some quotes (of sorts) from Apple’s Phil Schiller and, if you read the tea leaves here, you can speculate on the future direction of this new iteration of the program.
Key quote: “It’s $299, you download it from the app store,...
Key quote: “It’s $299, you download it from the app store,...
- 4/13/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
“Something as revolutionary as the first version of Final Cut Pro when introduced in 1999.” That’s how the new version of Apple’s editing software was announced at the Final Cut Pro User Group Super Meet Up at Nab tonight. The new version of Fcp has been hinted at for months, and after several prominent editors were shown a demo — and made to sign Nda’s that apparently only allowed them to leak words like “awesome” — the post production community has been awaiting its official unveiling. Many thought it would appear this summer alongside the release of the new Os, Lion, but days before Nab Apple took over the Fcpug Super Meet Up, booting all scheduled presenters and personalities (including Kevin Smith) for what became the hottest invite at the conference.
So, what’s new in Fcp 10? Here are some notes, reactions and a few raves from the event as they’ve streamed invia Twitter.
So, what’s new in Fcp 10? Here are some notes, reactions and a few raves from the event as they’ve streamed invia Twitter.
- 4/13/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Okay, I’m not on the road to Nab… but David Leitner is, and he’ll be filing reports from the conference here at Filmmaker. Look for his pieces beginning tomorrow or Monday. There are other sites to follow as well. Koo will be attending Nab for the first time and posting interviews, write-ups and news over at No Film School. Phillip Bloom will be attending as wIll Vincent Laforet. For many, the big news will be (the rumored) announcement by Apple of the new Final Cut Pro. If you’re not following all the tech blogs, here’s the low-down: at the last minute, Apple has reportedly taken over the Final Cut Pro User Group Supermeet , booting out already-booked presenters (including Kevin Smith), and commandeering the event for itself. The reason? Again, if all this is true, it must be to premiere the long-awaited Final Cut for this group of professional editors.
- 4/10/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Spring, 1996. It’s so strange now to look back at a piece in this issue by David Leitner on the new digital camera technology and read this bit of breaking news: 1996 will witness the inauguration of prerecorded films on CD-sized Digital Versatile Disks or “DVDs” (you and I will call them Digital Video Disks). DVDs not only doom VHS but also CD-ROMs as we know them for the mere reason that single-sided DVDs store 8.5 gigabytes compared to the puny 680 megabytes of CDs while manufacturing costs are the same. Also in this issue was filmmaker John Landis (yes, that John Landis) interviewing James Mangold. At the time, Mangold had a small, character-based indie, Heavy, at Sundance. This summer, of course, he’s at...
- 8/17/2010
- by Scott Macaulay
- Filmmaker Magazine - Blog
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