Digital Video - April 2008 - (Page 12) DV UPDATE NAB PREVIEW / SHORTS with the SD past in mind or in an alliance-free vacuum does so at their own peril, overcompensating on selected issues while ignoring others that may prove vital to their integration into the ever-evolving workflow. “There’s a growing interdependency between the tooling end and the consumption end and everything in between,” Hayhurst says. “And it’s normal for an emerging, maturing industry. And if you are able to integrate across that interdependency chain, then good things happen.” “Because everything begins with acquisition, Red has potential partners along the entire workflow,” says Schilowitz. “Anybody downstream from that is a potential partner, and anybody interested in partnering with us is of interest.” And, as he explains, not only do all companies have to be open to partnership in order to succeed, but users must as well. “It’s the cross-pollination of ideas and capabilities that drive things.” In addition to this growing web of tech, the cost-to-capability ratio is continuing its favorable direction and the process of digital content creation increasingly democratized by the accessibility of lower-cost, higher-quality tools. “I think this trend makes anybody interested in investing in HD very happy,” says Ott. “In regard to the EX1, one of the biggest problems we’ve had is people looking at it like it’s a $30,000 camera and they have to be reminded that it’s a $7,000 camera. The specs are up there.” “It’s wasn’t our intention, but we’ll take credit for helping to democratize the process,” says Red’s Schilowitz. “It’s not something we think about. We’re just trying to build a camera that doesn't have many restrictions and can be used for digital cinematography. The byproduct of all that — its capability, the price point, everything — is part of the shift we’re seeing in the market. We want to sell a lot of cameras, not just supply the rental houses. We wanted to make something everybody could access.” 12 dv april 2008 TURNERS SOLID ADDITIONS TO YOUR REFERENCE COLLECTION MAKING MUSIC VIDEOS: EVERYTHING YOU NEED TO KNOW FROM THE BEST IN THE BUSINESS By Lara M. Schwartz 224 pp. • $22.95 • Billboard Books • 978-0-8230-8368-8 Music videos remain a bit of a mystery. Producer-director Schwartz demystifies the their production process and includes info on all the necessary technical and managerial skills, tapping advice from 93 industry professionals, including ace directors Dave Meyers, Joseph Kahn, Roman Coppola, Mc G, Brett Ratner, Marc Webb and others. >PAGE SETTING UP YOUR SHOTS: GREAT CAMERA MOVES EVERY FILMMAKER SHOULD KNOW (2ND EDITION) By Jeremy Vineyard Illustrated by Jose Cruz 142 pp • $19.95 • Michael Wiese Productions • 13:0781932907421 This “widescreen” — as in horizontal format — tome is a quick-and-easy tutorial on the cinematic language. Supported by excellent storyboards, framing, camera movement and editing techniques are conceptualized simply, along with the emotional and psychological impact behind each choice. A wide variety of movies are cited as examples in this great reference for beginners and pros alike. CREATING MOTION GRAPHICS WITH AFTER EFFECTS (4TH EDITION) By Trish and Chris Meyer 704 pp • $64.95 • Focal Press • 978-0-240-81010-2 The digital duo of Trish and Chris Meyer, as expected, leave no graphical representation of a stone unturned in covering keyframes, motion paths, alpha channels, masks, stencils, 3-D space, paint tools, motion tracking and many more CS3 features with plenty of tips, advice and step-by-step how-tos. The included DVD-ROM features bonus chapters. The loaded book may seem daunting at first, but the Meyers make even the most complicated motion path with changing depth of field seem easy. — Douglas Bankston www.dv.com http://www.dv.com
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