editing

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1. Save on food
   Budget properly for catering. The more so if your crew is underpaid. The more so, the longer the shoot is.
   Doesn’t cost much more, but does wonders for crew morale.
2. 16 hour days, 5 days a week
   Just because this film is the No.1 priority for you, doesn’t mean it is for everyone else on set. Not only does the crew have a right to a life as well, and not only do they need to be able to work on their next film, but overworking the crew makes you liable for accidents that may - and eventuall will - happen.
   If all these arguments don’t count: My experience is that 6 days with 16 hours are not more productive than 5 days with 10 hours.
3. Concentrate on the money shots
   While nice for marketing and your show-reel, the audience will only sit through your film if it is good in its entity, not just some scenes.
4. Who needs a DP - I can buy a camera instead?
   An experienced cameraman will free you to concentrate on telling the story by giving your actors good instructions. An experienced cameraman will speed up the production by knowing what to shoot, what will work visually, which lenses to use, which stock to use, and many more things that you have never heard of.

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There is a new(ish) blog for assistant editors, aptly named Post Production Standards.

Take a look here.

Neon Bible is an exciting example of an interactive music video. Simplicity should not be confused with Quick To Do.
(via)

Nice French example of what can be done in post production.http://www.youtube.com/watch?v=v4oTzOiCEpM[/youtub e](via)

If you are the happy owner of Sony’s DVcam workhorse, the DSR-11 VCR, and you find yourself having to output your project with a specific timecode, you no longer have to despair. Here’s a step-by-step instruction on how to get your Final Cut Pro project onto tape:

1. Download Simple Video Out from Apple (free).
2. In your DSR-11 menu, change the DV in TC setting to External
3. Change the TC setting in your project according to your requirements. (Say your programme is to start at 10:00:00:00 and you want 2 minutes of black, bars and info in front of it, right click on the sequence in the browser, chose Settings… click on the Timeline options tab, where you set the Starting Timecode to 09:58:00:00. Move the beginning of your film to 10:00:00:00 and fill the gap with bars, info, countdown and whatever you want to.)
4. Export your sequence as a QT file.
5. Open the newly created QT file from Simple Video Out.
6. Push record on your DSR-11.
7. Push play in Simple Video Out.
8. Make sure the DSR displays the TC, so you can check that everything is fine.

Enjoy!(Workflow derived from a tip by Shane Ross)

I am just watching a presentation about the Red camera, and here are some observations:

1. The sensor is Super35mm size.
2. The camera body is bigger than it looked like on the photographs. Definitely more than a PD170.
3. Camera is natively progressive. Interlacing can be achieved in post.
4. The digital shutter is programmable. Range up to 360 degrees.
5. ISO rating is between 320 and 500.
6. Camera takes standard V-mount batteries. 90-120 minutes operating time per battery (Red Brick).
7. PL mount, takes any professional lens with a PL mount. Red also makes their own lenses, very aggressively priced. When using S16 lenses, you are limited to 2k resolution.
8. The camera takes 52 seconds to boot. I would imagine this to come down on future firmware upgrades.
9. Camera design is modular. Not only externally, but also within. Which means that when Red comes up with a better sensor, you don’t have to buy a new camera, you just swap out the chip.
10. Join the queue. If you order a camera today, you will get it in about 9 month’s time.
11. Not all feature are yet activated. No sound yet. Wait for a future firmware update. Will have 4 channels.
12. 100 fps @ 2k resolution. Mouth-watering!
13. 2gb per 1 minute of 4k resolution. Which is only 10 times that of DV. Again: impressive.
14. Soon you can edit (in 1k resolution) your 4k material on FCP. In reality this means you can edit straight from the Red media on your laptop.
15. The ProRes codec is so good, no reason ever to use 8- or 10-bit uncompressed.
16. Upcoming feature: Histogram in the viewfinder. This will be great for location shooting.
17. Shooting with the Red camera is closer to shooting film than to shooting HD/video. You don’t expose for a pretty picture, but to get as much detail out of the picture as possible - to keep the option open in post production. This is comparable to shooting in RAW mode on a digital SLR camera.
18. Camera has also a “False Colo(u)r mode�, which shows you clipping that would occur at the current T-stop setting.
19. The software to transfer the video data to your editing system is - at this point - Intel Mac only. But soon they will have a more elegant version out, which will run both on Mac and PC.
20. Scratch, a high-end programme for Color Correction is directly supporting RedCode Raw. Color Grading in real time, with 1k or 2k preview.
21. The Mill (Oscar winning post production company) compared side-by-side 35mm and Red 4K, and were blown away.
22. Red is a disruptive technology. Many people do not want this camera to work.
23. Red reminds one of the early Apple. People working there seem to actually have fun creating something new.
24. At least 5 major feature films are currently shooting with Red cameras.
25. The Red camera in hand-held mode weighs about 18 pounds (9 kilos).
26. The EVF is not yet ready.
27. The Red Camera is a passion product.
28. Why is the camera so cheap? They aim for quality and volume.