Cut|Color|Post

excerpts, quips, and musings on the production and post-production industry, and other stuff of interest

Try Before You Buy AJA CION

If you're interested in the AJA CION then you may be in luck. AJA is running a promotional program to push the camera into the hands of the production community. If you fill out a short questionnaire and submit that to AJA they'll determine if your project meets the criteria for them to loan you a camera (and some corresponding gear) for your shoot. 

Ready to try the CION production camera on your own shoot?

Simply fill out the form below to start the application process. Your application will be reviewed by AJA, and if approved, you’ll be notified when to expect delivery of your loaner CION camera and associated accessories. We will begin the approval process soon!

Once you receive your CION camera you’ll be able to see for yourself the cinematic, film-like quality of CION.

Please note that the #TryCION program is currently available in North America only. Be sure to read the details of the program at the bottom of this page.

You can check out AJA #TRYCION program here.

Moving From FCP to PPro

Meagan Keane of Adobe interviews editor, Andrea B. Scott, on the 2015 Sundance Film Festival documentary "Fresh Dressed"

Adobe: Which features of Adobe Premiere Pro CC were most useful?

Scott: Certain aspects of working within the timeline are much easier than with Final Cut Pro. Even small things are really nice, like the ability to hoverscrub through the footage. Another helpful feature of working with Premiere Pro CC is its ability to work with different codecs in the timeline, without worrying about transcoding.

I'll continue to say it: all modern NLE's are capable of producing high-quality content for broadcast television or film. Apple Final Cut Pro X, Adobe Premiere Pro CC, and Avid Media Composer all have the ability to cut your story and cut it well. The difference is in the user and which product makes the most sense for a given workflow. Stop the nonsense about whether not NLE is faster than that NLE, or if <fill in the blank> NLE is "pro"...they are all capable choices in the hands of the right person.


Arri Alexa Mini Announced

What an unfamiliar sensation to write the words “lightweight” and “ARRI” in the same headline. But here it is: Camera manufacturer ARRI just surprised us with the announcement of a new cinema camera: The ARRI ALEXA Mini. A small and lightweight, carbon fibre version of their hugely popular ARRI ALEXA cinema camera.

This camera from Arri will finish off what was left of RED in Hollywood. The previous case for RED was the ability to fly their camera body on a variety of drones, jibs, and rigs. Now if a director is shooting on Alexas or Amiras (and who isn't in Hollywood?) and need to get a mobile shot or into a tight space they're going to grab the Mini, not the RED.

Further irony that this Arri announcement came on the heels of RED's Weapon camera upgrade announcement. I doubt that's a coincidence.

TIP: ShotOnWhat is a great resource if you're curious about what camera was used on a given movie.


You've Gotta Train People to Look at Things

This is a good way to spend your next 30 minutes. Cinematographers Geoff Boyle, Rodney Charters, and Bill Bennett talking about 4K, 3D, VR, lighting, and learning to see.

Blackmagic Firmware Brings All Flavors of ProRes to Cameras

Blackmagic has followed through with their promise for regular updates, announcing firmware version 1.8.2 bringing all flavours of Apple ProRes 422 to their current cameras.

Head over to Blackmagic and download the latest firmware for your camera.