Visual Effects workers finally took to the streets in a protest march during the 2013 Academy Awards. But is their message clear?
At this moment I'm using my Ipad to write this blog, my Windows7 workstation at the office to finish and upload it, while I'm checking my mail on my Android phone. We have an internal Wiki, a second wiki for another company I'm partnering in, Shotgun for project management, Tara with a SQL server backend for automated tasks, an Access database for on-set data, expression media databases, a facebook page linked to our Twitter and Youtube accounts, an Exchange server for Outlook, three Dropbox accounts, a Yousendit account, our own ftp server, I'm on linked-in, Xing, vfxconnection, and I'm getting daily Google alerts on a dozen topics . It's exhausting.
But for some reason I still have the feeling I'm not getting the information I actually WANT or NEED.
How come that every cheapo 100-Dollar point-and-shoot digital still camera automatically records EXIF data (metadata) about lens size, F-Stop, etc., and I can put any autofocus lens on every 500-Dollar SLR camera out there, and it does the same, but the 20/50/180,000-Dollar (or the I'm-so-expensive-you-can-only-rent-me) digital film cameras don't have that?
Marc explains the difference between bluescreen and greenscreen (except for the obvious, that is). And why and how do you choose green over blue?
For our current film, Roland Emmerich's "Anonymous", we just finished up three days of camera testing with the ARRI Alexa prototype and the RED Mysterium X.