YouTube superstar.Posted: February 3, 2011
Eric McGinty is one of my oldest friends. I’ve played drums for him in the Exhibit(s) for years, and he wrote music for both my feature films and Chuck’s short Reciprocity.
Over the last few months, Eric’s turned into something of a YouTube superstar. His impromptu “What It’s Really Like to Work in a Music Store” series of videos has passed half a million total views at this point.
Check out Eric’s YouTube Channel (“Mostly Harmless”) for even more day job hilarity.
Watched on February 1…
Superman II: The Richard Donner Cut. I appreciate that this cut of Superman II exists. And it includes a great image of Lois Lane wearing Superman’s famous blue Super shirt post-coitus. And the John Williams theme still rocks, of course. But this cut of SII has its own problems, maybe more problems than the original theatrical cut. The Donner Cut also features many newly created special effects shots, and several of those shots look crappy and computer-generated and totally out of place in a movie originally released in 1981.
If you’re wondering why anyone would want a Richard Donner cut of Superman II… well, that’s a long story. This Wikipedia entry explains it much better than I could.
Remember that great Social Network behind-the-scenes doc I told you about? Looks like you can now watch it online. For free. Sometimes these internets are all right.
Hmm. If I’m reading this right, Cine Lab is doing 16mm processing and HD transfer for 40 cents per foot. That’s probably about half what I paid for processing and transfer on Interplanetary. But it’s still expensive. And, even after you spend all that money shooting on actual film, most people who watch your movie will assume you shot on digital anyway.
Here’s a nice video about Roger Deakins’s excellent True Grit cinematography.
Stacey sent me a link to this video that compares footage from Canon’s 7D and 5D Mark II cameras, specifically how the size of each camera’s sensor (the 5D is “full frame,” the 7D is the smaller “APS-C”) affects field-of-view for a given lens. For example, a 50mm lens on the 5D creates a “wider” image than the same lens on the 7D. The video compares lenses from 20mm all the way up to 100mm.
Stacey also found this iPhone 4 vs. Canon 7D video comparison. The iPhone shoots totally decent video, especially for a cellphone. But this comparison doesn’t point out all of the problems with using an iPhone for serious videography… no 24 fps mode, no 60 fps mode for in-camera slow motion, no 1080p, no optical zoom lens, no depth-of-field control, and “rolling shutter” problems even more pronounced than on the 7D.
All those shortcomings aren’t stopping some folks from shooting a web series using only iPhones and iPod Touches. (via Stu)
How wide can you go? With this 8-16mm zoom lens, I expect the answer is “pretty damn wide.” (Also via Stacey)
“Successful reality competition shows rely on two major components: unique challenges and talented competitors.” Having seen the first episode of SyFy’s Face Off, I would argue that its challenges are impractical and its competitors are annoying egomaniacs. But maybe “annoying egomaniac” is a requirement for all reality competition show applicants. I didn’t like the Face Off hostess, either.