videoproduction

San Francisco, California, UNITED STATES


Joined November 12th 2011

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About Me
I run a media production company called BLARE Media along with my partner Justin McAleece. We specialize in video production and web design services in San Francisco, San Jose, Walnut Creek Sacramento, Fresno, Los Angeles, Las Vegas and Seattle.

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What is Cool About the EPIC Camera

April 6th 2012 18:27
The EPIC Camera is a hugely evolutionary and perhaps revolutionary step in the digital cinema camera world. RED took the best things about their original camera - put the specs on steroids - and the body on a diet - and kept it at a very reasonable price. For a base price of around $30K without a lens you can be up and shooting (although pretty stripped down). The camera is beautifully small, expandable and elegant. Now to the big 5:

Resolution - The Epic currently has the highest resolution recording availability of any player on the market. At 5K the Bayer sensor on the Epic has been highly optimized and provides a much better picture than the same sensor on the RED One MX. This high amount of resolution provides advanced capabilities to reframe, stabilize, hide noise and repurpose footage in post production. If you have never used an oversampled image in post than you really don't know what you have been missing. It's amazing to be able to have a Raw image that you can zoom into nearly 300% in post and still have enough detail for 1080p.

Dynamic Range - The Epic camera has all the detail in the world but if it can't handle contrasty situations then what is it worth? Fortunately for users the Epic has a built in Dynamic Range of about 13.5 stops. This doesn't quite do what film can do under certain situations but it certainly has brought it within striking distance. Under those situations where contrast is uncontrollable or it's not practical there is HDR-X. This is is truly revolutionary by the way it uses a simple concept in multiple exposures, and finds a way to mix everything together and approximate motion blur between the two streams to make a really organic feeling image.

Image Feel - This one will always be debatable but the images that you can get from the Epic camera have certainly excited a lot of people. According to John Schwartzman, Director of photography of The Amazing Spiderman "This is the best footage I have ever seen from any camera. Ever." The holy grail of film is how it deals with skin tones and many people believe that the Epic has finally found a way to give us the type of face reproductions that we've always been looking for in a digital camera.

RAW Flexibility in post - With the introduction of REDCODE nearly a decade ago the world was introduced to an amazingly robust 'raw' format that made extensive coloring and manipulation in post with very small file sizes a true reality. The latest versions of Redcode only improve on this and make the footage that more malleable and amazing.

Sensitivity - The RED One MX sensor helped to finally push the boundaries of what you could record with very low light on a cinema camera. Although 35mm film has continued to advance over its lifespan it has basically hit its limits with respect to sensitivity. This is far from true with digital sensors. The Epic gives its users the ability to take a fast lens set and finally shoot in actual candlelight. A thing that was once nearly unreachable and the thing of legend on films such as Barry Lyndon is now quite attainable and at very low noise levels. In fact the Epic can be reliably shot at ISO's of 2000 or higher with a very low grain image which opens up brand-new creative possibilities.

Resources:

EPIC Camera Rental

Video Production Contacts

Sacramento Video Production
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When it comes time to have a website designed and developed, it's easy to lose sight of the bigger picture - having a fully-functional, rich experience for your target audience. This is generally caused by paying too much attention to minute details in the design of a website. The aesthetic of a design is subjective; even then, it can be widely accepted yet fundamentally flawed when it comes what the site was developed to do in the first place. What follows is a simple list of what to do to make sure you can get the most out of what you paid for, by giving yourself and your development team the information to create the best website they can.

Number one: stay in constant contact with your development team. Yes, they most often create websites for a living, but they will have questions for you. They will need to know how you want things done so that there are not a lot of back-and-forth changes. You'll be able to help them to solidify the functionality of the website and ensure that it is exactly what you're looking for.

Number two: know that it's important to start with the basics. You need to decide what functionality is absolutely required, and what functionality is simply desired but not a necessity. This is when the design start being decided on. At this stage, the website designer(s) can easily mock up any pages that are required for the functionality of the website itself. It is not hard to design around a core that has been developed. It is significantly more difficult to create new functionality around a very specific design.

Number three: have a solid testing and debugging phase. Websites are complex beasts and no developer is perfect when it comes to eliminating bugs on their own. It's best to have a dedicated amount of time before the launch of your website to test and debug it. If you don't work with your team during the development of the website you will catch very few issues, and your target audience will more than likely discover many for you. If you allow yourself and your team to test the site out before making it public, the amount that your audience has to deal with will drop severely. In addition to this, it's a good idea to have a decently timed support phase in which the initial developers will help fix issues after the site has actually launched.

Number four: be flexible about how things work. There are many ways to get features implemented. Listen to your development team about what works best. They are professionals, and remember that you chose them to develop a product for you. Web development is not simple, but your team will go above and beyond for you if they know you are willing to listen to them.

Getting the most out of what you paid your web design team for is very easy if you follow the above rules. You want your website to be perfect, and your web development team will make it happen - but you have to keep in contact with them. You need to know what you really require your end product to do. Also, remember to have a solid testing and debugging phase. The most important of all of these rules is that you need to be flexible with your development team: allow their creativity to shine through by putting your trust in their ideas.

Fresno Website Design
Fresno Web Design
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We are living during an unprecedented time of options in the world of amateur and professional filmmaking. Prices, availability, options, and capabilities have been increasing at an unprecedented rate. There are many reasons for this but I think two main contributors are RED Digital Cinema and the emergence of DSLR's. There are many detractors of both but in terms of making amazing technological abilities available to the masses they have been instrumental. To literally be able to spend $1000 on a Canon, Nikon or Panasonic DSLR video production camera and have a viable movie making machine is something that was impossible even 3 years ago.

RED started in 2005 with a simple idea, to bring inexpensive, high quality cinema video cameras to the masses. With their second generation camera, the EPIC, they have by many critic's conclusions finally arrived at a camera that can actually rival 35mm film. With resolution exceeding that of S35, extended Dynamic Range provided by HDR-X and sensitivity that brings about shooting possibilities never reached by film, the EPIC has ushered in a whole new generation of filmmaking.

On the lower end, Canon with its 5DMkII camera and its full frame 35mm sensor has changed all the rules of what it takes to make a movie. In fact it has even been used on the Oscar nominated film 127 Hours. Despite their issues, these cameras have put the big guys in the industry on the hot-seat and made it very clear what they need to do to keep up in this democratized production environment.

SO… ON November 3rd 2011 there will be a huge announcement from both Canon and RED about their respective products. They may not be game-changers for major Hollywood studios but they will certainly have an impact on nearly every indie filmmaker on Earth. I know that sounds like hyperbole but the point is that if Scarlet or the new Canon camera is not the one you own it will still create waves in the rest of the industry and further push the price vs. performance envelope. It's a great time to be a filmmaker and it's a great time to be in video production.
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HMI Lighting

December 9th 2011 21:21
Lighting is everything! Whether it's natural sunlight, subdued ambience, perfect practicals or complex Hollywood style lighting, the image owes all of its power to light. An expensive but required type of light in most higher-end video production projects is HMI lighting. For pure lumen power, HMI's are hard to beat. They can be temperamental, flickery and a pain to move but when you need them there is no substitute.

HMI's come in many different types but the main differences come down to a few simple things. Ballasts. Newer, more expensive ballasts are electronic. Older, cheaper ballasts are magnetic. Electronic ballasts are lighter, more energy efficient and can be flicker-free which makes a big difference when using different frame rates. Magnetic ballasts are bigger, heavier, use more power and can lead to big issues when not shooting at 1/48 or 1/60 shutter speeds. The choice is simple if you have the money but magnetic ballasts can work just fine in certain situations


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Finding Hope Now Production

November 12th 2011 00:50
From May 25 to June 24 the employees of Red One Rental.net and BLARE Media were the video production department and equipment providers for the Full Length Feature "Finding Hope Now" This Digitally shot feature film was entirely recorded with the use of two RED One Cameras. Brothers Justin McAleece and Ian McAleece were the two camera operators and they had a lot of fun on the production. The movie starred Emmy Winning actor and all-around great guy Michael Badalucco and the Nickelodeon star and great up and coming actor Avan Jogia.

We shot the feature almost entirely at 250 ISO except in very specific situations where we had to turn up the sensitivity to 400 ISO which of course doesn't affect the actual sensitivity of the camera but only the metadata. We used Zeiss Super Speed lenses for the entire feature film except for a few situations when we needed fast zooming and movement and the RED 18-50 was a better choice. The 18mm Zeiss was used sparingly because of the characteristics of how it pans and tilts. The Director of Photography Shane Foster thought of it as more of a specialty lens and so he employed it sparingly. The 25mm, 35mm, 50mm and 85mm were used very often and we had a lot of times when Ian would shoot coverage with the 85 and I would shoot the master with the 25 or 35. We got a lot of extra shots this way that never would have happened if we had only one camera


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The Future is going to be EPIC

November 12th 2011 00:34
A STAR IS BORN

The Epic camera by the Red Digital Cinema company has become the latest star that producers attach to their production to show others how great it will be. When before have so many high profile productions that haven't even started shooting yet, formally announce what camera they will be using… before it even exists. And these aren't small art house films. These are huge Hollywood investments like Spiderman 4 and the 2 part Hobbit series. Quite simply the Epic will change the way movies are made. Now this might sound like the same type of hyperbole that tech nerds spouted at every turn of the HD revolution, but this time it's different. This time it's in 3D. After many failed attempts throughout the history of cinema, for better or for worse, 3D is finally here to stay, and this is the camera it will be shot on


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