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Tools

Slugline. Simple, elegant screenwriting.

Red Giant Color Suite, with Magic Bullet Looks 2.5 and Colorista II

Needables
  • Sony Alpha a7S Compact Interchangeable Lens Digital Camera
    Sony Alpha a7S Compact Interchangeable Lens Digital Camera
    Sony
  • Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic
  • TASCAM DR-100mkII 2-Channel Portable Digital Recorder
    TASCAM DR-100mkII 2-Channel Portable Digital Recorder
    TASCAM
  • The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    by Stu Maschwitz

Entries in Arri (2)

Saturday
Sep142013

ARRI Amira

ARRI knows how to make the perfect camera for right now, instead of an imperfect camera for the future.

No one should care about the “in-camera grading.” But everyone should care about 200 fps of “ALEXA image quality” on a camera designed to be used by humans.

Yep.

Wednesday
May232012

I'm Back

Sorry for the long radio silence. Here’s what I’ve been up to.

In early April I traveled to Montreal to direct a Canadian Lysol commercial for Euro RSCG NY. If you live in Canada and have tried to view a web video recently, you may have already been forced to watch it. When I get my director’s cut done, I’ll post it. We shot on the Alexa, and it marked my first opportunity to direct for Bodega, a production company run by some old friends with whom I’m delighted to be working.

I then flew directly to Toronto to help my friend Scott Stewart with a very exciting new project. Scott was invited to direct the pilot of a new Syfy series called Defiance. The show, developed simultaneously with a Massively Multiplayer Online game from Trion Worlds, was so enormous in scope that Scott lobbied for me to be brought on as “Additional Units Producer.” Terminology in TV is a little different than in features, but the role was very similar to my second unit directing duties on The Spirit. For just over four weeks I shadowed Scott with my mini “splinter unit” crew, picking up inserts and sometimes even entire scenes of this epic show. Scott and his cinematographer Attila Szalay chose the Epic for the pilot, although one of our three camera bodies was a Scarlet. We almost never cared which was which. I met some amazing new friends, learned a ton, and, as you may have noticed, didn’t have much time for Twitter or blogging.

My sudden streak of back-to-back work overlapped with NAB and its aftermath, leaving some to speculate that my silence on certain camera and other filmmaking tech announcements held some portent. People were drawing all sorts of conclusions, none of which were true. Maybe I was testing a new camera and sworn to secrecy? Maybe I was snubbing certain tech intentionally?

The only accurate conclusion, and the one that seemed most obvious to me, was one at which no one arrived:

This is not a camera blog.

There are plenty of wonderful blogs out there that exhaustively and reliably cover every new camera, every new piece of filmmaking tech. You read them every day, and so do I. We can all be grateful for them. But I hope you see a difference between those sites and this one.

This difference must not be as obvious to some as it is to me. I’m always amused when I receive a kind message to the effect of “I can’t wait for you to review this new camera!” Looking back through the archives, I don’t believe I’ve ever “reviewed” a camera.

I do write a lot about cameras. I also write about screenwriting, post-production, and other filmmaking things. Sometimes I write about tasty beverages. This blog is not my work. It’s a reflection of my work. It’s me learning out loud. And I’m always thrilled and honored when you enjoy it.