He is one of the only reasons I was even able to get this movie made and released. We were a bunch of hard-working nobodies, doing our best to follow step by step the tried and true Hollywood feature film production method that we had learned through a very tried and true Hollywood producer.Īnd we did it. We followed everything he said to an absolute tee. I had been lucky enough before starting the pre-production process on the film to talk to a very reputable producer about what it takes to produce a feature film and all the steps you need to go through to get it done. Our only ACE in the hole at the moment was, regardless of our severe lack of credits, we were hard workers and we knew what we were doing. Our producer, Tommy Anderson, was a man studying business and planning on becoming an accountant. Our leading man Nathan Manriquez was working at a shipping company in rural Colorado while studying acting on the side through Zoom lessons and a book he had purchased on Stanislavsky. Richards, was a man with zero film or short film credits to his name, but he was a hard worker. Our criteria was not based on credits like most independent films, but rather based on hard work, drive, and tenacity. Tommy and I then began to fill out our cast and crew. I called my friend Tommy who was studying business at a different college a couple of miles away. I decided at that very moment that I was going to see this thing through to the bitter end. It had heart, it had a great soundtrack, and most importantly it was something that I could make on an extremely low budget. Instead, it was a simple, almost French New Wave-esque hang-out movie about two friends with terminal brain cancer coming to terms with death whilst also going on a massive bender in their final week alive. There weren't any big explosions or parts written for big actors. What’s important was that it was the first feature film I had written that, at that moment in time, I could even plausibly make. The scene itself is something beautiful, poetic, and a perfect ending to the film. I sit in my dorm freshman year feverishly typing away at my computer, putting the finishing touches on the second feature film I had ever written. ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro, and Avid Media Composer, along with a collection of other applications including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight, and Grass Valley Edius" Manageable file sizes speed up and simplify file transfer, media management, and archiving. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. " ProRes RAW continues to build momentum in 2021 with over 30 cameras supported by Atomos, cementing its position as the industry standard for RAW video capture. Here's what Atomos is saying about the new update, the as-expected compatibility you can expect, and what this update can do for you. The ProRes RAW addition only adds to the seemingly limitless possibilities of consumer-grade cameras and what creators can do now. The Ninja V+ had the ability to record up to 8K 30p RAW, 4K 120p, and a H.265 10-bit 4:2:2 codec, yet ProRes RAW was something only teased. And while the new firmware update is great, it's made even more impactful due to the affordability of camera systems like the EOS R5 and what you're able to produce now. Let's look at what the update entails, and what this means for filmmakers as a whole.įresh off the recent release of the Ninja V+, Atomos has added 8K ProRes RAW recording capabilities to an already expansive tool for shooters. Atomos has officially released the firmware update designed to work with the Canon EOS R5 it originally teased back at the start of this year. If you're a fan of the current Canon lineup, today is probably a really good day for you.
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