» Posts Tagged ‘data’
Back Up Your Data from Evernote, Google Drive, Dropbox and Other Cloud-Based Apps with CloudHQ
If I haven’t mentioned it yet, I basically live my life through Evernote. I discovered it in late 2011 and it changed my workflow for not only taking notes, but my entire writing process. Organizing ideas has become a whole different game, one that for me has increased my productivity tenfold. If you met me at party, Evernote and my advocation of its use would undoubtedly end up in our conversation. With Evernote’s recent security scare, it made me realize: I don’t actually even have files on my computer anymore — they’re all in the cloud. Well, what if the cloud goes down? I scrambled to find a solution to create a redundant backup of my Evernote files (i.e. all the notes on a screenplay I’m writing, audio interviews, photo references, etc) and I discovered cloudHQ. More »
A month ago, when the Black List launched its new paid screenplay service to provide aspiring screenwriters with access to industry professionals, I had some concerns. After hearing Franklin Leonard discuss the service in more detail with John August and Craig Mazin on their ScriptNotes podcast, I was more encouraged, but still not sold 100%. More specifically, I voiced my hope that Leonard and his team at The Black List would not only share successes of the service, but would also provide statistics about the service that would provide aspiring screenwriters with data they could use to make informed decisions about paying for this new service. I’m happy to report that on the heels of sharing its first success story, The Black List has done almost exactly what I asked. More »
RAW 1080p is Coming with the Blackmagic Cinema Camera, but Can You Afford the Hard Drives?
By now many of you may be familiar with the Blackmagic Cinema Camera – it made a splash at this year’s NAB show in Las Vegas. There wasn’t a person I talked to that wasn’t excited to know more about this tiny little RAW-shooting 1080p camera. Thankfully, the camera shoots more than RAW video, as it can also shoot slightly compressed DNxHD and ProRes — but what if you do want to shoot RAW? Just like with DSLRs, most of the RAW video available in higher-end cameras is slightly compressed, as bitrates can exceed bandwidth. To keep costs down, the RAW in the BMCC is completely uncompressed RAW video, which means, you’re getting bit for bit everything that is coming out of the A/D convertor (which takes the information from the sensor and translates it into digital values). We’ve talked a bit about increased disk space requirements, but rarely about affordability. The trend for most technology is to get cheaper over the long term — but that’s not exactly happening with hard drives for a number of reasons. More »
Ever lost important footage because your backups failed, or maybe you didn’t back up at all? Well how about losing an entire feature film and a year’s worth of work? While this isn’t a new story, as it was featured in the special features on the DVD, the tale of the failed Toy Story 2 backup is fascinating. It just proves that even when you’re spending millions of dollars, a few mistakes can be disastrous. More »
Evan Luzi, who runs the camera assistant blog The Black and Blue (and who also wrote a guest post here on NFS), takes a look at the crucial but unheralded position of data wrangler. The data wrangler is the person on set who is responsible for making sure that what gets recorded on camera makes it back to the editor without any data loss or corruption. This is not an action-packed video, but if you might find yourself doing work in this position it’s a nice and informative behind-the-scenes commentary. There, I warned you: I don’t want to hear any comments of “this was boring!” Hmm, that wasn’t a very good front page teaser. Well, check it out anyway: More »
I love analytics, so it should no surprise that I find this project intriguing. Cinemetrics, a graduate project at the Royal Academy of Arts (KABK) by Frederic Brodbeck, captures an entire feature film and displays it as a moving, circular graph. Frederic describes the project as “an experiment to find out if the data that is inherent in the movie can be used to make something visible that otherwise would remain unnoticed,” and I find that to be the case. One observation: Steven Soderbergh’s remake of Tarkovsky’s Solaris is the rare remake that has less motion than the original. Here’s a video of Cinemetrics in action: More »
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