Jared Kasanofsky: Cinematographer, director and producer in Croton-on-Hudson, New York.

I use After Effects for everything so learning it is a great idea!, just search getting started in After Effects on youtube and watch a few it took me a couple of weeks to get 100% confident and once you learn its ui you will find its extremely simple! :)

I was considering on offering a beginners course to cover all of the basic fundamentals of Adobe After Effects. Something that would get you familiar with the layout of the program all the way up to tracking and green screen techniques. All in one place where those interested in learning the program can do so at their own pace all in one place.

Anything to show? Followed from awhile back. Learned anything you would like to share?

There is a Hudson Valley filmakers, etc. meetup group in New Paltz (Thruway Exit 18). http://www.meetup.com/Hudson-Valley-Film-Production-Cast-Crew-and-Acting/

I'm going to try holding one for location and post audio-production, in Kingston, NY if that's of interest: https://www.stage32.com/meetups/48/Hudson-Valley-Voice-Up

Note: I believe Barnes & Noble is in the Town of Ulster, just north of Kingston, not in Kingston proper.

Thanks for sharing the article it was a great read.

Very true, Darren. Although they are extremely appreciated and incredibly skilled. :)

In the industry they are gold. I'm proud to say that my brother DoP'd my first feature.

And agree with Mike again! I/we decided long ago NOT to make a camera purchase (other than the aforementioned GH2s) simply because the technology is ever changing. Gone are the days when you could buy an Arri 35-3 (for MOS work) and an Arri 435 or 535 and never need any other camera - ever! Of course you'd be spending a half-million on a couple of those, so their was always that consideration ;) What you buy today is going to be outdated before you have it paid off in most cases. We saw that with the RED One when it first came out here in this area (SF Bay). I have lots of friends and know of a lot more who put out a significant chunk of money for that camera thinking they were going to rent it out (along with themselves as a DP) only to find that there were so many of them in the area, they couldn't really get much of a return on their purchase. Then of course the camera went through some pretty significant changes, so they had to constantly purchase "newer/better/faster" in order to keep up. It ended up driving many either broke or just to cut their losses and sell their rigs. So in my humble opinion, you are MUCH better off to either just rent the gear (assuming you are living in an area that has a lot of film production activity) or buy smart - get yourself some REAL cine-lenses for one. That typically means PL mount lenses (or Arri BL and/or Panavision mounts, but few newer cameras use these, so be very careful here), particularly if you are going to be going the used route. PL mount lenses are ONLY designed for one thing: Making films. The great thing about these lenses too is that they really hold their value (which is good and bad I guess in that they are still expensive on the used market). Most very old lenses, if handled and cared for properly, will outlive you and I and our grand-kids (and theirs). I have some fabulous lenses I have purchased on eBay over many years that I could sell tomorrow for at least what I paid for them, if not more. I have a Cooke Panchro 20-60, a Angenieux 25-250 (yes, it's a MONSTER) a Variogen 20-40 and a nice collection of primes that I wouldn't sell for pretty much any amount of money, unless I get out of this business all together. All were bought at a SIGNIFICANT discount on eBay, (oh, I did purchase a pretty incredible Century Optics 14mm prime that I use WAY more than I ever thought I would, from a guy on Craigslist). Right now too you can get some really incredible deals on lighting gear as many shops are starting to equip their trucks with more and more LED lighting. Maybe build your own Kino Flos (they are just so ridiculously expensive, but you can't really shoot a film without them). Pretty much everything else though makes sense to just rent unless you have a place to keep it all (we live on a boat, and our one storage unit is stuffed to the gills with other equipment). But buying a camera that will be obsolete in a couple years? Let someone ELSE buy it and you just rent it out... Always nice to have something small and simple like that GH2 (or better yet the GH4 when it comes out) for those times when you are not wanting to get production insurance to rent a kit for a one-day pickup! Two cents worth again... Matt

Oh and yes, we have PL mount adapters for our GH2s. That Angie 25-250 looks pretty silly when attached to the camera body (the lens itself is probably pushing three feet in length and maybe 15-18 pounds!), but it works! I've never actually used the Angie on a project, to be honest, but it was dirt cheap - estate sale and it wasn't listed correctly on eBay, so I took a gamble...

And, the Canon c-series DO have a PL lens variant. If you want to go Canon and have some hope of lens longevity. All of this talks against an EOS upgrade and for rental while saving for a 'proper' body. I was at the Canon cinema launch in Toronto and have to say they were VERY impressive. and competitively priced to similar bodies. The c500PL (which is 4K / 10bit RAW) would be my choice except that I have a full complement of EOS lenses and even then, as pointed out, they are not really the best for video.

Beats lugging my arri sr2 gear and reloading film stock in a black bag. Not to mention cost of film stock and dev, telecine? Depends how you use it really. I have no problems with the size, shoot pretty steady. I also do the whole rig setup with all my cameras red one, 5d, regardless of how big or small the camera anyway? I like always using a tripod, Matt box, nd filters, follow focus, external battery. Makes no difference for me.

It's not for everyone. Either you like or not. But from the test images I've seen it's amazing for the size and price.

The battery life is disappointing, no optical viewfinder, the build in sound sucks. But, treat it like a s16mm film camera to shoot a movie, and it works for me. We always record sound separately anyway, plus I don't need to buy film stock, change mags and pay for processing and transfer just to view my dailies. If you're looking for a run and gun video/digital cam then look elsewhere. Get a Canon C 100/300/500 or something else instead.

Same here

Same here

If you like reading, keep an eye on Balls of Steel http://www.scriptmag.com/features/balls-of-steel-dear-new-screenwriter

The Children of Tendu for TV Writers.

Screen Craft and Blue Cat have podcasts. Start there.