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	<title>Below the Line &#187; Gear</title>
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		<title>OConnor Accessories Help Richard Ladkani Achieve a Cinematic Look</title>
		<link>http://www.btlnews.com/crafts/camera/oconnor-accessories-help-richard-ladkani-achieve-a-cinematic-look/</link>
		<comments>http://www.btlnews.com/crafts/camera/oconnor-accessories-help-richard-ladkani-achieve-a-cinematic-look/#comments</comments>
		<pubDate>Tue, 08 May 2012 15:56:32 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Camera]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27956</guid>
		<description><![CDATA[While filming his documentary <em>Gas Monopoly</em>, Austrian director and cinematographer <strong>Richard Ladkani</strong> combined the <strong>Sony</strong> PMW-F3 with accessories from <strong>OConnor</strong> to achieve a special cinematic look. The project was technically daring and consequently a challenge for the experienced cinematographer.]]></description>
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		<title>Adobe Creative Suite 6 Now Available</title>
		<link>http://www.btlnews.com/crafts/post-production/adobe-creative-suite-6-now-available/</link>
		<comments>http://www.btlnews.com/crafts/post-production/adobe-creative-suite-6-now-available/#comments</comments>
		<pubDate>Tue, 08 May 2012 15:55:22 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Visual FX]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27970</guid>
		<description><![CDATA[<strong>Adobe Systems</strong> announced the immediate availability of Adobe Creative Suite 6 software. The CS6 product line includes new releases of Photoshop, InDesign, lllustrator, Dreamweaver, Adobe Premiere Pro, After Effects, Flash Professional and other products as well as four suite versions – Creative Suite 6 Design &#38; Web Premium; Creative Suite 6 Design Standard; Creative Suite 6 Production Premium; and Creative Suite 6 Master Collection.]]></description>
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		<title>Blackmagic Design to Host LA Blackmagic Roadshow on May 16</title>
		<link>http://www.btlnews.com/crafts/post-production/blackmagic-design-to-host-la-blackmagic-roadshow-on-may-16/</link>
		<comments>http://www.btlnews.com/crafts/post-production/blackmagic-design-to-host-la-blackmagic-roadshow-on-may-16/#comments</comments>
		<pubDate>Wed, 02 May 2012 15:56:31 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Camera]]></category>
		<category><![CDATA[Events]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Visual FX]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27826</guid>
		<description><![CDATA[<strong>Blackmagic Design</strong> will host the Blackmagic Roadshow in Los Angeles on May 16. The event will be held at the Burbank Airport Marriott from 11:00 a.m. to 7:00 p.m. and will include Blackmagic Design's complete range of products for broadcast, postproduction and live events, as well as presentations by Blackmagic Design partners and renowned editors and color artists, as well as a keynote presentation by <strong>DigitalFilm Tree</strong>'s CEO, <strong>Ramy Katrib</strong>.]]></description>
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		<title>Litepanels Introduces Inca Series Tungsten Balanced LED Fresnels</title>
		<link>http://www.btlnews.com/crafts/camera/litepanels-introduces-inca-series-tungsten-balanced-led-fresnels/</link>
		<comments>http://www.btlnews.com/crafts/camera/litepanels-introduces-inca-series-tungsten-balanced-led-fresnels/#comments</comments>
		<pubDate>Tue, 01 May 2012 15:48:58 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Camera]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27799</guid>
		<description><![CDATA[<strong>Litepanels</strong> recently introduced its Inca Series tungsten balanced LED Fresnel fixtures. The new Inca LED lighting fixtures derive their name from the “incandescent” lighting fixtures they replace. Inca Fresnels incorporate LEDs that are color-matched to the incandescent tungsten halogen lighting fixtures still in use in many television stations and teleproduction facilities. The Inca Series makes it possible for a studio to change over from incandescent to LED fixtures in a staged, multi-year plan, rather than having to do so all at once.]]></description>
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		<title>David Ruddick Relies on Sound Devices to Capture Audio for War Elephants</title>
		<link>http://www.btlnews.com/news/david-ruddick-relies-on-sound-devices-to-capture-audio-for-war-elephants/</link>
		<comments>http://www.btlnews.com/news/david-ruddick-relies-on-sound-devices-to-capture-audio-for-war-elephants/#comments</comments>
		<pubDate>Fri, 27 Apr 2012 15:57:42 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Sound]]></category>
		<category><![CDATA[Television]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27713</guid>
		<description><![CDATA[When sound engineer <strong>David Ruddick</strong> was presented with the challenge of finding portable audio gear that would hold up in the rugged terrain and extreme climate of Mozambique's Gorongosa National Park for an upcoming <strong>National Geographic </strong>elephant documentary, he turned to<strong> Sound Devices</strong>’ 552 Production Mixer.]]></description>
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		<title>Sachtler SOOM Supports Burn</title>
		<link>http://www.btlnews.com/crafts/camera/sachtler-soom-supports-burn/</link>
		<comments>http://www.btlnews.com/crafts/camera/sachtler-soom-supports-burn/#comments</comments>
		<pubDate>Thu, 26 Apr 2012 15:57:06 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Camera]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27691</guid>
		<description><![CDATA[Filmmakers <strong>Tom Putnam</strong> and <strong>Brenna Sanchez</strong> have chosen the highly adaptable SOOM XL tripod system from <strong>Sachtler</strong> (part of <strong>Vitec Videocom</strong>) for their feature documentary <em>Burn</em>. The project focuses on a year in the life of Detroit, as seen through the eyes of its firefighters. The documentary was executive produced by <strong>Denis Leary</strong> and partner <strong>Jim Serpico</strong> and produced by Putnam and Sanchez.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>NAB Report: Bits and Bytes</title>
		<link>http://www.btlnews.com/crafts/post-production/nab-report-bits-and-bytes/</link>
		<comments>http://www.btlnews.com/crafts/post-production/nab-report-bits-and-bytes/#comments</comments>
		<pubDate>Wed, 25 Apr 2012 16:00:24 +0000</pubDate>
		<dc:creator>Phil Rhodes</dc:creator>
				<category><![CDATA[Commercials]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Television]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27625</guid>
		<description><![CDATA[It seemed like a good idea to sign off our NAB 2012 coverage with a mention of the big splash, a major new release, something exciting – but although the exhibition seemed refreshingly, almost comfortingly replete with new stuff, it’s actually quite hard to pick out a shining example.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>NAB Report: 4K Production Comes of Age</title>
		<link>http://www.btlnews.com/crafts/post-production/nab-report-4k-production-comes-of-age/</link>
		<comments>http://www.btlnews.com/crafts/post-production/nab-report-4k-production-comes-of-age/#comments</comments>
		<pubDate>Mon, 23 Apr 2012 15:59:28 +0000</pubDate>
		<dc:creator>Phil Rhodes</dc:creator>
				<category><![CDATA[Camera]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Television]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27492</guid>
		<description><![CDATA[I recently read an opinion – by a member of the <strong>ASC</strong>, no less – that while 4K images on 4K displays looked stunning, that degree of sharpness wouldn’t necessarily be popular among actors, especially actors who are, shall we say, not in their early twenties anymore. Personally, I think the increased availability of 4K acquisition is great, if only because big sensors allow oversampling, and oversampling allows problems like noise to be greatly minimized, regardless of how much of that sharpness you actually allow to emerge in the final image.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Filmworkers Grades Revenge of the Great Camera Shootout</title>
		<link>http://www.btlnews.com/crafts/post-production/filmworkers-grades-revenge-of-the-great-camera-shootout/</link>
		<comments>http://www.btlnews.com/crafts/post-production/filmworkers-grades-revenge-of-the-great-camera-shootout/#comments</comments>
		<pubDate>Thu, 19 Apr 2012 15:59:33 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Camera]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27427</guid>
		<description><![CDATA[Chicago-based <strong>Filmworkers</strong> recently took part in a unique event testing the performance of the current generation of digital motion picture cameras, from leading edge camera systems used to shoot Hollywood blockbusters to the humble iPhone. <em>Revenge of the Great Camera Shootout</em> was produced by camera dealer <strong>Zacuto</strong> and crane manufacturer <strong>Kessler Cranes</strong>. Like similar events produced by Zacuto in the past, <em>RGCSO</em> features side-by-side tests of camera systems made by <strong>Sony</strong>, <strong>Arri</strong>, <strong>Red</strong>, <strong>Canon</strong>, <strong>Panasonic</strong> and <strong>Apple</strong>. Filmworkers provided color grading services necessary to make direct comparisons between the output of the cameras. Grading was performed by colorist <strong>Jimmy Cardenas</strong> with additional grading by colorist <strong>Brian “Crash” Carlucci</strong>.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Colorworks Helps Develop F65 Workflows</title>
		<link>http://www.btlnews.com/crafts/post-production/colorworks-helps-develop-f65-workflows/</link>
		<comments>http://www.btlnews.com/crafts/post-production/colorworks-helps-develop-f65-workflows/#comments</comments>
		<pubDate>Thu, 19 Apr 2012 15:59:21 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Camera]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27438</guid>
		<description><![CDATA[<strong>Colorworks</strong>, <strong>Sony Pictures Entertainment</strong>’s digital intermediate facility, is currently working with several service providers to offer efficient 4K workflow support for Sony’s new F65 CineAlta digital motion picture camera.]]></description>
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