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<!--Generated by Squarespace Site Server v5.11.81 (http://www.squarespace.com/) on Sun, 27 May 2012 21:39:12 GMT--><feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/"><title>Home</title><subtitle>Home</subtitle><id>http://chrisfenwick.com/home/</id><link rel="alternate" type="application/xhtml+xml" href="http://chrisfenwick.com/home/"/><link rel="self" type="application/atom+xml" href="http://chrisfenwick.com/home/atom.xml"/><updated>2012-05-18T00:47:31Z</updated><generator uri="http://www.squarespace.com/" version="Squarespace Site Server v5.11.81 (http://www.squarespace.com/)">Squarespace</generator><entry><title>Swimming in ice would be cold.</title><category term="Inspirational"/><category term="Opinion"/><category term="Slow Motion"/><id>http://chrisfenwick.com/home/2012/5/17/swimming-in-ice-would-be-cold.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/5/17/swimming-in-ice-would-be-cold.html"/><author><name>Chris Fenwick</name></author><published>2012-05-18T00:43:31Z</published><updated>2012-05-18T00:43:31Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><iframe src="http://player.vimeo.com/video/41691268?title=0&amp;byline=0&amp;portrait=0" width="640" height="360" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<div>I&#8217;m a HUGE Jason Wingrove fan. This is his latest Vimeo release and although I would NEVER participate in this sort of thing, Jason captures the exhuberance of what it means to belong to the Bondi Iceberg club. After all, we as humans have a fundamental need to &#8220;belong&#8221; to something. According to the dialog in another one of Jason&#8217;s pieces, to join the Icebergs it is a 5 year commitment to being there, in the pool, 3 Sundays a month from May to September I believe. You should really check out the rest of Jason&#8217;s work on his <a href="https://vimeo.com/wingrove">Vimeo Channel</a>.</div>
]]></content></entry><entry><title>What really happened. - Incident on Marmont Ave.</title><category term="5DMK3"/><category term="Inspirational"/><category term="Opinion"/><id>http://chrisfenwick.com/home/2012/5/15/what-really-happened-incident-on-marmont-ave.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/5/15/what-really-happened-incident-on-marmont-ave.html"/><author><name>Chris Fenwick</name></author><published>2012-05-15T16:36:47Z</published><updated>2012-05-15T16:36:47Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p>If you haven&#8217;t watched the short <a href="http://vimeo.com/40762760">&#8220;Incident on Marmont Ave.&#8221;</a> You really should before you read this post.</p>
<p>Back when I was in high school in the late 70&#8217;s and early 80&#8217;s there was a group of friends that used to hang out together. One friday night several of us met up to go out and do something and we were looking for Tracy. Being way before kids had mobile phones like today we called Tracy&#8217;s dad and he said she was baby sitting in the Belmont Hills. He gave us the phone number and we called up to the house. Tracy answered and told us the kid had gone to sleep and we were welcome to come hang out, but bring a pizza or something because she was starving.</p>
<p>It took us about an hour to find the house and when we arrived, pizza in tow, Tracy was standing in the front door freaking out.&nbsp;</p>
<p>&#8220;Oh my God, someone was in the house!&#8221;</p>
<p>&#8220;What???&#8221;</p>
<p>Then, after getting her to calm down a bit, we got the whole story out of her.&nbsp;</p>
<p>After she had hung up the phone with us some time had passed and she attempted to make another phone call. The line was acting weird and it sounded like maybe another handset was off the hook. You got to remember this was before EVERYONE had cordless phones and in this house, everything was wired.&nbsp;</p>
<p>She began to investigate the house.&nbsp;</p>
<p>Now, its important to know the layout of this house. First of all, it was on a hill and the house was laid out in an inverted fashion, meaning, the bedrooms where on the lower level and the living area was upstairs. This was because you entered the house on the uphill side of the property. Its a fairly common layout if you are in a hilly area. It was also a very hot night so Tracy was sitting in the living room, which was on the back of the house with the view of the valley and the front door was left open to get a breeze thru the room.</p>
<p>As you walked in the front door, the first thing you saw was the steps to the ground floor where the bedrooms were, there was a short hallway next to the stairs that headed back to the living room and the kitchen was to the left of the stairs.&nbsp;</p>
<p>When Tracy noticed the phone was not working well after we had talked to her she went down stairs only to notice that the handset in the family room/rumpus room downstairs was off the hook and the curtain which was pulled shut in front of the sliding glass door was actually pulled out the sliding glass door and pinched in the now closed but NOT locked sliding door. Tracy had LOCKED that door earlier in the evening. &nbsp;</p>
<p>She immediately freaked out, called the police and checked on the little girl. We arrived BEFORE the police did.&nbsp;</p>
<p>After a complete sweep of the property and the house, checking every closet and under and behind ANYTHING that could hide a person, the police told us to keep the door shut and they left us behind to wait for the parents to return.&nbsp;</p>
<p>While waiting in the front hall, front door closed, for the parents an VERY STARTLING sound came from the garage which made all of US jump but it was just the garage door opening as the parents pulled in to the driveway.&nbsp;</p>
<p>After being informed what had happened, the mother rushed to her baby down stairs who was licking a lollypop. When the mother asked the child who gave her the candy, the kid said, &#8220;the man did&#8221;. The mother frightened asked, &#8220;you mean the Police man?&#8221; to which the child responded&hellip; &#8220;No, the other man&#8221;.</p>
<p>As for the short film that Barry and Janie produced, I had no idea that Barry and Mitch were doing THIS script for their 5KMK3 movie. When I walked into the suite to see the fruits of Barry&#8217;s first day of cutting with Steve Navrat, who I work with, I asked if I could see what they had done so far.&nbsp;</p>
<p>I FREAKED out when I got to the end and had not remembered that I had told this story to Barry a year prior during another job we worked on together. All the way thru the cut I was muttering, &#8220;wow, something very similar to this happened to me&#8221;.&nbsp;</p>
<p>I feel disturbed when I hear the dialog that Janie wrote for William Mapothor. It&#8217;s so believable and creepy. Interestingly enough, as we screened this story and shared with friends and colleagues the few comments that we got over and over were about the UNBELIEVABILITY of things that happened in the story that, amazingly enough actually DID happen in real life. For example, &#8220;Am I really supposed to believe that this guy just HAPPENED upon the house with a wide open door and slipped in and out in the dark of night?&#8221;&nbsp; That, after all, is one of the things that is EXACTLY like it was in real life. Some creep taking advantage of a situation.&nbsp;</p>
<p>My hope is that everyone who sees this will hug their children a little tighter and keep an ever vigilant eye out for them.</p>
<p>BTW&#8230; the house was not on Marmont Ave. I&#8217;m not sure where Barry and Janie got that from.</p>
]]></content></entry><entry><title>My Atlanta Edit Room.</title><category term="Fun"/><id>http://chrisfenwick.com/home/2012/5/9/my-atlanta-edit-room.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/5/9/my-atlanta-edit-room.html"/><author><name>Chris Fenwick</name></author><published>2012-05-10T01:45:31Z</published><updated>2012-05-10T01:45:31Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><script src="http://occipital.com/360/embed.js?pano=mh4kzz&width=640&height=480"></script></p>
]]></content></entry><entry><title>360 Panoramas is fun.</title><category term="Fun"/><id>http://chrisfenwick.com/home/2012/5/9/360-panoramas-is-fun.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/5/9/360-panoramas-is-fun.html"/><author><name>Chris Fenwick</name></author><published>2012-05-10T01:40:40Z</published><updated>2012-05-10T01:40:40Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><script src="http://occipital.com/360/embed.js?pano=MVm8tP&width=640&height=480"></script></p>
]]></content></entry><entry><title>Color Correction - My thoughts</title><category term="Opinion"/><id>http://chrisfenwick.com/home/2012/5/3/color-correction-my-thoughts.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/5/3/color-correction-my-thoughts.html"/><author><name>Chris Fenwick</name></author><published>2012-05-03T16:05:18Z</published><updated>2012-05-03T16:05:18Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p>I&#8217;ve been asked this question many times and I thought I&#8217;ld spell it all our here. &nbsp;When it comes to color correction or color grading there are two main schools of thought. Either you are using purpose built applications that work outside your edit system or you are using a plug in that works inside your editor.</p>
<p>My preference is easy&#8230; ANYTHING that works INSIDE my edit system. Here is my thinking.</p>
<p>EVERYTHING I do is on extreme time constraints. The process of sending your timeline out to a standalone color grading application processing your images, no matter how fast it is because of the tools and then sending it back to your edit for final output, that takes too much time for me. &nbsp;I will FREELY admit that I am not a full time colorist, and I don&#8217;t know all the tricks of the trade and maybe if I DID I would be faster.</p>
<p>So what is the alternative? Working in my editor, ON my timeline, using plugins. &nbsp;I find that this method of work saves me a LOT of time. Can I get the exact same results&#8230; probably not. &nbsp;Can I AFFORD the exact same results? NOPE. I can&#8217;t. I work in the real world where money is ALWAYS tight. Often times the &#8220;color work&#8221; that I do on a project is not even be requested of the client and it is details that I am doing for myself to satisfy my OWN desires. That being said, I can&#8217;t turn over my shoulder and say, &#8220;uh yea, thats gonna take a while cuz I have to reconform our timeline down to one track and export an XML and then import that into another app and do all the color work before I&#8230; Huh?? &nbsp;Whats that? Your client called and wants to change something? &nbsp;What? &nbsp;They don&#8217;t know what &#8220;Picture Lock&#8221; means? &nbsp;What kind of people ARE we working for anyway? Huh? Oh&#8230; yea&#8230; I guess &#8220;people with money to spend&#8221; makes a pretty good client after all, NEVERMIND.&#8221;</p>
<p>So, thats my take on stand alone apps verses plug in based color correction/color grading.</p>
]]></content></entry><entry><title>Review - FX Factory - Callouts for FCPX</title><id>http://chrisfenwick.com/home/2012/5/2/review-fx-factory-callouts-for-fcpx.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/5/2/review-fx-factory-callouts-for-fcpx.html"/><author><name>Chris Fenwick</name></author><published>2012-05-03T05:06:15Z</published><updated>2012-05-03T05:06:15Z</updated><content type="html" xml:lang="en-US"><![CDATA[<div id="watch-description-text">
<p id="eow-description"><iframe width="640" height="390" src="http://www.youtube.com/embed/drc5_OSEmBk" frameborder="0" allowfullscreen></iframe></p>
<p>This is a new plug in from the guys at Ripple Training and, most of this type of stuff is NOT the things of &#8220;great film making&#8221; but in the real world of video production, these type of problems come up all to often and Callouts makes them go WICKED fast.</p>
</div>
]]></content></entry><entry><title>Review - Punchline for FCPX</title><category term="FCPX"/><category term="Opinion"/><id>http://chrisfenwick.com/home/2012/5/1/review-punchline-for-fcpx.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/5/1/review-punchline-for-fcpx.html"/><author><name>Chris Fenwick</name></author><published>2012-05-01T23:02:55Z</published><updated>2012-05-01T23:02:55Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><iframe width="640" height="390" src="http://www.youtube.com/embed/H7D6EVkstzw" frameborder="0" allowfullscreen></iframe></p>
<p>I got the chance to take a look at a plugin for FCPX called Punchline availble thru the FX Factory. So you know&#8230; I&#8217;m not being paid to do this, I&#8217;m sort of doing it for my friend Mitch at <a href="http://blog.planet5d.com/">Planet5D</a>&#8230; so far it looks like they are gonna let me keep the plug in but for the $50 bucks that it costs&#8230; its barely pay&#8230; Just so you know.</p>
<p>That being said, I dig this plug in. It has several titles and transition elements in it and they can all be modfied at least in the color arena. The efx render quickly and the preview quite well even before they are completely rendered. Take a look at this Review and see some of the things that Puncline makes it REALLY easy to do.</p>
<p>You can download the <a href="http://www.noiseindustries.com/fxfactory/">Noise Industies fx Factory here</a>.</p>
]]></content></entry><entry><title>Interview - Po Chan - Director</title><category term="DSLR"/><category term="HDSLR"/><category term="Inspirational"/><category term="Opinion"/><id>http://chrisfenwick.com/home/2012/4/30/interview-po-chan-director.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/4/30/interview-po-chan-director.html"/><author><name>Chris Fenwick</name></author><published>2012-04-30T23:20:14Z</published><updated>2012-04-30T23:20:14Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><span class="full-image-float-right ssNonEditable"><span><img src="http://digitalfilm.tv/storage/post-images/Po%20Chan%20Still.jpeg?__SQUARESPACE_CACHEVERSION=1335828350024" alt="" /></span><span class="thumbnail-caption" style="width: 240px;">Po Chan - Writer, Director, Artist</span></span>On April 26th, 2012 I got a chance to have a conversation with Po Chan, Director of &#8220;The Ticket&#8221; which was the Canon roll out movie for the new EOS 1D-C digital cinema HDSLR. There had been so much buzz and discussion about the technology used to shoot the movie that I thought the art and the story was not getting enough&#8230; uh&#8230; &#8220;screen time&#8221;&#8230; so I decided I only wanted to discuss Po&#8217;s original script and her technique for working with a crew as more of an artist than a director.&nbsp;</p>
<p>The interview ended up becoming &#8220;<a href="http://digitalfilm.tv/blog/2012/4/27/digital-convergence-episode-71-po-chan-collector-of-memories.html">Episode 71</a>&#8221; of the Digital Convergence Podcast that I co-host with Carl Olson from Atlanta.&nbsp;</p>
<p>I would HIGHLY recommend you take the 50 minutes or so it takes to listen to this interview. Po is a facinating woman and her artistic vision is extremely inspirational.</p>
<p>You can <a href="http://itunes.apple.com/us/podcast/episode-71-po-chan-collector/id351280467?i=114076937">find the podcast here</a>.</p>
]]></content></entry><entry><title>Tutorial - After Effects Render Queue and Presets</title><category term="Adobe"/><category term="After Effects"/><category term="Tutorial"/><category term="Workflow"/><id>http://chrisfenwick.com/home/2012/4/29/tutorial-after-effects-render-queue-and-presets.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/4/29/tutorial-after-effects-render-queue-and-presets.html"/><author><name>Chris Fenwick</name></author><published>2012-04-29T23:11:33Z</published><updated>2012-04-29T23:11:33Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><iframe width="640" height="390" src="http://www.youtube.com/embed/pp0FkGo5SWc" frameborder="0" allowfullscreen></iframe></p>
<p>One thing that can speed up your work and allow you to make less mistakes in AE is knowing the ins and outs of your Render Queue and making your own custom presets. In this tutorial I walk thru some steps that will allow you to know your renders are right the first time.</p>
<p>Ever want to learn more about <a href="http://chrisfenwick.com/home/2012/4/29/tutorial-parenting-in-after-effects-dance-with-me.html">Parenting thru 3D space in AE</a>, check this out.</p>
]]></content></entry><entry><title>Tutorial - Parenting in After Effects - Dance With Me</title><category term="Adobe"/><category term="After Effects"/><category term="Tutorial"/><category term="Workflow"/><id>http://chrisfenwick.com/home/2012/4/29/tutorial-parenting-in-after-effects-dance-with-me.html</id><link rel="alternate" type="text/html" href="http://chrisfenwick.com/home/2012/4/29/tutorial-parenting-in-after-effects-dance-with-me.html"/><author><name>Chris Fenwick</name></author><published>2012-04-29T17:31:36Z</published><updated>2012-04-29T17:31:36Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><iframe width="640" height="390" src="http://www.youtube.com/embed/xjZFXQmjwlQ" frameborder="0" allowfullscreen></iframe></p>
<p>In this tutorial I wanted to dig a little deeper into the way parenting works especially in a 3D composition. I&#8217;ve been working on a kenetic typography piece and I came up with this little technique for bringing new items into a deep composition and figuring how to get things in front of your camera.&nbsp;</p>
<p>As always I&#8217;m suspecting there is a better way to do this and I welcome the input from anyone on how to go about doing this.</p>
<p>If you like this tutorial, you should check out the one I did on <a href="http://chrisfenwick.com/home/2012/4/29/tutorial-after-effects-render-queue-and-presets.html">the Render Queue in AE</a>.</p>
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