<?xml version="1.0" encoding="UTF-8"?><!-- generator="WordPress/2.9" -->
<rss version="0.92">
<channel>
	<title>DocumentaryTech</title>
	<link>http://documentarytech.com</link>
	<description>Exploring techniques and technology in documentary film</description>
	<lastBuildDate>Tue, 08 Jan 2013 20:05:04 +0000</lastBuildDate>
	<docs>http://backend.userland.com/rss092</docs>
	<language>en</language>
	
	<item>
		<title>Done for now&#8230;</title>
		<description><![CDATA[I had a power cord for a video light begin to spark, and rather than buy a replacement, I went to see if I could get it fixed. I went down to Newport RI, where there&#8217;s a little shop by the movie theater &#8211; &#8220;Small Repairs/Lamps/Clocks/Appliances.&#8221; I thought this guy could fix it fairly easily. [...]]]></description>
		<link>http://documentarytech.com/?p=9022</link>
			</item>
	<item>
		<title>The Sony NEX-EA50 furthers the evolution</title>
		<description><![CDATA[The HDSLR revolution will be fondly remembered some day as the tool of new filmmakers, much like the old Bolex 16mm film cameras were a staple of film school. The EOS 5D Mark II introduced the big sensor to video, with all its attendant &#8220;film-like&#8221; qualities of shallow depth-of-field. It was only a matter of [...]]]></description>
		<link>http://documentarytech.com/?p=9011</link>
			</item>
	<item>
		<title>Tulsa Tough from the handlebars</title>
		<description><![CDATA[
]]></description>
		<link>http://documentarytech.com/?p=9006</link>
			</item>
	<item>
		<title>&#8216;The Luthier&#8217;</title>
		<description><![CDATA[
The Luthier &#8211; Janos Markus-Barbarossa from Matei Plesa on Vimeo.
]]></description>
		<link>http://documentarytech.com/?p=8999</link>
			</item>
	<item>
		<title>Bloom on doing the work</title>
		<description><![CDATA[Philip Bloom has a good post about what it takes to do the work, and I especially liked the lower end of the list:
10: An expensive camera won’t make you a better cameraman. It will make you more broke! Want to upgrade your T2i to a Scarlet? Why? Skills are learnt with lesser tools. Not [...]]]></description>
		<link>http://documentarytech.com/?p=8997</link>
			</item>
	<item>
		<title>&#8216;Purton Hulks&#8217;: EOS 5D Mk3 mini-doc</title>
		<description><![CDATA[
]]></description>
		<link>http://documentarytech.com/?p=8992</link>
			</item>
	<item>
		<title>Lightworks getting a foothold</title>
		<description><![CDATA[When Editshare rolled out its new editing program Lightworks last month in both a free version and a $60 &#8220;Pro&#8221; version, it entered a market that has changed dramatically in the last few years. FCPX came out at $299, a fifth of the price of FCP7, and the downward price drive is good for everybody.
In [...]]]></description>
		<link>http://documentarytech.com/?p=8989</link>
			</item>
	<item>
		<title>Time lapse New York</title>
		<description><![CDATA[
]]></description>
		<link>http://documentarytech.com/?p=8977</link>
			</item>
	<item>
		<title>The Sartorialist</title>
		<description><![CDATA[
]]></description>
		<link>http://documentarytech.com/?p=8973</link>
			</item>
	<item>
		<title>Anticipation in Lightworks grows</title>
		<description><![CDATA[Has Apple&#8217;s shift to Final Cut Pro X last year, and the dissatisfaction of a legion of editors with it, created a market opening for PC-based nonlinear editing systems?  PCs are demonstrably less expensive than Macs with the same computing power, and programs such as Premiere, Sony Vegas and Avid have already made their [...]]]></description>
		<link>http://documentarytech.com/?p=8967</link>
			</item>
</channel>
</rss>
