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Posted by Ryan E.Walters on June 19, 2013 • "When the video DSLR was introduced, it was heralded by many as a truly revolutionary piece of filmmaking technology. No longer were the filmmaking gates closed to those without large pocketbooks and budgets. They were now open to anyone with a spare $1,000 - $3,000, or an available balance on their credit card. While this affordable, and "cinematic" technology has opened the doors for new talent, it has brought with it some unintended consequences. Like it or not, the market is shifting, and has been shifting for several years now. The importance of the specialist is diminishing, and the age of the generalist is rising. If the TV killed the radio star, then the DSLR has killed the specialist...
Jack Of All Trades, Master Of None.
Earlier in my career, it used to be that the more highly skilled you were in a specific area, the better. The focus was on becoming a master at one specific skill." ... ryanewalters.com
Posted by Vision Wrangler on June 17, 2013 • (...) "Unsure of what the crop factor and field of view may be from your lens? Well worry no more because you can simply drop in your current camera and lens configuration to work out what the effective FoV from the Blackmagic Pocket Cinema camera should be. Working on the basis Super 16 film has a crop factor of 2.88x Ruben Kremer has put together a little BMPCC FoV Calculator for you to play with." ... BMPCC.RubenKremer.nl Cinescopophilia.com
Posted by Cinefii on June 13, 2013 •
'It seems like everyone is technology mad now'
"Nominated for 10 Oscars, Roger Deakins has given a unique visual identity to films by big league Directors such as, Martin Scorsese, the Coen Brothers and Sam Mendes.
Starting out in documentaries, Roger has acquired a veritable instinct for the meaning of an image.
Prisoners (2013). Skyfall (2012). In Time (2011). True Grit (2010). Revolutionary Road (2008). The Reader (2008). No Country for Old Men (2007). The Village (2004). A Beautiful Mind (2001). O Brother, Where Art Thou? (2000). The Big Lebowski (1998). Kundun (1997). Courage Under Fire (1996). Fargo (1996). Dead Man Walking (1995). The Shawshank Redemption (1994)."
... Cinefii.com YouTube.com/user/CinefiiChannel
Posted by Andy Shipsides on June 13, 2013 •
"Our customers are always asking for “the perfect camera”, one that fits all of their needs and then some. Of course, there is no such thing as the perfect solution for everyone; however, there are some key requirements that we hear all the time. Most new cameras today have features that set them apart from each other and sound great on paper, but when it comes time to go into production the camera needs to be a solid tool that preforms a required task.
New features like 4K and Raw recording modes are essential for some, but the vast majority of production is done in HD. The ability to shoot in Raw and Log modes is fantastic when you need it, but often productions are recorded in standard video formats that go on the air with a short turn around time. Based on these factors and your feedback, here’s a list of key requirements that our clients tend to look for in a large sensor camera today." ... resources.abelcine.com
• Update. You may read also: Lenses and Accessories for the Canon C500, by Jeff Lee
Posted by Alexis Van Hurkman on June 12, 2013 • Image: twitpic by @mujinn •
"To be honest, the only reason I’m writing this is because I feel a tad guilty about my first post-Mac Pro announcement tweet. The one where I was really upset about the inclusion of ATI GPUs instead of Nvidia. Understand, for the last three years I’ve been fully immersed in applications for which the messaging has consistently been “we’re heavily optimized for Nvidia and CUDA, and the current version of OpenCL on OS X sucks.”
What Apple did a terrible job of making clear in their initial presentation was that a new version of OpenCL will apparently make it far easier for software developers to achieve stellar performance on this new hardware. And I’m not drinking cool-aid; outside of the various announcements that Blackmagic and Adobe have made, I’ve had several email exchanges with folks I trust who are in a position to know, who are sadly hidden behind multiple layers of NDAs. The responses I’ve gotten have been incredibly optimistic." ... VanHurkman.com
Posted by Robert Hardy on June 12, 2013 • "How often do we think about the effect that light has on shaping the human face? It’s one of those questions that experienced cinematographers are always contemplating, but one that younger shooters tend to think less about as camera technology dominates most filmmaking discussions these days. Luckily for us, every now and again a profound example of how powerful light can be comes along that slaps us in the face and forces us to look back at one of the most fundamental aspects of cinematography: lighting the human face for emotional impact. Opale’s recent music video for their song Sparkles and Wine provides one such example. Check out both the teaser trailer and the video below:" ... Read and watch more on nofilmschool.com
Posted by ariel ikan on June 12, 2013 •
"Model: ELE-CNFLY. ikan’s CineFly, is a shoulder mount system that can be set to your specific shooting needs. With our non-slip metal rosette system, handles have never been easier to adjust. Bring the arms closer in to your body to help prevent fatigue or any other configuration you can think up. The CineFly comes equipped with ikan’s Blackmagic Cinema Camera base plate, which has perfectly placed exhaust holes for positive air flow to prevent overheating. The CineFly is also compatible with ikan's DSLR and Camcorder base plate systems. For more product information including specs, accessories, and incoming reviews, visit j.mp/14voiV4" ... BlackmagicUser.net
Posted by Matthew Duclos on June 10, 2013 • "Fujinon has been making some progress with their Cabrio line of professional lenses. With some very steep competition from Canon and Zeiss in terms of sub-$50k cinema zoom lenses, Fujinon’s Cabrio series are a great option with the included zoom rocker and relatively light-weight. The Cabrio line started with the 19-90mm T2.9 and was joined by the 85-300mm T2.9 shortly thereafter. With a mass majority of users who are looking for that slightly wider field of view thanks to the 5D and the larger sensor in full-frame cameras, Fujinon announced the 14-28mm T2.9 Cabrio during NAB 2013." ...
MatthewDuclos.wordpress.com
Posted by Philip Hodgetts on June 10, 2013 •
"The preview of the new MacPro has, not surprisingly, polarized “the Internet”. It is however exactly the computer I thought Apple would produce for a new MacPro. Well, the tubular design was a surprise, but the lack of internal drive space, expansion slots were no surprise. But the lack of NVIDA “cards” and therefore CUDA support, has alarmed many, quite needlessly.
CUDA is a language NVIDIA developed to allow app developers to directly call the card’s hardware layer. It is this layer of direct call that Adobe leveraged so well with Premiere Pro CS5 and the Mercury Engine. At the time they were developing the Mercury Engine, OpenCL was way too immature to use a foundation. CUDA was the only viable alternative."
...
PhilipHodgetts.com
Posted by Sharad Mangalick on June 9, 2013 • "The Lightroom team is proud to announce the availability of Lightroom 5 as a standalone license and as part of Creative Cloud! Lightroom 5 is now available to try or buy on Adobe.com, and as a free update to Creative Cloud members.
A number of you downloaded Lightroom 5 beta, and we are thankful for the valuable feedback that you provided during the last couple of months. Thanks to your input on our public forums, we’ve made more than 400 tweaks since releasing Lightroom 5 beta. It truly was a team effort that we can all be proud of. Thank you." ...
blogs.adobe.com
• You may watch also: Digital Imaging Evangelist Julieanne Kost walks you through new features, workflows and enhancements in the latest release of Lightroom 5 on tv.adobe.com (6 videos)
Posted by Stu Maschwitz on June 7, 2013 • "Now everyone can hear the last words I spoke in Las Vegas. Litterally right after getting off the stage, my voice left me completely. I had to draw a picture of an airplane and show it to the cab driver the next morning.
Just a reminder that the free BulletProof public beta is underway, and needs your feedback! Download it now and join us on the forum." ... prolost.com "Recorded at the NAB SuperMeet, Las Vegas, April 9, 2013. Watch the brilliant presentation by Stu Maschwitz about Red Giant’s new tool for digital filmmakers, Bulletproof. Bulletproof is an organizational tool which enables you to ingest and tag media, color correct on-set, and organize your footage to provide a complete solution to getting media ready for the edit.
Stu explains from experience the many uses which Bulletproof offers."
...
moviemachine.tv
Posted by John Burkhart on June 7, 2013 • "Great #Resolve10 article. What's new - the whole nine yards." Frank Glencairn
"Here's a full-length, in-depth look at Resolve 10 and the background to its development. RedShark reporter John Burkhart has been talking to Blackmagic about this seminal post production application.
It’s only been three years since Blackmagic Design took NAB 2010 by storm, announcing that the once formidably priced Resolve, would now be a mere $995. They soon after released a lite version for free. Since then they’ve aggressively reinvigorated the software and it’s come to dominate the color correction market.
Resolve 10, which is to be ready in the third quarter of 2013, is set to be their most ambitious release yet. A wide variety of feature enhancements, additions, and refinements will be rolled out. And while Resolve is still primarily a color correction application, Resolve 10 adds a load of new features designed to bridge the gaps between different post production software, and to take its place as an online finishing tool." ... RedSharkNews.com
Posted by Johnnie Behiri on June 7, 2013 •
(...) "The project was also a chance to test my Samyang lenses kit (14, 24, 35, 85 mm) and see how well those lenses are preforming when shooting on a higher then full HD resolution settings. While not the best choice for “under time pressure shooting” (a zoom lens would have been easier to work with), those modestly priced prime lenses don’t stop surprising me….The pictures are sharp, boke is nice and the ability to be able to work in low light surroundings due to their characteristics is a blessing to every “on the budget” film maker." ...
Read more on cinema5d.com
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Posted by Hexolux on June 19, 2013 •
"The Xum7 is shipping today as promised. There is a reason these lights look different." facebook.com/Hexolux
"The unique and sporty design of the Xum7 is based on hexagons to function as a modular system packing more light into a seamless configuration. It can be connected together in teams so you can transform a small source into a large, bright source. This gives you a faster lighting system with less to load in, and more to work with. This buys more time to craft the image and allows you to shoot more in a day.
The Hexolux Xum7 is the most efficient LED Fresnel light in watts per lumen. Its super lightweight at only 5 lbs, DMX remote control and optional wireless DMX. Introducing f-stop dimming, absolutely flicker-free, silent hybrid cooling, and the highest CRI in the LED industry." ...
Hexolux.com
Posted by Jon Fauer on June 14, 2013 • Photo: "Shoulder Cat 2", sculpture by Cindy Biles •
"Film and Digital Times is pleased to announce that Aaton is alive and well and living in Grenoble.
Jacques Delacoux, President of Transvideo, said, “Aaton and Transvideo will follow the same path — as sister companies. We have lots of exciting products that we are working on together.”
I tried to reach Jean-Pierre Beauviala, Founder of Aaton, but he is probably at his weekend house high in the mountains, without phone or internet. His comments will be posted here as soon as I hear from him.
JP and JD, two enfants terribles of the industry (in the complimentary and complementary genius definition of the phrase), will work together." ... FDTimes.com
Posted by Roger Cicala on June 13, 2013 • "A couple of weeks ago I posted my impressions of the Zeiss 32mm Touit lens for NEX cameras, based on a copy loaned to me by Zeiss, USA. Now that we have our own copies I can be, shall we say, a bit more aggressive in examining the lens. Not to mention getting an opportunity to continue my string of aggressively bad pun titles (which Drew absolutely hates). But, hey, don’t blame me. I didn’t pick the name. I just do what has to be done. I have yet begun to pun.
Anyway, given that a lens with electronic autofocus and aperture control was something new in the Zeiss consumer lineup, Aaron and I couldn’t wait to take a look inside and see how things were put together. Once we got a look inside, we found there was more Touit than we expected (don’t say I didn’t warn you). The lens is put together solidly in typical Zeiss fashion." ...
lensrentals.com
Posted by Allan Tépper on June 13, 2013 •
Several improvements in the MacBook Air (2013) are welcome, while others are still missing. "This week, Apple announced the revised MacBook Air (2013) models. Like before, the new MacBook Air models are available in both 11“ and 13” models. Ahead is my executive summary of the improvements that Apple added, what Apple neglected to include (but should have), together with my purchasing advice.
Improvements that Apple added
• Greatly improved battery life (Apple now promises up to 9 hours for the 11-inch model and 12-hours with the 13-inch model.)
• Lower cost for entry-level configurations
• Improved WiFi, with the new 802.11ac (backward compatible with 802.11a/b/g/n), although you’ll have to upgrade your router or access point to an 802.11ac model to take full advantage" ... ProVideoCoalition.com
Posted by Below The Line's Staff on June 12, 2013 • "SHOTOVER, a manufacturer of high-performance stabilization platforms for the motion picture and broadcast industries, announced that its K1 six-axis gyro-stabilized camera system for aerial cinematography, launched at IBC last year, has already been used on such films as The Hangover Part III and the upcoming films X-Men: Days of Future Past, RoboCop and Transformers 4.
The K1 is an integrated platform for capturing aerial footage in 4K Ultra High-Definition and is easily configured for 2D or 3D shooting with several cameras, including the Red Epic, Arri Alexa, Phantom Flex4K, Canon C500, Sony F55 and F65, along with a broad range of lenses." ... Read more on btlnews.com SHOTOVER.com/K1
Posted by Shane Hurlbut, ASC on June 12, 2013 • Mr. 3000 Focal Length Choices "Keeping on track to deliver what all of you have requested on the HurlBlog survey, we are continuing our look into how lenses can help tell your story. Part One went into the internal characteristics of the glass itself. Now I want to demonstrate how using different focal lengths can help assist character development in new ways. I am going to take you through how these choices help create a character arc. Yes, it is not only the writing, story and acting that will take you there. It is the cinematographer’s job to assist in this process." ...
hurlbutvisuals.com
Posted by Andy Shipsides on June 12, 2013 • "Sony stopped by recently to show us the FS700 with the RAW output option enabled. This upgrade has to be done at Sony for a cost of $400. However, if you buy their HXR-IFR5 and R5 recorder the fee is waived. The cost is well worth it though, as the upgrade also enables not only RAW, but S-Log2 and Rec709 (800%) gamma modes in the camera. In the video above, I give a quick demo of how to enable RAW output on the camera, how to enable slow motion in 2K and 4K, and how to enable the S-Log2 gamma mode." ...
Read more on blog.abelcine.com
Posted by Alister Chapman on June 10, 2013 • In memory of Tim Samaras, Paul Samaras, Carl Young •
"So here it is… a short compilation of clips shot across 10 days in the US this May. To get these shots I drove over 3,500 miles criss crossing the states of Oklahoma, Texas, Nebraska, Kansas, Colorado and South Dakota. It was a trip that started and ended with some tragic events and left me quite unsure of my own emotions and thoughts with regard to storm chasing, something that has been a very big part of my career, business and life for nearly 15 years.
(...) My shooting kit included my PMW-F5 with R5 raw recorder, a selection of DSLR lenses (Canon mount), a Miller Solo tripod, media, batteries, chargers, and a whole bunch of storm chasing electronics and computers. When your packing in a hurry like this a check list can be a life saver. Forgetting something as simple as a cable when you won’t have time to find a replacement can ruin a shoot. 24 hours later, me and my 75Kg of gear were in Oklahoma City." ... Read more on XDCAM-USER.com
Posted by Peter Wiggins on June 10, 2013 • (...) "The Intel Xeon machine will be available in up to 12 cores, 256-bit-wide floating point and PCI Express gen 3. It will be at least double the speed of the fastest previous machine. The new PCIe flash memory will have 1866MHz DDR3, four channel controller, 60 GB/s bandwidth which means speeds of 1.25GB/s. read & 1.GB/s. write. 10 times faster than any drive Apple have put in a Mac Pro before. All expansion will be external via Thunderbolt 2, 20 GB/s, 6 devices per port and all backward compatible.
The machine which (no surprise here) will be assembled in the US, features 2 GPUs built in. As FCPX uses the graphics card to do all the heavy effects lifting, this will be of great importance and speed up things like background rendering as well. The machine will support up to 3 4K displays from the built in cards. The dual workstation GPUs are 4096 stream processors, 384-bit memory buses, 528 GB/s total bandwidth. In other words, fast." ...
FCP.co Apple.com/mac-pro
• You may watch also Engadget's video: Apple's Next-Generation Mac Pro Prototype eyes-on (01:24)
Posted by ARRI on June 7, 2013 • "ARRI had a strong presence at the Cannes International Film Festival again in 2013, with a hospitality tent on the beach and a buzzing 'Happy Hour' event to celebrate the company's ongoing partnership with Director's Fortnight. ARRI cameras also had a strong presence: of the 84 feature films in all of the festival selections, over 60% were shot with ARRI digital or film cameras, and well over 40% were captured with ALEXA.
Amid all the excitement, ARRI recorded video interviews with three cinematographers who had award-winning films at the festival, all of them captured with ALEXA. HELI, shot by Lorenzo Hagerman, won Best Director for Amat Escalante; OMAR, shot by Ehab Assal, won the Un Certain Regard Jury Prize; and ILO ILO, shot by Benoit Soler, won the Caméra d'Or." ... ARRI.com
Posted by Joe Marine on June 7, 2013 •
"If you’ve been following the Magic Lantern RAW video news, you have probably seen quite a bit of material from the Canon 5D Mark II and the 5D Mark III. The hack, however, is working on many of Canon’s cameras, including the 50D (a camera that never shot video before), 60D, 6D, and more. Even if a camera is supported, that doesn’t mean you’re necessarily going to get full resolutions while recording continuously so Roman over on the Magic Lantern forum has put together a list of the Canon cameras and max burst and continuous resolutions currently supported. Check out if your camera is currently supported below.
This is the newest version that was posted in the forum, but it will be updated frequently (click for larger):" ...
nofilmschool.com
Posted by Mitch Gross on June 7, 2013 •
"Many crew members need to see the live camera feed but want to be mobile on set, not tied to the video village monitor. To help facilitate this, AbelCine has married the popular Teradek Bolt to the equally popular TVLogic VFM-056WP LCD monitor. Building on TVLogic’s battery mounts for Canon BP, Panasonic CGA and Sony L series batteries, we’ve modified them to power the Teradek Bolt receiver as well. A washer has also been added so that the mounting bolt included with the Teradek fits properly to the the TVLogic monitor.
The Teradek Bolt is available in a point-to-point HD-SDI system, an HDMI version, and a Pro version that can send one transmitter signal to up to four receivers. None of these systems will interfere with one another, so multiple transmitter-receiver sets can be used on set at the same time." ...
Read more on blog.abelcine.com
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