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Posted by Digital Bolex on May 17, 2013 •
"What do you guys think of Jesse Borkowski's new ikonoskop footage shot after the recent firmware updates?"
"Real Value is an independent documentary film by Jesse Borkowski that explores real, profitable businesses that choose to focus not just on the bottom line, but on the health of their surrounding communities and the planet that we all share.
To these businesses, things like manufacturing goods in the USA, paying fair wages, and taking care of the environment isn’t going the extra mile - it’s just common sense. They know that their businesses work within a system, that their communities are part of this system, and that when these communities are happy and healthy, their businesses are more likely to be the same." ... Learn more about Real Value at RealValuefilm.com NothingUnderground.com Ikonoskop.com
Posted by Nino Leitner on May 16, 2013 •
"You have probably seen our extensive written guide on how to get Magic Lantern’s 24p working on the 5D Mark III, which also includes a step-by-step instruction on how to end up with usable ProRes 4444 files.
Well, as it turns out, Sebastian here has found a much more straightforward way to post process the raw files from the 5D Mark III which allows us to skip the relatively cumbersome After Effects conversion process. This new process only utilizes Adobe Photoshop’s raw import module, which allows batch processing of files (which is necessary to apply the same settings onto an entire clip consisting of individual DNG files)." ... Read more on cinema5D.com
Posted by Andrew Reid on May 15, 2013 • (...) "Important please read - My aim was to match the raw as closely in post to the H.264. The raw could have looked even better had I graded it more artistically (see DNGs on the blog) but the purpose of this test was simply to see how each perform in low light.
In the ISO 800 shot I could get approx. ISO 3200 exposure out of the shadows in the raw clip, which is why they are slightly noisier than in the ISO 800 H.264 shot. Huge dynamic range in raw.
The areas to watch out for are: • Highlight roll off and latitude around lamp and candle
• Shadows and noise
• Crushed blacks
As you can see Magic Lantern's raw is not just cleaner than the already fantastic performing 5D Mark III was in low light, it is several fathoms above in terms of tonality, colour, highlight roll off, latitude and shadow detail. There's massively more data in the image." ... Read more on EOSHD.com
Posted by Luke Neumann on May 15, 2013 • Video above: Raw Video on the Canon 5D Mark III (Magic Lantern) - "Smith Rock" (01:40). Download DNG files here. Filmed by Neumann Films and Zeke Kamm from Aviator Camera Gear. Check out his Rocket Slider, now on Kickstarter. Shot on Canon 5D Mark III with Lexar 1000x CF card • Canon 70-200mm f 2.8 L II • Nikkor Ai-s 28mm f 2.8 • Nikkor Ai-s 50mm f 1.2 • Tokina 11-16 f 2.8 • Music by Luke Neumann from "The Beacon". "The Magic Lantern Raw Video workflow tutorial covers how to process and edit raw files from Canon DSLR cameras. Download this raw file and H.264 comparison video and follow along!" ...
Download the raw files on NeumannFilms.net
Posted by Ryan E.Walters on May 15, 2013 •
"Neutral density (ND) filters are supposed to be devoid of color shift. Ideally they only affect the amount of light entering the lens, not the color balance. Unfortunately, it is very difficult to produce an ND filter that is truly neutral. This is why I set out to test four sets of filters. I wanted to see how neutral they really are. For this test I used ND filters from Schneider, Formatt, TruND, and the internal ND filters of the Canon C100. The results may surprise you, just like they did for me. Continue reading to see how these filters stack up, as well as to get access to the downloadable frames.
Why Bother?
Before we dig into the results, you may be wondering why in the world I would even bother testing ND filters. That is simple: consistency. The more consistent and the more neutral the ND filters are, the more accurate the colors will be in addition to saving time and money on set and in post.
Imagine for a moment you are shooting an exterior scene on a partially cloudy day, where the light levels are constantly fluctuating 1-3 stops as the sun goes in and out of the clouds." ... ryanewalters.com
Posted by Vision Wrangler on May 15, 2013 • "Convergent Design have made some significant changes to its Odyssey monitor series lineup introduced at NAB 2013 and now announce the full pricing for the Odyssey7 and Odyssey7Q monitors.
Most notably, DNxHD and any future supported compressed codecs (up to 1080p60 422) will now be included at no additional cost in the base price of the Odyssey. There is no additional firmware option to purchase for DNxHD support. Simply insert a Convergent Design SSD into the monitor and you have activated recording features in both Odyssey7 and Odyssey7Q.
In addition, Odyssey7 will now be a gorgeous 7.7″ OLED monitor with compressed recording capabilities only. Any additional extra cost options and features will ONLY be available on the Odyssey7Q. This makes Odyssey7 a simple solution for DSLR and broadcast, and avoids confusion between it and it’s 7Q counterpart." ...
Cinescopophilia.com
Posted by Johnnie Behiri on May 14, 2013 • "Yes, the source for the video above is a 1080p 14bit RAW shot with the 5D mark III!!! Here’s a framegrab. And a comparison to the Blackmagic Cinema Camera is in the works (give us some hours to finish the editing). But we can already say: The 5D mark III RAW module hack blows the BMCC far away!
Yesterday the developers working on the Magic Lantern hack for the Canon 5D mark III posted about their progress on a RAW hack that enables the Canon 5D mark III to shoot continuous 14bit RAW at 24 frames per second (!!!). The results are totally breathtaking, make sure you download and watch the source at vimeo: LINK
For a complete idiots GUIDE on how to achieve the RAW hack on your Canon 5D mark III see THIS ARTICLE." ...
Read more on cinema5D.com
Posted by Canon Europe on May 14, 2013 •
London, UK, 14 May 2013 – "Canon today announces the release of a new in-camera Picture Style pre-set for its range of EOS DSLRs. Created following direct feedback from video enthusiasts, the new Picture Style, called Video Camera X–series-look, enables users to capture EOS Movie footage with lower contrast levels, allowing for easier colour grading during post production processes.
Similar to that available in Canon’s range of X-series camcorders, the new Picture Style works by lowering colour saturation levels and contrast during filming. This makes it ideal for videographers during post production grading processes, especially if complementing with pre-existing footage shot with Canon’s X-series models, or alternatively for those who instantly want to add atmosphere to Full HD movies. In addition, the new Picture Style can also be applied to still images captured in RAW or JPEG formats.
The new Picture Style can be downloaded now from: http://web.canon.jp/imaging/picturestyle/index.html" ... Canon-Europe.com
Posted by scratch/post on May 13, 2013 • "Hæ guys, here is my latest project for The Weird Girls Project - colour graded in Resolve 9 with some effects work in After Effects"
"In connection with the nordic arts festival Nordischer Klang (nordischerklang.de/) in Greifswald Germany, Kitty was commissioned to produce a full Episode to screen as part of the opening. After researching the area Kitty chose to shoot in the ruined monastery Eldena Abbey – a historic part of the city which famously Caspar David Friedrich painted frequently.
Concept and Direction: Kitty Von-Sometime • Director of Photography: Hörður Arró Stefánsson (illusion.is) • Editor: Óli Finsson (illusion.is) • Video Grading and Post Production: Michael Todd (scratchpostvfx.com)"...
Behind the Scenes of Special Episode: Eldena Ruins, by Lucas Treise (06:08): vimeo.com/65651260 ... BlackmagicUser.net theweirdgirlsproject.com
Posted by Carolyn Giardina on May 13, 2013 • (...) “The thing that annoys me the most is when the creative guys gets screwed over,” Blackmagic CEO Grant Petty said when asked what bugs him about the business. “Too many manufacturers make products that are way too expensive or too complicated. You have to buy their service contracts … but often they are used as a way for the manufacturer to produce poor quality products and make money off the service. That is the wrong that they industry has. … That sounds strange coming from an equipment manufacturer, but everyone forgets I’m a postproduction guy.”
His background as a postproduction facility engineer helped drive Blackmagic to step in and save color grading system maker Da Vinci in 2009 when the company was having financial trouble. “When we bought Da Vinci, I didn't understand why they were changing $150,000 for [its systems],” Petty cited as an example of his thinking. “It didn’t cost $150,000 [to make]; we were using the same parts." ...
HollywoodReporter.com
Posted by Alexis Van Hurkman on May 13, 2013 •
"The 2013 National Association of Broadcasters (NAB) show was so very busy that only now has the dust settled enough for me to write anything. Unfortunately, I hadn’t the time to visit everyone I wanted to, but between the madness I did manage to catch up with a few of the companies who make products that interest me. While there were some major announcements that grabbed a lot of attention, here are some of the smaller pieces that you may not have noticed.
One of the reasons the show was so hectic for me this year was that it came just as the short film I’ve been directing has been winding its way through post. Just before leaving for Vegas, I posted a two-minute teaser online to have something to show off while the overall 12 minutes is finished. The inestimable Brian Mulligan, who’s been contributing compositing to my film (he’s responsible for the dimensional doorway effect) was at the Autodesk booth showing how he created this and several other effects using Smoke 2013 on the Mac." ... Read more on VanHurkman.com
Posted by Joe Marine on May 12, 2013 • "Not only do we have news that RAW video at 24fps is possible on the Canon 5D Mark III, but we now know it’s possible to get a full 1920 x 1080 image with 1000x speed cards. The first samples were possible by cropping the image to 1920 x 820, but g3gg0 from Magic Lantern has unlocked a way to get the entire image — the full 1920 x 1080. This makes the Mark III the first full-frame (36mm x 24mm) camera to shoot RAW video at 1080p. Also, now that we’re capable of getting really high-quality custom resolutions, a whole new world has potentially opened up for anamorphic shooting with the camera." ... nofilmschool.com
Posted by Vladimir Koifman on May 12, 2013 • Photo: Business Wire • "Business Wire: NHK and Mitsubishi have jointly developed the world's first HEVC (H.265) encoder for 8K 60fps UHDTV, including 22.2 multichannel surround sound.
The high-volume SHV images are divided into 17 horizontal rows. The parallel processing of these rows makes it possible to achieve real-time coding of SHV images. The deterioration of picture quality at the row boundaries has been lessened by having rows share data concerning the speed, direction, etc. of moving objects:" ...
Image-Sensors-World.blogspot.fr
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Posted by Sony Pro Europe on May 17, 2013 • Basingstoke, 17 May 2013: "The winners of the Sony PROduction Awards 2013 were announced today following one of the most successful and fiercely fought competitions of recent years. Over 400 students, professionals, and amateur film enthusiasts, created their own short films for the chance to gain industry recognition and win the latest technology from Sony, including Sony’s Full-HD Super Slow Motion NEX-FS700EK camcorder.
The Sony PROduction Awards are designed to unearth exceptional filmmakers and give them the opportunity to further their careers. Entrants were invited to create or share an existing film of up to five minutes and submit it to the Sony PROduction Awards site, where the public could view them and vote for their favourites. The public vote closed on 26 April at which point over 10,000 votes had been received. The twenty most popular films were then judged by Sony’s panel of industry experts and four winners, one in each category, were selected. The 2013 Sony PROduction Awards winners are:" ...
PROductionAwards.Sony.eu
Posted by Art of the Title on May 15, 2013 • As for tools, we used a photocopy machine, scanner, Phantom Flex, Canon 7D, 3D Studio Max, After Effects, Illustrator… Basically every tool around me.
"Taking inspiration from the wide array of presenters at this year’s fest, Onur Senturk orchestrates the OFFF 2013 Cincinnati titles in stark and dark textural style. With a nod to the hushed grandeur of Kubrick’s 2001: A Space Odyssey, we float through the strange geometry of an aesthetic world. Among the architectural grids and the tessellation of webs, an unfurling record and a slew of ball bearings, there is always a spark on the edge of the frame — connecting each scene, uniting each part. Speaking the silent language of objects in space, the sequence creates an atmosphere of expectation and gives a sense of the celestial as each name is elevated beyond itself. ... Read and watch more on ArtoftheTitle.com OnurSenturk.tv
Posted by Vision Wrangler on May 15, 2013 •
"Right so ikan are now sellers of the LED light meter MK350 Spectrometer from UPRTek.
The UPRtek MK350 Spectrometer is a compact, lightweight illuminance spectroradiometer which can be used without a computer for evaluation of next- generation lamps such as LED, OLED and EL illumination, as well as, conventional architectural and stage/ studio lighting, even lab research applications." ... Read more on Cinescopophilia.com
Posted by Joe Marine on May 15, 2013 •
"Long Answer: Nope. There seems to be a lot of misunderstanding about what is actually happening with the new Magic Lantern hack in development that enables RAW Video output on Canon DSLRs. While it seems like some sort of magic on the surface (and it basically is), the reason this is possible is because of the RAW data stream that the camera is already outputting during normal operation. Read on for a clear explanation as well as some words from the Magic Lantern team on how this affects your camera.
One of the testers, g3gg0, posted this recently:" ... nofilmschool.com
Posted by Shane Hurlbut, ASC on May 15, 2013 • "I have received many requests for information about how I light day exteriors. I thought I would break it down for you. Lighting day exteriors is as much about choosing the right time as it is about your manipulation of the daylight. Sometimes you can choose the time that you shoot. Many times, you are locked into a schedule that doesn’t necessarily work for your lighting approach. If it is not the right time, you have to go with it and do your best.
On Need for Speed, we have a location that takes us 2.5 hours to get there. The location should be shot in the morning, but because of the crew’s turnaround the night before, we cannot get there until 8am. Sunrise is 6am, so we do the best we can to work with it. You have to say, is the location worth it? This one is absolutely worth it. You compromise the light to gain the big picture, a location that the audience will be blown away by. You do not worry that the light is not exactly how you envisioned it. Making a film is about compromises. Period. If you don’t approach a movie this way, you are being a little naive. It is all about making those compromises and turning them into a positive, every time!!!" ...
HurlbutVisuals.com
• You may read and watch also: Shane Hurlbut's Kino Flo Interviews: 'In Order to Be a Great Shooter, You Have to Understand Light', by Dave Kendricken on nofilmschool.com (3 videos)
Posted by Sebastian Wöber on May 14, 2013 • "Today we already published a test video of the impressive Canon 5D mark III RAW module enabled by the Magic Lantern hack and a guide to get it working yourself.
Here’s a side by side comparison of the 5D mark III with 14bit RAW 1080p together with the Blackmagic Cinema Camera with 2.5K RAW so you can see how the two cameras differ.
What we did: We went out with a Canon 5D mark III that had the Magic Lantern RAW module hack on it and shot with the Blackmagic Cinema Camera in RAW mode alongside.
We used the Canon 24-105mm lens on the 5D while we used the Tokina 16-50mm on the Blackmagic. Native ISO on the Blackmagic is 800 so we used that." ...
Read more on cinema5D.com
• Update. You may read Joe Marine's reaction on nofilmschool.com
Funding period: May 14, 2013 - Jun 13, 2013 •
(...) "Mold, flex, form stand to any surface in any direction. Use flex shot with cameras, phones, small tablets and more. flex shot's design allows center of gravity to shift as the base is molded, retaining any shape until the user returns the base to its original shape with a gentle coaxing. It keeps your camera, phone, or tablet stabilized, yet flexible with as many uses as one can imagine.
With flex shot you can capture camera shots from uneven surfaces. Stand your tablet on the kitchen counter and try out a new recipe. Video chat anywhere hands free. Use it for time-lapse photography and capture a beautiful sunset. flex shot is durable and easy to use. All the user has to do in order to adjust flex shot is mold the base to any surface in any direction." ... WildIron.com Kickstarter.com
Posted by Tarek Tarabichi on May 14, 2013 • "From a broadcaster’s point of view, New Year’s Day 2013 was undoubtedly celebrated Jan. 25. That is when the International Telecommunications Union announced the first-stage approval of the new video codec H.265, also known as HEVC, for high-efficiency video codec.
While some broadcast-grade HEVC encoders were disclosed during 2012, the first end-user decoders were showcased at CES 2013, about 10 days before the ITU announcement.
The new codec seeks to achieve the same video quality of the established H.264/AVC codec using just half of the bandwidth. The final figures seem to confirm initial hopes. The École Polytechnique Fédérale de Lausanne EPFL evaluated the subjective video quality of HEVC at resolutions higher than HDTV, and the study highlighted that a bit rate reduction ranging from 51 to 74 percent can be achieved based on subjective results, while reduction based on peak signal- to-noise ratio (PSNR) values was between 28 and 38 percent.
Those are two standard ways to measure the efficiency of a video coding standard. The first is based on the subjective (human) assessment of video quality. PSNR is based on an objective metric." ... TokiSolutions.com
Posted by Mar Belle on May 13, 2013 •
"When not busy transitioning people from boxed software to their subscription option, Adobe occasionally takes time out to partner with talented users to bring projects created with their tools to fruition. In that spirit, the company reached out to Barcelona’s collaborative direction, live action, and animation project Dvein, to create an impressive liquid motion art piece called Magma for the launch of the Creative Cloud. Take a look after the jump: (...) Largely known for their award-winning title design and ident work, Dvein’s three creative directors Fernando Domínguez, Teo Guillem, and Carlos Pardo decided to use the opportunity of the commission to create their first music video; turning to The Vein to provide the music which would form the foundation of the film. Aside from the live action shoot aspects of the project — capture on a RED with a mix of Arri 200mm, 100mm, 60mm, and 16/24/32/40mm Macro lenses — which required additional crew, Magma was fully produced in-house over two months by the trio of directors, 3D assistant Alba Ribera and producer Marga Sardà." ...
Read more on nofilmschool.com Dvein.com
Posted by Joe Marine on May 13, 2013 •
"During the NAB 2013 show, FilmConvert, the film emulation color grading program/plugin that actually maps color profiles to specific film stocks, was updated with support for the Blackmagic Cinema Camera, GoPro HERO3, Canon 7D, and 60D, as well as newer profiles for the Canon 5D Mark II and Mark III. Now, in the newest update, they’ve added the Panasonic GH3, Nikon D800 and D7000, in addition to the Canon T2i/T3i. Read on for more about the update, including a new ability to apply film color and contrast separately." ... nofilmschool.com
• About FilmConvert, you may read and watch also: digital-cinema-tools.com/?q=FilmConvert
Posted by Frank Glencairn on May 13, 2013 •
"In part 2 of our comparison, Felix Patzke of Heimspiel and I, looked at the differences of famous Zeiss cineglass and pretty affordable Samyang (Rokinon/Walimex) cineprimes. As in our first article, we where quite surprised, that the differences are not as huge as we thought.
Felix just got his hands on a set of wonderful Zeiss Superspeed glass. These are the older (MKII) lenses with the typical triangle bokeh and the aperture and focus rings are oil dampened. They are famous for their special look and the way they render microcontrast.
In the other corner we had a set of Samyang (Walimex/Rokinon) lenses. When they came out, they generated quite a stir, because of their speed and optical quality for the buck.
Samyang produces those lenses in two different flavors. A traditional version for still photography and a cinevized version. The cineglass has the same optics, but comes with standard gear for focus and aperture, declicked iris and markings on the side, so your focus puller can see them. The focal lengths and speeds are 8mm/f3.5 fisheye, 14mm/f2.8, 24mm/f1.4, 35mm/f1.4 and 85mm/f1.4.
Why there is no 50mm/f1.4 is beyond me though. I hope Samyang comes up with that missing link as soon as possible, since it’s not a complete set without a 50mm.
So here is the challenge. How can those affordable Korean cinevized still lenses hold up against expensive professional cineglass?" ...
FrankGlencairn.wordpress.com
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