MUST WATCH The Changing Shape of Cinema: The History of Aspect Ratio, by John P. Hess (18:15)

Posted by Robert Hardy on June 28, 2013 • 

 

“How often do we think about aspect ratios? Better yet, how often do we think about where all of our aspect ratios came from and the storied cinematic histories from which they were born? It’s an interesting question, not only for the sake of being more informed about the technical history of cinema, but also for having a better understanding of the implications of various aspect ratios on your film’s aesthetic and story. Hit the jump for an extensive video lesson on the history of the aspect ratio.

Filmmaker IQ has produced an awesome and in-depth course called “Everything You Need to Know About Aspect Ratio“. The first lesson from their course is a sprawling 18 minute exposé with all of the aspect ratio history you could ever want.”

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Read more on nofilmschool.com

FilmmakerIQ.com

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The Power Of Camera Filtration, by Ryan E. Walters + Bonus Podcast @ProducersPal (24:04)

Posted by Ryan E.Walters on June 26, 2013 • 

 

“As a cinematographer, one of my responsibilities is to craft the image to reinforce the story I am helping to tell. While lighting, framing, and camera movement are often the first tools that come to mind, an often over looked tool at our disposal is camera filtration. Unfortunately, with the rise of the digital age, and the power of our grading software, filtration at the camera level is not as popular as it once was. While I can appreciate the fear that some directors and productions have of baking in a look, here is why I think in camera filtration can be a powerful tool, and why you should be considering it for your production.”

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ryanewalters.com

• Producer’s Pal ep004 – Ryan E. Walters – Cinematographer shares with us his story and craft.

Subscribe to Producers Pal in iTunes
• Or, here is a direct link to the Producers Pal podcast feed: http://feeds.feedburner.com/ProducersPal in case you use something besides iTunes.
• Download Producer’s Pal ep004 – Ryan E. Walters – Cinematographer (24:04)

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ProducersPal.com

See on www.ryanewalters.com

Blackmagic: BMCC Now Available in MFT and EOS, BMPCC & BMC4K Shipping July 25th. By Nate Weber

Posted by Nate Weber on June 26, 2013 • 

“The Black Magic Cinema Camera (BMCC) announced at NAB 2012 in EOS mount, later announcing the MFT mount option in September 2012, is now readily available in both mount options. It’s been possible to get the EOS mount for a while now but B&H hasn’t had both models in stock until recently.

The camera features a 2.5K Micro-Four-Thirds active size sensor and shoots up to 30fps in ProRes 422HQ or uncompressed CinemaDNG to standard SSDs for $2995.

Blackmagic has added 2 new cameras to their line-up at NAB 2013, a S35 4K Cinema Camera (BMC4K), and the Pocket Camera (BMPCC). This brings the new camera company to having a total of 4 different cameras (two 2.5K models).”

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WideOpenCamera.com

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Ikonoskop Hit Pause On A-Cam dll Camera Production. By Vision Wrangler (4 Videos)

Posted by Vision Wrangler on June 26, 2013 • 

Video above: The Ikonoskop Team • 

 

“I think we all followed the progress of the Ikonoskop A-Cam dll camera, but sadly it seems not enough followed that up with handing over the folding stuff. So Ikonoskop has been forced to announce they have temporarily halted production of the A-Cam dll camera.

Can’t help but think of what if’s, Long haired Hipsters, ignored crocodile attacks, and that nag prancing in the corner; everyone’s stupid fail safe Kickstarter. Oh damn it now other DNG RAW cameras have the spotlight.

Ikonoskop had been dropping the price of the A-Cam dll Camera for months. Bugger didn’t help.

Here is the short message issued by Ikonoskop:”

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Read and watch more on Cinescopophilia.com

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Sony F55 Simultaneous RAW & HD Recording & Workflow, by Andy Shipsides (2 Videos)

Posted by Andy Shipsides on June 25, 2013 • 

  

“One of  the big advantages of the Sony F55 is its ability to record both RAW and HD at the same time (this is true of the F5 as well). When paired with the Sony AXS-R5 recorder, the F5/F55 can record 16-bit RAW data to AXS media cards, and HD video (MPEG2 or XAVC) to SxS cards. This gives you an easy-to-use offline editing format as well as an extremely high quality online Raw format at the same time. Workflows like this are used all the time these days, but the F5 & F55 make it particularly easy. For an in-depth look at this workflow in action, watch my two videos – in the first part above, I explain how to set up the camera for simultaneous recording, including how to add a LUT to the HD recording, and in the second video below, I complete the online/offline workflow, showing how to take a basic HD edit and match it back to the 4K RAW content.”

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Read and watch more on blog.abelcine.com

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RedShark: The fastest way to get your video data into the Cloud is – by mail?

Posted by Neil Roberts on June 23, 2013 • 

 

“Transferring terabytes or even petabytes of data on to server farms in “The Cloud” can take a long time, even if you have a very fast connection. Google are now following Amazon by offering a service where you can mail in your hard drive to be loaded into the Cloud.

 

 There’s an old saying, “Never underestimate the bandwidth of a truck full of hard disks” and that’s just what we are talking about here. You may have your data securely backed up onto hard drives or LTO tape but there are advantages to putting into the cloud. Universal access and search capabilities being just two of them. But if your data runs into terabytes then the transfer times will be huge.

Google Cloud Storage has just started a limited preview of a service called “Offline disk import”

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RedSharkNews.com

See on www.redsharknews.com

Using LUT’s on set and with Resolve with the PMW-F55/F5/F3 and FS700. By Alister Chapman

Posted by Alister Chapman on June 23, 2013 • 

 

“Sony recently released a set of 4 cube LUT’s (Look Up Tables) for use with SLog2. You can download those LUT’s here: DaVinciResolveCubeFiles. In addition there are many other LUT’s that you can use with SLog2 to help create different looks. In this article I’m going to look at how you can use these both on set and in DaVinci Resolve. Currently on set you cannot upload LUT’s to the F55/F5 or FS700, so if you want to use the LUT’s to alter your monitor output you need to use some additional hardware. One of the most affordable solutions is the Black Magic Design HDLink Pro. This box has HDSDI inputs and outputs as well as other output options including DisplayPort to which you can connect either a DVI or HDMI monitor with the appropriate adapter.”

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XDCAM-USER.com

See on www.xdcam-user.com

Blackmagic Confident Pocket Cinema Camera with RAW & 4K Camera Will Both Ship in July. By Joe Marine (02:59)

Posted by Joe Marine on June 23, 2013 • 

Video above: Interview by Matthew Allard • 

“While they’ve rarely had major delays with their other equipment, the company has had some serious problems delivering the Blackmagic Cinema Camera. If you’ve had a pre-order on the camera, you certainly know this by now. With the announcement of two new cameras at NAB, the Pocket Cinema Camera and 

Production Camera 4K, some of these same questions have come up again. Can they deliver in July as promised? Will there be delays that push camera availability weeks, or even months from the original release date?”

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This is How Magic Lantern Has Made Such Amazing Progress with Canon DSLRs. By Joe Marine (01:17)

Posted by Joe Marine on June 18, 2013 • 

 

“The recent developments with the Canon DSLR hack known as Magic Lantern have been downright astonishing. At one time these DSLRs were just decent H.264 video/still hybrid cameras, and now they’ve become RAW video monsters with an unbelievable increase in detail and clarity. While the Canon 5D Mark III is the only one capable of taking full 1080p advantage of these advancements, it’s likely every Canon DSLR will be able to shoot RAW video down the line. But how did we get to this point so fast? Was it some sort of Canon conspiracy? Check out the video below to get a better sense of the insane amount of work it’s taken to get to where we are now.”

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Read more on nofilmschool.com

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Zeiss Drops Wide-Angle Zoom Hints. By Matthew Duclos

Posted by Matthew Duclos on June 18, 2013 • 

 

“Zeiss discontinued their 15.5-45mm Lightweight Zoom (LWZ.2) about three months ago. This LWZ was a great range and a decent speed for hand-held and Steadicam work but it didn’t match up well with the design or build of the new Compact Zooms (CZ.2). Zeiss released the 70-200mm T2.9 Compact Zoom a few months back and has been slow to deliver since it’s release. The lens is an excellent tele-zoom that will be comfortable for shooters coming from DSLRs who loved their Canon, Nikon, Tamron, Sigma, Sony… Take your pick – just about every lens manufacturer makes a 70-200mm Tele-zoom. The 70-200mm performs very well at all focal lengths (review coming soon) which has left it in very high demand.”

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MatthewDuclos.wordpress.com

See on matthewduclos.wordpress.com