Despite initial skepticism about Sony's past offerings, Steve seems impressed by what he saw of the F65 at a recent demo event:
Only time will tell but I think the F65 is going to catch on big time. It’s workflows will appeal to TV shows and feature films alike. It’s price point is low enough to attract a number of owner-operators, albeit not as many as RED. The 8k sensor at the heart of it seems to produce really good, clear images (from what I’ve seen). They definitely have some traction in the true 4k argument. I’d really like to see Epic and F65 footage side by side. I’m sure we’ll be seeing some comparison tests in the new year.
Canon EOS C300 at BBC Scotland…First Impressions | Philip Jonhston | HD Warrior
Philip's impressions of the C300 after seeing it at a demo event:
We also had a chance to see the iPad working with the C300 now here is my dilemma, it looks the business but has a small delay in transmission making your moving shots staccato, personally for the extra £950 for the Wi-Fi dongle I love the concept but feel its a lot of money for a non realtime image.And if you're in Boston, make sure you check out the previous post about an upcoming event on January 5th at Rule Boston Camera featuring the C300.
RED SCRALET X - First Review & Impressions Part I | Tonaci Tran | Blog
A blog on using the Scarlet X, though this first part mainly addresses the recent reliability concerns (and has some sample images and video):
There are literally thousands and thousands of Red Cameras working day in and day out without any problems. This is not to say there are never any problems with the cameras…sure there is. This is the nature of electronic devices. Canon 5ds go bad too, right? (My friend sent his in for repair last week.) What I can tell you is that Red staff have gone above and beyond to help me whenever I have questions or issues. I'm positive that thousands of owners will share similar experiences with me on that.
Behind the Scenes on an EPIC Short Film, 'Cannis Belli' | Robin Schmidt a.k.a. El Skid | No FIlm School
Yesterday Robin had an article about living with the Sony NEX-FS100 on Wide Open Camera, and today he has the first in what appears to be a series about shooting a short film with the Red EPIC. The first article doesn't have much about the camera itself; more about why he decided to work on this film:
While the blogotwitosphere was declaring war on itself over which camera was bestest, we were going to war producing a film about war, on the camera everyone is now keen to get close to: the Epic. Suffice it to say, our interest in what the Epic could offer us was more than a little spiced up by these announcements.
Anatomy of a Steadicam/Segway "step off" shot | Pedro Guimaraes | YouTube
A cool little BTS video showing shooting using a Segway, and "stepping off" the Segway in mid shot.
DaVinci Resolve 8.2 Beta 1 for Mac | Blackmagic Design
The latest Beta of Resolve adds support for the Canon C300.
Handling the new GH2 25p footage and FAQ | EOSHD
A new "official" firmware update that adds a high bitrate 25p or 30p depending on PAL or US support.
Yes. Panasonic seem to have quietly accepted the hack as ‘a good thing’ so they have not encrypted the new firmware or attempted to block the hack this time. If you install the official V1.1 firmware but then want to go back to the high bitrates of Vitaliy’s hack you can use PTools as normal to put V1.0E back on the camera.
NVIDIA Maximus and Premiere Pro CS5.52 | Dennis Radeke | Adobe Blogs
Adobe now supports NVIDIA's Maximus; a Quadro card combined with a Tesla card (a Quadro card without the display outputs.) Performance for some things - like scrubbing AVCHD - is 'Incredible," but the cards start at about $2,000:
What I’d like to see is NVIDIA and Adobe working together to certify other Maximus combinations that are more affordable to a broad set of Premiere Pro users. Give me a Quadro 4000 + C2050 or something similar. I’d love for Adobe users to have a $800 investment in a NVIDIA card and then be able to double it and get a significant boost in performance.
Producing 3D for TV and the Challenges | Jay Ankeney | TV Technology
Profile of production company Vertical Ascent producing 3D documentaries with the Panasonic AG-3DA1:
Among the lessons editor MacGowan and producer/editor Kennedy have learned from this series so far is that you can't cut as quickly in 3D as you can in 2D; wide shots can tell their own story and should be allowed to linger; and it is best to limit the amount of images that pop out of the screen in what is called "negative space."
Sol Negrin, ASC | David Heuring | American Society of Cinematographers
Sol Negrin will be receiving the Society of Camera Operators' Lifetime Achievement Award for Distinguished Service to the Industry. You can read a profile of Sol, who received the Presidents Award in 2010 here:
“I had an adviser who asked whether I had an avocation,” Negrin recalls. “I told him I liked photography, and he suggested I pursue that. It was good advice. I passed the exam for the High School of Industrial Arts [now the High School of Art and Design], showed some of my artwork and got in. It was the only school at that time that taught both still photography and filmmaking, and I gravitated to the film work. I shot short films for the school, which had a lot of Army surplus equipment, including 16mm Cine Special cameras.”