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John Brawley long interview on the BMDCC | EOSHD
Some info on the upcoming BlackMagic Design Cinema Camera:

It's finally confirmed, rolling shutter is a feature, which is weird if they're using the rumoured Beyer Dynamics sensor, as that one has a global shutter mode. If that's indeed the sensor, it would make a lot of sense to use that mode, or even better, have the option to go between the global shutter mode at 24/25/30fps and the 60fps rolling shutter mode it's capable of, but it probably isn't even using that sensor.

New Sony NEX-EA50EH shoulder mount 35mm camcorder. Power Zoom lens for FS100 and FS700 | Alister Chapman | XDCAM User

Getting back to the camera, because the sensor is a 16.1MP APS-C sensor designed originally for still photos, there will be more moire and aliasing than you would see from a dedicated video camera sensor because the optical low pass filter is designed for still photo resolutions as opposed to HD video. Although based on the NEX5N stills camera the video image processing has been tailored for video so the video image quality should be better than that from the stills cameras.

Note that yesterday it was listed at $4,000 on B & H, and now it's $4,500!


NEX-EA50 NXCAM Camcorder: Product Introduction Video from Sony Professional Europe on Vimeo.


Sony NEX EA50 – ENG cameras go APS-C, interchangeable lens | Andrew Reid
| EOSHD

1. It isn’t a future consumer camera. It is a low end ENG camera for shoulder mounted video work.
2. It isn’t a cheap FS100. It is a NEX 5N in an ENG body with XLR inputs. (Similarly the VG20 is a NEX 5N in a high end consumer camcorder body)

Sony Announces the New NEX-EA50 | Andy Shipsides | AbelCine

Today Sony announced a new camera in their NEX line, the NEX-EA50. The EA50 is essentially a shoulder-mounted version of the popular FS100. The ‘EA’ stands for Event APS-C, which clues you into what this intro level NEX camera is all about. The camera comes with a 18-200mm power zoom lens (F3.5-6.3) with optical image stabilization.

I think it's going to be more like the NEX-5 in image quality than the FS100.



G-Log Ultimate 1.0 Picture Profile for the Sony FS100 | Frank Glencairn

After further trying, to milk out the last bit of the FS100 sensor, I think I finally came up with the “magic formula”.
It holds and rolls highlights better than any of my other profiles, gives more DR than ever and also is the closest you can get to S-Log in a FS100.
If you ever looked as a S-Log or Arri Log waveform or RGB parade you can see that most of the data lives between 20 and 80 IRE.

You can currently get the NEX-FS100 with $800 off: with lens [Price:$4,799.00] and without lens [$4,199.00]



Splitting Stereo Audio into Dual Mono in Premiere Pro | Andrew Davis
| Premium Beat

If you’re recording two audio inputs to camera they may come into Premiere Pro as a single stereo track (such as 2 separate audio mics for your talent). This can be entirely frustrating. You need to break these married audio tracks into dual mono, but how?

60 Canon 5D MKII Cameras Shoot the Film ParaNorman | Cinescopophilia

Five camera teams and crews of animators, puppeteers, and staff from LAIKA animation studios, along with a garrison of sixty Canon EOS 5D Mark II DSLR cameras have come together to help bring the new 3D feature film, “ParaNorman” to the big screen. The EOS

CAMERAS: Why Zacuto’s Latest Camera Test May Have Screwed Us All | Art Adams | Pro Video Coalition
Art explains the problems with Zacuto's recent test:

When I look at the iPhone 4S lighting setup on page 4. I can see that 32 additional minutes of lighting time were used to set up seven additional lights and a small assortment of grip gear. Page 6 shows me the Panasonic GH2 lighting setup, which employed three fewer lights but took nearly a half hour longer to set up than the iPhone did.

Revenge of the Zacuto Shootout 2012 – Part 3 review | Andrew Reid | EOSHD
Andrew defends the test:

For me the creative test in part 2 gives a more accurate idea of real camera performance.
Rather than have each camera set up optimally, they are just thrown in there and left to cope. This is not how to handle the cheaper cameras even in an empirical test. The more expensive stuff has a wider operating window, and don’t need as many work arounds. Yet people tend to put too all the weight and importance into this form of empirical testing, even though it has nothing to do with how you’d shoot in the real world.

DSLR tutorial: Why composition matters | lynda.com, DSLR Video Tips series
| YouTube
Can you crop the DSLR video image? Of course; though how good it will look depends....

This DSLR tutorial discusses why composition is important and how to rely less on the Crop tool.

Canon EOS C300 shoots first movie on an airplane while flying | Planet5D

In-flight movies have long been part of airline travel, but director of photography Doug Chamberlain added a new chapter to their history when he shot the movie “Departure Date” on board commercial flights using EOS C300 digital cinema cameras from Canon U.S.A., Inc., a leader in digital imaging solutions. A 24-minute short feature written and directed by Kat Coiro, “Departure Date” was shot by Chamberlain over the course of nine days encompassing three continents, 28,000 miles, and a filming location moving at an average speed of 500 miles per hour at an altitude of 35,000 feet.

A Bleak Picture for Non-Digital Independent Theaters: Convert or Die | The Wrap

It is a scene playing out for more than a thousand independent and community theater owners across America, who must fork over between $65,000 to $150,000 per screen for digital theater systems or face extinction. And with each cinema that goes dark, a piece of the social fabric unravels with it, theater owners argue.