Interesting interview about the Panasonic GH3, though there's a lot he can't say (like who makes the sensor!)
EOSHD: Are you aware of the hack for the GH2, the hack project?
Inoue: Ah yes!
EOSHD: How much of an influence was it for higher bitrates in the GH3?
Inoue: The reason we didn’t build on the high bitrate movie mode (officially), were internal Panasonic regulations for heat dispersion. Otherwise we could have had problems, we could not guarantee it.
Exclusive – Canon confirm 1D C 4K DSLR is identical hardware to a 1D X
| Andrew Reid | EOSHD
Interestingly depressing news if this is true; they charge twice the price for slightly different firmware? Then again, look at the price of Canon's video cameras...
Canon wanted to make a distinction in price because they believe (rightly) that Hollywood and many many pro filmmakers would be more than willing to pay $12,999 for a 4K DSLR. So why put this firmware in the 1D X for $6k? It is selling themselves short and most 1D X shooters don’t need it and don’t want it on their camera.
Black Magic Firmware Requests | Sam Morgan Moore | Blog
Seriously I would like an Image/Menu flip/mirror feature.
It occurs to me the the BMC will have less screen reflections and less cabling issues if used upside down, not to mention 3 mounting points for a solid mount to the rig without the use of a cage.
Maybe the record button would be more findable too.
An important next step in transitioning from FILM to DIGITAL CINEMA: FilmConvert | Vincent Laforet | Blog
Instead of throwing a simple curve on the image to approximate the look of "film", FilmConvert accurately shifts the values of the image based on the sensor you shot, and intelligently converts the colors that sensor captured, to the type of film stock you choose to emulate. In other words – they know not only how your individual sensor "sees" or captures a particular color, but just as importantly how each film stock would "see" or render that same color – AND HOW THE TWO CORRESPOND!
The Importance of Camera Tests | Shane Hurlbut | Hurlblog
I guess where I am going with all of this is that we have so many new digital tools at our disposal that you cannot just pick them up and start shooting with them. It is a disservice to the tool as well as to you, the cinematographer. Let’s think about it in a totally new way. Treat your new digital camera like a new film emulsion that needs testing. Why? Because every sensor is different.
Canon T4i/650D vs 60D Which One Should You Buy? | Dave Dugdale
| Learning DSLR Video
I have a feeling both of these camera should have about the same aliasing and rolling shutter, I’m not sure the difference between the Digic 4 and Digic 5 processors will help much here. And sure enough it appears the Digic 5 processor doesn’t help with rolling shutter.
Comparing Nikon DSLRs: The D600 vs. The D800 | Dan Bailey
| Adventure Photography Blog
Although the D800 will obviously shoot quality video since it has more pixels on the sensor, both cameras will shoot Full HD and are very comparable in this area. The main limitation on the D600, though, is that you can’t adjust your aperture while you’re recording.
Rokinon 35mm T1.5 Cine Lens Review | Olivia | Olivia Tech
Focusing on a cinema lens typically has a longer and smoother travel, not like the short focus of a photo lens. This equates to more degrees of turning when focusing. The new Rokinon Cine lens has a slightly longer and smoother travel than the f/1.4 Photography lens. Additionally, the focal distance numbers on this Cine Lens are on the side of the lens, rather than on the top, for easier focus pulling.
PluralEyes 2 and DualEyes 2 Update | Aharon Rabinowitz | Red Giant Software
An update to the software because the license service has changed?
Seeing the problem, our crack team of engineers (which includes RG and Singular’s engineers, now under one banner) burned the midnight oil to make sure that PluralEyes users did not get stuck without the software they’ve come to depend on. We managed to get all of the existing licenses into our licensing system in record time.
RAIDs, SSDs, iCLOUD and Performance | Larry Jordan | Larry's Blog
If we ignore issues like file security, these services are excellent for backing up data, sharing files between devices, and moving files between computer systems. However, they are not good for storing source media files for editing. It isn’t because they don’t store enough. Just the opposite, these services can store a vast amount of data. The problem is that the connection speed – called the “data transfer rate” – between your computer and the iCloud is too slow.
Time Capsule | Mike Sutton | Wide Open Camera
Archiving is important, though I'm not sure that packing away a computer with your archive is the best solution:
Whatever the format you choose to archive to, it just makes sense to make multiple backups to as many formats as possible. If you can, vault all of it with the appropriate playback devices and a computer that can be offlined and stored with it. This is the only way to do archiving the right way and the way that movie studios who are progressive and ensuring they have access to past projects.
Fantastic Fest Review: Tim Burton's 'Frankenweenie' Is A Rousing Return To Form | Drew Taylor | Indie Wire
"Frankenweenie" is stylized to an almost impossible degree. It's a black-and-white stop motion animated movie, shot in 3D and set in some bizarro version of fifties suburban California. It's about as far removed from reality as you can imagine.