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Sony 4K cameras: PMW-F55; PMW-F5; XAVC 4K codec; NEX-FS700 4K interface unit | Rick Young | Vimeo
David Young, Product Specialist from Sony Europe, discusses the latest announcements made by Sony of the new 4K capable cameras, the PMW-F55 and PMW-F5, plus the newly announced XAVC codec and 4K RAW recording interface unit for the NEX-FS700E.


FS100 – Ferrari Profile | Sam Morgan Moore | Blog
Tuning the Sony NEX-FS100:
And that is how my FS100 camera is tuned right up. My colour profile is designed for minimal grading.. which means minimal banding, which means a smooth file. But it is contrasty – it wont bear an exposure error, and will get noisy if you up the ISO. This is for accurate shooting and using lights or reflectors when you need them.


Creating a Beauty Light with a Book Light | Shane Hurlbut | Hurlblog
A book light is simply a bounce source that is diffused with another layer of diffusion. It creates an image of an open book. Your light is positioned 45 degrees off of your bounce; then your diffusion layer can be joined at the end of your bounce where your space is limited. You can make a thick book, which will make your light softer because there is more distance between the source and your diffusion layer. Your bounce has now become your source, not your light.


What Display Should I Buy? An Opinion Piece… | Alexis Van Hurkman | Blog
It seems to me that shopping for a color critical display is similar to being an audiophile—you can make yourself crazy searching for the Nth degree of perfection. Unlike audio technology, displays are subject to a concrete standard; Rec 601, Rec 709, or P3 dictating the gamut, and a gamma setting that depends on your specific application (more on that here), and a specific peak brightness measured in foot-lamberts (more on that here).

How Steven Spielberg’s Cinematographer Got These Eleven Shots | Kyle Buchanan | Vulture
Few men know Steven Spielberg as well as Janusz Kaminski. The Oscar winning, Polish-born cinematographer has shot all of Spielberg's films since 1993, and their latest collaboration, Lincoln, is in theaters now. What better time, then, to talk to Kaminski about how he managed to create some of the most interesting shots and sequences in Spielberg's modern ouevre?


REDROCKMICRO’S $45 CHEESPLATE SOLUTION FOR THE BLACKMAGIC CINEMA CAMERA | Dan Chung | DSLR News Shooter
Redrockmicro has come up with an inexpensive and simple cheeseplate solution that gives the Cinema Camera multiple 1/4” 20 mounting holes and a cold shoe mounting socket for accessories like microphones or LED lights. The best part about this is the price – a mere $45 US.


Time Warner CEO: Cord cutters not an issue, “cord nevers” might be
| Jeff John Roberts | Paid Content
Despite his dismissal of cord-cutting, Bewkes did acknowledge the emergence of “cord nevers,” which are younger people who never acquire cable in the first place. For them, he said it’s not a question of money — “they can afford three Starbucks a day” — but rather different habits and expectations. Bewkes pointed out that the “cord nevers” are not receiving the best content (it will be interesting to see if this argument one day sways them into signing up).


10+ steps to becoming mega successful in video production and probably winning many awards whilst becoming super rich!! | Philip Bloom | Blog
2: The work will not come to you. Getting the big break while sitting around waiting is about as likely as winning the lottery. No matter how well your student film from film school was received, Adidas is NOT going to call you up to make their next spot. You will need to put in a lot of hard graft. Getting your name out there may never happen.


Avid Digital Cinema Camera Workflows [PDF] | Avid
Note, the above link goes directly to the PDF.
Since the introduction of the Sony 24p HD camera in late 1999, the world of digital cinema has changed. Digital technologies have been chasing film—the gold standard—not only in imagery, but also in providing additional benefits such as reduced costs and immediate access to the dailies in post. With changes in technologies, the advantages and disadvantages of new formats and solutions need to be weighed in context of the overall goals and delivery of the program itself. Content producers need to take a holistic approach to what is right for the entire production.

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