Blackmagic continues to update on the progress of the camera, and the problems they have had with the sensors. Evidently the sensor manufacturer switched from one company to another for the bonding of glass to the sensor between the initial test run and the production run. Odd.
Our current understanding is that the company that has been bonding on the glass is crap and they have been contaminating the glass when bonding it. Because the sensor suppliers test process was also bad, it meant that no one really knew what was going on and it's been weeks and weeks of confusion.
Shooting with the TS3Cine | Justin Hamilton | Vincent Laforet
In the end, we came away with some good shots, mostly thanks to the skill of the skater we were working with. The lesson learned for us was that camera motion is just as important in hi-speed as it is at normal frame rates. A static camera is a boring camera. Don’t get me wrong there is a place for locked-off shots in filmmaking, but movement really brings things to life. This is where the TS3Cine excels.
PPro CS6: Effects used on Adjustment Layer not the same as direct on clip
| Todd Kopriva | Adobe Forums
Interesting note on using Adjustment Layers in Adobe Premiere. It may be a little esoteric, but could be useful to know. Coincidently, I only just started using them last week (to add burn-in timecode to a video.):
There is a very common misstatement and misunderstanding of how adjustment layers work, which I'll repeat here: "Applying an effect to an adjustment layer applies the effect to all layers under the adjustment layer." That's wrong in a subtle but important way. What actually happens is that applying an effect to an adjustment layer applies the effect to the composited result from all of the layers under the adjustment layer.
6 Reasons to Get an Extreme Closeup Shot | Videomaker
2. Tears and emotionYou've got a happy or sad moment, let that moment sink in by getting the audience to notice the tears falling from a subject's eyes. Actually, getting an extreme closeup of the eyes is going to be a very good way of showing emotion in nearly any situation
Gear Review: D|Matte Mattebox from D|Focus System | Tony Reale
| Next Wave DV
A mattebox is many things for shooters. It allows the shooter to block light from spilling into the lens and causing flares. It holds glass filters such as NDs, polarizers and many more. But perhaps most vain of all is the added benefit of allowing your camera to look a bit more pro. In any case, there are plenty of reasons to have one in your kit...
DEFIANCE: BEHIND THE SCENES | Russ Pitts | Polygon
I'm standing on the backlot of Syfy's new television series Defiance, an epic science-fiction drama set three decades after an alien invasion of Earth. The lot, a roughly five-acre gravel parking lot, has been converted into the downtown of a city called Defiance, the remains of what used to be St. Louis. Everything around me — from the tent to the baby doll — is simply set dressing, placed here intentionally on the off-chance a camera might catch it for a half second in the middle of a scene.
Terry Gilliam on the Importance and Power of Storyboarding | Dave Kendricken
| No Film School
Gilliam here describes his storyboarding process sometimes affecting the script as new visual ideas come out, which is an interesting inversion of convention as I see it. He highlights the benefit of using storyboards as the skeletal basis of a scene’s structure, allowing out-of-sequence shooting to work just as well as shooting in-sequence
VFX: 'Flight' makes use of the cloud | Daniel Restuccio | Post
The production was helped along not just with previsualization, but post-visualization as well. “A previs shot,” describes Baillie, “is really the beginning of defining a shot. Creatively, the sky is the limit. You don’t have any cameras that you’re locked into yet. You generally haven’t shot any footage yet, so you’re really making up shots from scratch. Post-vis, on the other hand, is when you’ve already shot a particular scene and you’re trying to figure out how to work a significant computer-generated element into that shot.” Some of the previs for the crash scene was done by LA’s Third Floor and in-house at Atomic.
Large Sensor vs. 3-Sensor Cameras | Craig Johnston | TV Technology
Michael Bergeron, senior business development manager at Panasonic pointed out that “using a mosaic filter, you don’t have co-sited pixels. In a 3-imager camera, the red, green and blue sub-pixel of each pixel is in exactly the same spot.” Part of the de-Bayering process involves divining what a blue pixel on a LFSS chip, for example, would capture in a location where there is actually a green or blue pixel.
An Editor's Guide to Adobe Premiere Pro: Ingesting into Adobe Prelude
| PeachPit | YouTube
A short introduction to ingesting material in Prelude for use in Adobe Premiere CS 6.
1 comment:
Large Sensor vs. 3-Sensor Cameras - Kinda got to take this article cautiously...Coming from an employee of the only big player without a Large Sensor (APC-S or larger) video camera and probably the most vested heavily in 3-sensor cameras. SMH.
Post a Comment