Notes On Video

Many Camera Formats Strike in Waiting for Lightning | Michael Svitak | Hurlblog The primary camera package, donated by Revolution Cinema Rentals for the documentary project, consisted of three Canon 5D bodies, three tripods, a set of Canon “L” series primes, Canon 24-70mm, Canon 70-200mm zoom, two sets of 77mm Tiffen Water White IR ND filters, two SmallHD DP6 on-board monitors, a HP Dreamcolor lighting monitor and 20 Hoodman 16GB CF cards. SPENCER CHUMBLEY SHOOTS PUBLIC TELEVISION IN WISCONSIN – ON A DSLR | Spencer Chumbley | DSLR News Shooter It was this forward thinking that led me to the show—and I knew the innovation would continue when Ircink agreed to let me introduce my Nikon DSLRs to his production workflow. The show has been traditionally shot on Sony’s EX1, but the shallow depth-of-field offered by the DSLRs really allowed the food—the show’s main character—to shine. RED Ends Lens Production, Dragon Sensor Compares to 65mm According to CEO Jim Jannard | ...

Game Changers Part 4: Planning and Shooting | Michael Murie | Filmmaker Magazine In this fourth episode of a series on the making of the low-budget independent film, Game Changers, director Rob Imbs and cinematographer Benjamin Eckstien discuss audio recording, communication between director and cinematographer, and how to plan out shooting a multi-day, multi-location project. Earlier parts consisted of an overview and then discussed fundraising, casting, camera and lighting gear. Canon Publishes Short Film Shot on the C100 | Videomaker 1. Looking at the outdoor shots, the dynamic range appears to be pretty good. That said, they're all shot under overcast skies, so it's hard to say what kind of contrast the camera is really capable of capturing based on this film alone. 'The Hobbit: An Unexpected Journey': How Is 48 Frames Per Second? | Mike Ryan | Huffington Post Q: Is Peter Jackson right that, even if it takes some time to get used to watching a film i...

Yesterday Sony held another webchat on their new PMW-F5 and PMW-F55 . Once again, here's a transcript. I just tidied it up; moving the answers next to the questions and deleting any questions that weren't answered. You can find the full transcript on Sony's Facebook page. Admin : Hello and welcome to this Cinematographers’ webchat. In this session we will be talking with a panel with hands on experience using the PMW-F55 and the PMW-F5 and finding out how they got on. Joining us today will be Sony representatives Ainara, Porron, Lucie Wendremaire and Sebastian Leske. Lucile Hadzihalilovic, Director, and Dominique Colin, Cinematographer, join as the team behind the film “Images” shot in XAVC HD on the F5 on location in France. We are also joined by Steve Lawes, Director, and Martin Scanlan, Cinematographer, of ‘Dig’, a short film shot in 4K on the F55. Dado Valentic from MyTherapy joins to give a colourist’s perspective on working with the F55 footage. Steve Lawes:...

PRODUCT REVIEW: CANON 6D | jthorpephoto | Blog 4) Movie: It can record in all the same resolutions as the MKiii, so no difference there, I've heard of reports of Moire with the video, but I haven't seen it really. The video is a big upgrade from the MKii. Also the LCD is MUCH better than the MKii, and damn near the same as the MKiii. 5 Awesome Production and Post Production Online Newsletters | Jonny Elwyn | Premiumbeat Patrick Inhoffer’s excellent weekly newsletter is always jam packed with tons of great links to that weeks best color grading content. There’s always plenty of links to tutorials, color grading craft articles and a ton more on the business side of things, as well as a few ‘Sunday morning funnies’ too.  All enlightening and entertaining stuff.  It’s also a great place to stay on the inside track of what Patrick is up to and has got planned next. Weekend With The Sony FS700 | Robert Ruscher | YouTube I had the weekend to learn the ins an...

Canon C300 & C100 matching custom picture files | Paul Joy | Blog Here’s couple of screen grabs from my testing. I wanted to focus on the greens and yellows first as they are the trickiest to get right on the C300 so I assumed the same would be true on the C100. The C100 actually seems to be a lot closer to a natural colour balance with it’s default settings than the C300 is.  Paul has also posted a follow up: Canon C300 & C100 matching custom picture files Ive spent some time working on custom picture profiles for the Canon C100 and C300 cameras that allow both cameras to be cut together and match well. I don’t own test charts but I’ve tested these under various conditions and they match well. The following examples were shot using the built in tungsten setting on both cameras, manual white balancing or dialling in Kelvin settings on both cameras can produce non balanced results so I prefer to use the presets for two camera shoots when possible. Canon C300 Firmwar...