| Clint Milby | Pro Video Coalition
How else would you describe a device that allows you to change how it functions by simply swapping out various modules to suit whatever your needs may be? Specifically there are two modules on the back of the unit that can be mixed and matched. First, the battery plate can be swapped out, easily allowing you to choose between ten different types of DV battery plates.
Hands-On Review: Sony NEX-VG900 Full-Frame Camcorder | Mia McCormick | B & H
Mia McCormick demonstrates many of the camera’s features and discusses a few lens options that should help users take advantage of the large sensor. For the most part, this is a glowing review peppered with a few criticisms that might limit the VG900’s appeal to professional videographers, but you’ll also learn some tips and tricks for overcoming these limitations. Film-like video with shallow depth of field is where the VG900 really excels, and this video provides some beautiful samples.
Blackmagic Cinema Camera - Hair and Skintone Test | Adam Roberts | Vimeo
We wanted to test the new Blackmagic Cinema Camera to see how it performed with skintones and hair. We used the Sony NEX-FS100 and Canon 5D MK2 as known refrences for comparison.
Both the Sony NEX-FS100 and the Canon 5DMK2 footage was transcoded to ProRes HQ with 5DtoRGB. I then colour corrected the footage in Final Cut Pro X.
Canon 1DC 4k | Test Clip at 3200 ISO | Zeiss ZF F/1.4 at F/2 | James Miller
Philip Bloom shot and sent out a few seconds footage from the Canon 1DC 4k. Shot at 3200 ISO using the Zeiss ZF F/1.4 at F/2.Native file exported as frames and graded in Adobe Camera Raw. Image sequence compiled in Adobe Premiere CS6. Footage shown at 50%, 70%, 100%, 150%, 200% of native 4k clip. Native single frame shot at the end.
Carbon Fiber Portable 4ft. Mini Crane / Jib | CheesyCam
The benefit to this crane is it’s extended counterweight section that allows you to use ‘less weights’ than other cranes that have a short rear arm requiring a 3:1 counterweight setup. I’m able to fly my Canon 5D Mark III with just a single 5lb + 2.5lb counterweight. The other cranes i’ve used required up to 20-25lbs of counterweight.
How To Mark An Actor For Camera. Wide Open Camera Quick Take Video
| Jared Abrams | You Tube
The most common mark is a T shape in between the actor's feet. We show a few more variations and explain the possible use for each one. We recommend using 1/4" paper tape with tabs for easy removal. This is primarily for interior use. Exterior marks can be done with chalk or sticks, golf tees, anything that will work etc.
My FCPX Workflow | Ron Dawson | Dare Dreamer
No matter what NLE you use, you should have a set workflow, ideally one that you have documented so that whenever you bring on new or contracted editors, they can work within your guidelines. These include naming conventions, transcode procedures, etc. It’s especially important to have a set workflow system if you’re completely tapeless.
Archive in today’s digital age | Philip Johnston | HD Warrior
With each new technology, we seem to be going to media with shorter and shorter storage lives. From the age of film and vinyl records which had a very long life; to tape with still a fair life; to DVD/CD/BluRay with about 17 years; to hard disks with about 4 years.I certainly remember when I learnt about the likely lifespans of hard drives, and then was a bit shocked to learn that they can have a much shorter life when they aren’t used regularly. Had been archiving everything to hard drives and placing them in storage at that stage.
Local TV Photojournalist Jeff Frings on shooting DSLR documentary ’300 MILES OF GRAVEL’ | Jeff Frings | DSLR News Shooter
This was my first time shooting anything like this with a DSLR and it was a pretty easy transition from the Sony EX-3 I use in my day to day shooting. My primary camera was a Canon t2i with a Nikon 50mm f1.4, Nikon 80-200mm f2.8, a Nikon 300mm f2.8 with a 1.4x converter, and occasionally the stock kit 18-55mm canon lens. I also used a GoPro and a Canon SX200 point and shoot.
Kathryn Bigelow addresses 'Zero Dark Thirty' torture criticism | Kathryn Bigelow
| LA Times
This is an important principle to stand up for, and it bears repeating. For confusing depiction with endorsement is the first step toward chilling any American artist's ability and right to shine a light on dark deeds, especially when those deeds are cloaked in layers of secrecy and government obfuscation.