Lots of excitement about the announcement of RAW recording with the Canon 5D Mark III:
What became clear is that both cameras provide very similarly capable RAW files. You can adjust everything and everything is possible. You can get similar details out of the sky and set all you like in post. Color temperature, tint, dynamic range, no problem. The 5D is just as strong as the BMCC, providing maybe a bit more dynamic range.
BIG NEWS – Hands on with CONTINUOUS raw recording on Canon 5D Mark III | Andrew Reid | EOSHD
Magic Lantern have done the seemingly impossible and given us a continuous raw recording mode on the Canon 5D Mark III. Once activated in the menus the 5D Mark III becomes essentially a full frame Blackmagic Cinema Camera and amazingly mine has not yet exploded. No more short bursts of raw, this is the real thing.Andrew has taken to Twitter to post some more enthusiastic impressions:
Only just starting to sink in how good the image is. Digital film negatives are finally here. On a 5D Mark III
The CF card and 5D3 card bay area get slightly warmer than normal, but only a few degrees. No sweat!
Low light is INSANE on 5D Mark III with raw. Makes the H.266 video mode look like a smartphone camera
H.264 video mode cannot hold a candle to raw in any light never mind ISO 12,800
Colour and tonality is utterly insane and you have full control over noise reduction. When applied, fine detail remains. Stunned by it
Biggest difference in low light is colour, followed by fine detail. H.264 is all yellow and pale in comparison to raw. 5D3 ML is a beast
Also with my candle test I get 3-4 stops more in the highlights... Easily
I cannot go back to H.264 on ANY camera now. Blackmagic was good. This is just insane new level. FS100, C300, all dead to me now
in other news...
Technicolor Case Study: Oblivion | Scribd
As one of the first studio features to use Sony’s new F65 CineAlta digital motion picture camera, Universal’s big-budget 2013 movie, Oblivion, starring Tom Cruise, created a buzz of anticipation in the production community. Producers were excited by the camera, but had to make a decision aboutwhat digital workflow to institute, including how they would handle digital dailies given the production’s particular needs.
Zeiss Touit can they be used for video? | F-Stop Academy
Zeiss has announced some new, small lenses for Sony E-Mount and Fujifilm X-Mount, but they aren't really video lenses, and they are pretty expensive...
Often with smaller compact lenses , image clarity and contrast are compromised because fewer glass elements are present. Not the case with Touit. Th edge to edge sharpness is incredible even at wider apertures. I purposely shot stiff at f2.8 to test this. The images have great clarity also and the contrast levels are exactly what I’ve come to expect from Zeiss.
HORSES FOR COURSES: HOW TO SHOOT IN FLAT LIGHT | Matt Allard
| News Shooter
It was a very cold and overcast day which made shooting conditions very difficult. When the light is very flat you need to approach the way you capture images differently. You can’t rely on the light to give you depth and contrast. Flat light and snow are a difficult combination.
The Summer Blockbuster Colour Grading Tutorial | Juan Melara
I’ve received a lot of requests to share the techniques I use to achieve the various grades on this site and on Vimeo. But by far the biggest request has been to show how I create the cool/warm look. Otherwise known as the summer blockbuster look, the teal and orange look etc. The techniques I show you also form the foundation for most of the grades on this site.
James Wicks on Color Restoring Classic 35mm Spanish-language Movies
| Tom Parish
Jim talks about the team effort that goes into repairing each film, such as the careful cleaning, optical scanning, restoration, the color restoration process, audio, and finishing. Jim covers two examples: one from a 1951 black-and-white film, the other from a 1956 color film that looks to be nearly as grand in scale as Gone with the Wind.
Kodak Bankruptcy: Key Hearing Approaches; Company Restates Commitment to Film | The Hollywood Reporter
Per the reorganization plan, two business units will remain with Kodak: Digital Printing & Enterprise; and Graphics, Entertainment & Commercial Films. The Entertainment Imaging division resides in the later, and per the plan would remain intact with its film products.