I decided to compare ProRes with the recently released RAW firmware from Blackmagic. I was very surprised by how much of a difference there was between the two. The 12-bit RAW looks alot better than some RED footage I've worked with, besides the ugly Moire which shows it's ugly head in this shot.
Detail seems nearly identical. The most apparent difference is how the raw responds to the LUT. In the second shot, you can see the raw retains the highlights better. The blacks are also more crushed in the prores clips. Overall the colors respond more willingly. Being able to dial in WB/EXP/Sharpness in post feels pretty nice too. No sharpness applied to these though.
CANON UPDATES FIRMWARE FOR CINEMA EOS CAMERAS – C300 GAINS AF AND OTHER FUNCTIONS | News Shooter
Today they delivered on their promise with firmware version 220.127.116.11.00 and added a raft of extra functions as well. The AF is similar to the original C100, but not the same as the speedier Dual Pixel AF CMOS that you get with the paid C100 upgrade that will be available soon. Continuous AF is possible when using one of the newer STM lenses.
Final Cut Pro X 10.1 revealed? | Alex4d
iMovie (2013) isn't an updated version of iMovie '11 (version 9), it is Final Cut Pro X with additional resources to implement the iMovie consumer editing interface.It looks like there are new features in this unreleased version of Final Cut Pro X that many professional editors have been looking forward to for a long time.
Red Epic vs. Canon C500 | Shane Hurlbut
The Red Epic did well with under exposing, but then fell short in the night driving scene where underexposure is everywhere. It had a very hard time with IR pollution and delivered across the board a more magenta image. The C500 delivered great skin tones, a very clean image with ND filtration without IR pollution and owned the night, but fell short in the over exposure area. More tests are on the way.
Sony's New OLED Monitors Lose Nearly Half Their Weight | Definition Magazine
Sony’s newest professional OLED monitors have lost nearly half of their weight and depth from the previous models. Just what mobile trucks wanted to hear. The loss has been achieved through re-engineering the design from the chassis to the OLED panel module’s structure to the signal processing board, material and parts.
ZDF Exec: No 4K In Germany for Five Years | Satellite Today
“If you look at Germany, we are not even really using the full two million pixels for full HD yet. So, in terms of 4K, I would say we need to broadcast in full HD first. This is the next logical step for us. With 4K, right now, there is no equipment on the market,”
Introducing 8K: The Final Frontier? | Filmmaker Magazine
The 8K resolution covers almost the entire range of vision (induced visual field) which influences the human grasp of spatial coordinates. The pixel structure remains invisible to the unassisted eye even when viewed across a horizontal angle. When using an ultra-high resolution tablet format, too, the picture can be viewed smoothly, that pixel structure cannot be seen.
INTERBEE 2013: KOWA UNVEIL MICRO 4/3 LENSES CINE LENSES INCLUDING 8.5MM F2.8 | News Shooter
The most interesting was the 8.5mm f2.8 corrected ultra-wide lens. Manual focus on the prototype was very smooth and the image quality looked good. The size, weight and feel of these lenses seemed just about right for me.
Creative Anarchy (With Paul Maibaum, DP of Sons of Anarchy) GCS016 | Go Creative
Today we speak with Paul Maibaum ASC, director of photography for the hit tv series “Sons of Anarchy” we discuss everything including, lighting techniques, paul’s camera choices, the impact of 4K and more. Plus we cover all the latest industry news including the Canon C100 autofocus update and the release of Ben’s first music video.
A Green Light for Red Giant in OSX Mavericks | Red Giant
Finally! All Red Giant products are good to go in OSX Mavericks. We have been releasing updates to our software since OSX Mavericks went live and we resolved any issues we found. In the end, there weren’t a ton of problems, but it takes a while to get all of our products tested thoroughly so we can say we have full confidence that our software is going to work 100%
Changing Zeiss CP.2 Lenses from EF to PL Mount | AbelCine
Changing between these mounts can seem a bit complicated, as it involves several screws and a Torx Torque Wrench (included with the kit). Zeiss has tried to make it as easy as possible though, and have put together a detailed video showing exactly how to change the EF mount on a CP.2 to a PL mount.