Between 24fps and 60fps image quality is very good, the same as you’d get from the normal speed 1080p video modes. The 100Mbit/s data rate is enough to prevent any mud or blockiness ruining motion blur or fine detail. If you’d prefer to add slow-mo in post from regular speed footage, it is perhaps best to choose the 200Mbit/s codec and 1080/60p though.
NAB editions in digital format.
AJA say that their new CION camera is the culmination of years of development. But they must have been inspired by what Blackmagic Design has done in the last couple of years.
A great production house camera: A professional promotional film shot in Jordan with the Digital Bolex D16 | Kurt Lancaster
Some have claimed that Digital Bolex’s 16mm 2K cinema camera, the D16, is simply a “niche” camera.
A cell phone is a niche camera if you’re using it for serious production. The D16 is a Cinema Camera and I would place it side by side with a RED camera and not be ashamed. I have shot two short documentaries with this camera
EDITING IN 4K: MINIMUM SYSTEM REQUIREMENTS | Videomaker
Looking to edit 4K footage? Needing a bigger and better machine to handle all that data? Determining the best computer system to edit 4K footage is a bit more complicated than just looking at the system requirements of the editing software you want to use.
Iconic Olympic Ski Jumper Commercial-BlackMagic Pocket Cinema Camera + RAW | Planet 5D
The client had a friend who said to shoot HD, then suggestedto shoot Ultra HD – I shot that down quickly (no delivery method, longer workflow, and no reason to archive the commercial- it wasn’t going to play again in 10 years, etc.)Lastly, the client’s friend recommended shooting RAW video. I liked the concept, but wasn’t sure. Our workflow would increase and what camera would we use? On the other hand, this might really help us.
Setting the stage for “Anchorman 2: The Legend Continues” | ProVideoCoalition
Rather than filling the screens in post production and using archived news reports, the team produced nearly all original content and fed it to the screens in real time. News reports were shot and composited together with stock footage using an Adobe Creative Cloud video workflow and plugins from FxFactory, which offers a broad range of VFX tools for editors and compositors.
NAB 2014 LIVE SHOW REPLAY: PELICAN CASES GET A TRENDY NEW LOOK | News Shooter
Every TV shooter I know has a rack full of Pelican cases. Instantly recognisable, they are well known for their rugged construction and I use them to protect all my gear when I travel by air. They are however not exactly stylish – this is something Pelican are trying to change. Their soon to be launched new range looks much more like high end consumer luggage and is also incredibly lightweight.
Announcing New Product: MotionPulse | VideoCopilot
Interesting sound effects library:
This is not generic sound FX collection, like footsteps and bad guys screaming, this collection was generated specifically for motion designers that need to add hard-hitting sound FX to things that do not exist. Bring your motion graphics to life with MotionPulse!
Pentax 645Z officially announced: Sony sensor wipes out the MF sensor competition! | SonyAlphaRumors
First, Sony is literally conquering the full medium format digital camera market in one single strike! Hasselblad, Phase One and now Pentax use the newly developed and first ever CMOS sensor with 50Mp. Sony just had to make one sensor to wipe out the sensor competition from that market!Medium format, thy name is Ricoh; Pentax 645Z has no competition (Update: Now with full tech info) | Imaging Resource
This is another huge change for the Pentax 645Z: It is, to the best of our knowledge, the first medium-format camera ever to allow Full HD movie capture. (That is to say, 1,920 x 1,080 pixels.) No crop is applied; instead, video is recorded across the whole sensor, providing the same depth-of-field effects and medium-format look of still imaging.
Cooke Anamorphic "Seeing" 1080p version
Shot in 3K on the Arri Alex XT 4:3 sensor camera - in 4:3 mode. Everything was 800 ISO. We shot 444 ProRes except for the slo motion shots, which we shot using Arri XT Codex Cards. Redlab onlined our edit for us in 2K. Cooke Optics has the 2K P3 projection file available for download to those who want it as well as a ProRes HQ 1920x1080 Quicktime.
AMIRA show reel: