Saturday, September 22, 2012

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Comparing the Cinema Camera & 5D Mk III | OneRiver Media | Vimeo
This video compares the Blackmagic Design Cinema Camera and the Canon 5D Mark III in several tests. This includes dynamic range, sharpness, pushing levels, banding, artifacts, rolling shutter, chromakeying, wide/telephoto lengths, DOF (depth of field), low light, macro blocking, contrast, and more.

Test footage from the pre-release Panasonic GH3 at Photokina | Andrew Reid
But I will say that the GH3 has an extraordinary codec, is a step forwards from the GH2 in every way. The only concern I have is for the stability of very fine textures – the GH2 remains unique for being so clean in the way it scales the full sensor from 18MP to 1080p in video mode. What is the tonic? I feel it is needed again here.

New lenses Ahoy! - Matt Allard looks at the latest offerings | Matt Allard
| DSLR News Shooter
Matt looks at several lenses, including the Samyang/Rokinon Cine lenses:
The 24mm and the 35mm offer a really good alternative to the more expensive brands out there. They don’t tend to be that sharp wide open and you do have to stop them down to get better performance, but that is to be expected for a lens that costs just over $500US.  If you put this into comparison, the Zeiss 35mm f1.4 is $1800US and the Canon 35mm f1.4 is $1350.  Neither of those lenses I just mentioned has a de-clicked iris or cine gears.  While I’m not going to go out on a limb and say that the Rokinon is as good as, say, the 35mm Zeiss, it is pretty close.  

Nikon D600 capture through HDMI Blackmagic Intensity Pro has black box around
| Will Vazquez | Vimeo
Problems with the HDMI out from the Nikon D600:
I just captured some footage via the HDMI out of my new Nikon D600 and I'm shocked that it puts a black box around. WTF Nikon?? I tried every setting, taking the SD card out of the camera, etc. I used the HMDI input on my Blackmagic Intensity Pro card in my MacPro, and used their Blackmagic Media Express app. I heard this is happening with everyone, including the Atomos Ninja 2.

Nikon D600 HD Video Footage Ungraded Nikon 15mm F/3.5 AIS 28mm F/2.8 AIS Lens | Syberfilm | YouTube
Nikon D600 HD Video Footage Ungraded Nikon 15mm F/3.5 AIS 28mm F/2.8 AIS Lens. Straight off the camera. No color grading. I used a semi flat profile. I will color grade later.
Mostly shot at F/8 and F/11

Sony’s NEX-EA50 lets you zoom through prime lenses, losslessly | Allan T├ępper
| ProVideoCoalition
Sony has contacted me to confirm that the digital zoom is 2x, so (as in their example) a 50mm prime lens becomes a 50–100mm zoom with a fixed aperture. The maximum zoom magnification is 2x (16 megapixels to 8 megapixels) in order to assure no quality loss

Vimeo Curator Tips: Your Thumbnails and Descriptions | Jason Sondhi | Vimeo
Suggestions on improving your viewership:
How can you get a great thumbnail? Well, just last month we unveiled a new feature that allows you to pick a frame from anywhere in your video. You shot at least one terrific image right? And of course you can upload a custom thumbnail to the site in JPG, GIF or PNG formats, allowing you to tweak an image to perfection.

What it takes to make a great movie | Richard Brody | The New Yorker
One of the keys to the current trend toward lower budgets for Hollywood projects of personal commitment is that they’re made like independent films (which explains the ridiculous crossover between the Oscars and the Independent Spirit Awards). When Darren Aronofsky made “Black Swan,” he and his actors sacrificed upfront pay for a percentage of the gross; when Steven Soderbergh made “Magic Mike,” he did it on his own dime.

Remastered: What I learned from watching The Master a second time. And a third | Dana Stevens | Slate
Slate has been doing some interesting things in reviews; having multiple people write about a movie, or in this case the same person reviewing a movie multiple times:
I’m aware that this mode of analytical rewatching isn’t for every viewer, and The Master is still plenty powerful if you just sit back and let it wash over you like that ravishing blue wake we glimpse in the opening shot. But if you find yourself mentally returning to this confounding film—even if you’re not quite sure why—it’s worth at least considering physically returning to it as well. To me, going back a second time (and then a third) felt not like homework but like luxury.

iPhone 5 vs. iPhone 4s Video Test & Comparison Front | Rear | Low Light | Outdoor | Stabilization | f1ipzid3 | YouTube
Comparing the video shots from the iPhone 5 vs. iPhone 4sThis video looks at indoor and outdoor light, front and rear camera, depth of field & also notice the difference in stabilization.

Shuttle Endeavour: A piece of space history flies by in slow motion
| Vincent Laforet | Vimeo
NASA's Endeavour Shuttle lands at Los Angeles International airport on its final flight atop a 747.This footage was shot with a RED Epic, at 5K resolution, at 96 frames per second with a Canon 800mm 5.6 lens.

Shuttle Endeavour: A piece of space history flies by in slow motion from Vincent Laforet on Vimeo.

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