| Brian Heater | Engadget
Looks interesting; but I don't think it has removable lenses, and I don't think it's a large sensor (if that's the camera they actually deliver):
First off was the generically labelled 4K Consumer Camcorder, a prototype device that was hanging out in a glass case at the Sony booth after the event concluded -- though there was a Handycam logo on the side of the device. It's not a bad looking handheld -- about a standard size for a prosumer model, with a viewfinder, mic and handle at the top.
Understanding 4K Production with the Cinema EOS System | Jem Schofield
| Canon
The Cinema EOS C500 is based around Canon’s 4K, Super 35mm CMOS sensor and has two forms of 4K origination. The choice of which to use is based on the specific needs of a production. A user can choose the Digital Cinema Initiatives/DCI SMPTE 2048-1:2011 standard, which is based on a 4096 x 2160, 1.896:1 aspect ratio image, or the alternative, TV-centric Quad-HD SMPTE 2036-1:2009 and ITU-R BT.1769 standards, which is based on a 3860 x 2160, 16:9 aspect ratio image (exactly four times the resolution of Full HD).
Sony F5 & F55 Test Footage | Ben Allan | The Film Bakery
The F5 and F55 use slightly different 4k image sensors. The F55 matches the colour gamut of Sony’s top of the range F65 and completely eliminates the rolling shutter effect otherwise known as “jello-cam” that affects almost all CMOS sensors to some extent. We did some simple tests by waving the two cameras around and there is a subtle rolling shutter effect visible on the F5 and it’s not present on the F55.
Dealing with putting your work out there: The Underwater Realm team discuss candidly how their films have been received | Philip Bloom | Blog
Bloom: How has it been hearing what people actually think of what essentially has been the last two years of your lives?
EVE: It comes with a load of excitement, and fear! What if people hate them, what if it was all for nothing?! The first thing to remember with all of this is that it is never EVER for nothing. It doesn’t matter if everyone hates your work – nobody can take the experience and lessons away
Once Upon A Time In Canada… | Elle Schneider | Digital Bolex
An update from the Digital Bolex team:
By the end of the month we’ll have a good idea of the concrete release date of the camera. By then we also should have received the first prototype of our rig and first set of lenses, and can fit everything together. We didn’t initially plan to have all of these items done at the same time, but this may end up being a benefit when we go into a second pre-order, as people will likely be able to order kits instead of just bodies if they so desire.
Independent Films Have Received $100 Millon on Kickstarter So Far, Are We Just Getting Started? | Joe Marine | No Film School
To me, the really staggering number is the fact that almost 9,000 projects have been funded. Whether they have been successfully made yet or not, that means 9,000 different productions were created because they reached the crowd directly — of which there were almost 900,000.
10 Things I Learned at Masters in Motion | Jon Connor | Filmmaker Magazine
1) “Cameras constantly change. Lighting and composition don’t.”
This wasn’t necessarily something new I learned but it was refreshing. In today’s day and age, the speed with which new cameras are released is almost absurd. The emphasis on camera specs and the 4k vs. 1080p discussion has been debated via social media and on forums, ad nauseam.
Video Interview: Edgar Wright | Scott Myers | Go Into The Story
From the London Screenwriters’ Festival, a hour-long conversation with writer-director Edgar Wright (Shaun of the Dead, Scott Pilgrim vs. the World):
Why 4K TVs are stupid | Geoffrey Morrison | C|net
This math, or just looking at your TV, tells you that you can't see individual pixels. What's interesting is that a 720p, 50-inch TV has pixels roughly 0.034 inch wide. As in, at a distance of 10 feet, even 720p TVs have pixels too small for your eye to see.
Is it Film, Digital or Both? A Contest | Ron Dawson | Dare Dreamer
Last week I posted a “16mm” film of a trip to Paris. Or was it 16mm? Truth be told, the video may or may not be all 16mm film. It’s part of an experiment I’m running to see how close to the look of film can you make digital. As part of the experiment, I’m partnering with the Digital Convergence Podcast to run a contest to see who can guess what percentage of the film (if any) is digital.
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