Notes On Video

5D Mark III raw video (Magic Lantern) versus KineRAW MINI for image quality | EOSHD Overall I prefer the 5D Mark III because of the full frame look to lenses and Canon colour science. That said, colour isn’t baked in with raw. It’s very much in the hands of the colourist – it’s just that the KineRAW MINI’s output often needs that bit more effort in post than with Canon raw. After Effects Creative Cloud Updates | ProVideoCoalition The Rigid Mask Tracker, which can take an initial mask shape you’ve drawn, and adjusts it from frame to frame as the enclosed object moves around the screen. There are some limitations - such as the object must be “rigid” (think windows instead of moving lips) - but it works surprisingly well. Canon Introduces the DP-V3010 4K Monitor | CanonRumors The Canon DP-V3010 4K Reference Display measures 30 inches wide diagonally by 7.4 inches deep to help minimize space requirements and provides a 2000:1 DCI-compliant contrast ratio, uniform brightness,

Don't Mourn Blockbuster. Weep for the Video-Store Era | IndieWire Blockbuster Video is dead, or at least it will be by January, when the company will close the 300 stores it operates and end its DVD-by-mail service. The Los Angeles Times says franchised and licensed stores will stay open -- no number is given -- but chances are they're not long for this world either. Interview with Visual Effects Artist David Luong | Grey Scale Gorilla David Luong is currently a Senior Cinematic Artist II at Blizzard Entertainment, He’s been working in the visual effects industry for nearly 8 years. He currently does lighting, compositing, and matte painting for Blizzard’s cinematics on games such as Diablo 3, Starcraft 2, and World of Warcraft. Independent Videographer and Cinematographer Adam Lyons Converts to Sony Pro Camcorders | Sony He uses different camera combinations for different projects. Lyons prefers to use the Sony FS100 for music videos and other small productions,

Yesterday Canon announced a Dual Pixel AF upgrade for the Canon C100. It promises faster focusing, but you have to send the camera in to Canon to get the upgrade - which costs $500 - and the upgrade will be available starting February 2014. I was wondering what the upgrade involved (was the sensor replaced?), and whether it would be a permanent upgrade to future models, so I sent an inquiry to Canon. They responded: 1. There is no need to change the image sensor in the EOS C100 digital video camera in order to perform this feature upgrade. 2. This is an optional upgrade, and as such it will not be installed at the factory for future shipments of the C100. If you're interested in the upgrade, you might want to check out Jonah Kessel's article about it at News Shooter.com . He's not really sure he needs the feature, but the article also includes a description of how it works:  CANON C100 UPGRADE: DUAL PIXEL CMOS AUTOFOCUS BREAKS INTO C SERIES CAMERAS | News Shoot

The State of 4K | Filmmaker Magazine I tried to sum up what's going on in 4K at the moment... Technology tipping points – when something goes from the unusual to the commonplace – can happen with unexpected rapidity. Has 4K reached a tipping point, and if so what aspect of 4K? Acquisition, production, distribution, or all three? If you’re shooting a film today, should you be shooting in 4K? But of course, things keep changing. Here's an article that ARRI was promoting yesterday because it makes the case for dynamic range over resolution: Why 4K Might Not Be the Best Way to Attract Consumers | The Hollywood Reporter But what if they could choose only one? By a show of hands, the majority of the hundreds of engineers in attendance voted for better pixels, with a fair amount choosing faster pixels (higher frame rates), leaving 4K a distant third with just a few supporters in the room. From Chicago to the Moon: The power of 4K resolution and how to make it work for you

Canon to Offer Dual Pixel CMOS AF Upgrade for the EOS C100 Digital Video Camera New EOS C100 Camera Feature Upgrade Offers Outstanding Continuous AF Performance for Documentary, Electronic News Gathering, and Small-Crew Productions MELVILLE, N.Y., November 5, 2013 – Canon U.S.A. Inc., a leader in digital imaging solutions, announced today that the Company will offer an optional feature upgrade for the EOS C100 Digital Video camera which will support innovative Dual Pixel CMOS AF autofocus technology, enabling continuous autofocusing with Canon’s entire EF lens lineup [1] . This optional upgrade is expected to be available in February 2014 for a cost of $500.00 and will require the EOS C100 camera body to be shipped to a Canon service center. The Canon feature upgrade will provide the EOS C100 camera (first introduced in November 2012) with greatly improved autofocus (AF) functionality made possible through Dual Pixel CMOS AF technology. First employed in the EOS 70D digita

D3ing the F3 | Sam Morgan Moore Working with the Sony F3: So I've been fiddling around with Sony Slog footage from my new camera. The trouble is that it is so flat ‘where to go’?Then I realised, make it look like a camera you like, and the Nikon D3 stills camera is a camera I like. Exclusive images show skydivers' terrifying collision and chaotic plunge | NBC News This is about the most amazing footage I've ever seen: The cameras strapped to the skydivers' helmets were supposed to memorialize their perfectly timed jumps and exhilarating descent from two small planes to the earth 12,000 feet below. EBB AND FLOW: JONAH KESSEL ON COMMERCIAL VIDEO FUELING EDITORIAL POSSIBILITIES | News Shooter What I didn’t realize then was that the financial necessity fueling my venture into the commercial video world, would not only change how I view the online video landscape, but also elevate my ability as a video journalist dramatically. Found: Long-Lost Movies No

D16 Camera from Digital Bolex Could Be Released in Just a Few Weeks | NoFilmSchool In a blog post over on the Digital Bolex site, Joe and Elle mentioned when we can expect the first cameras to be released, and also posted some photos of the completed paint job and metal work on the camera: Mark Schimmel, Director/Producer Finds the Sony FS100 the “Right Tool” for any Job | Sony “The camera helps to create a subtle and stunning ‘bokeh’ effect combined with depth of field, which is very important to the look and feel I am always trying to achieve.  The sensor also delivers outstanding exposure latitude for HD shooting. During the Wrangler project when I was shooting in the roping arena, there was no artificial light, only ambient light filtering through a translucent roof covering. The camera’s exposure latitude allowed me to shoot at 60 FPS in low light conditions. The end results were outstanding.” Shooting “The Whistler” on ALEXA | Colton Davie Because of our tiny crew,