Tuesday, February 11, 2014

The News

A little more info and thoughts on the Blackmagic announcement
Blackmagic 4K camera price cut: $2999 / €2029 | Cinema5D
According to the Blackmagic press release, the camera is “shipping now“, which is great news as the original shipping date was “summer 2013″, announced at NAB 2013. We know for a fact that a beta version of the camera has been in the hands of cinematographers already

Who Else Wants a Blackmagic Pocket Cinema Camera? | Filmmaking Stuff
In our estimation, the most exciting lens choice for this camera, however, is C mount. Most people commonly know the C mount as a BOLEX film camera lens. They are small and fast and easily changeable via screw in system.

More Or Better Pixels? It’s Up To You | Definition Magazine
The other has a harder job – this group we’ll call the Better Pixel Camp. They must convince us of the merits of more arcane qualities – decreased quantisation error (e.g. 10 bits v. 8 bits per pixel), increased dynamic range, reduced compression and so on.

Welcome To The 4K Future | Definition Magazine
But it is telling that DoPs aren’t the ones screaming for more resolution. In fact many are using their craft to ‘damp down’ the sharpness by using old lenses and filtering. One DIT Nye Jones who has worked on movies like Skyfall, Thor: The Dark World and Prometheus puts it more plainly, “Most DoPs are not as concerned with pixels and more concerned with lenses and latitude.

ALEXA and M18 HMI lights on ALL IS LOST | ARRI
Looking to make the most of his relatively low $9 million-dollar budget, Chandor re-teamed with MARGIN CALL DP Frankie DeMarco, who chose to record ARRIRAW with ALEXA cameras and also made use of ARRI M-Series M18 HMI lampheads supplied by ARRI subsidiary Illumination Dynamics. He spoke with ARRI about his choices and challenges on the film.

A small LED light that you can control (change color) using an iPhone app!
We got our hands on the KICK light by Rift Labs and took it for a spin. Turns out there's a little more than meets the eye when it comes to this little LED light.

Vimeo brings us subtitles and a look at the much improved Vimeo Pro | Philip Bloom
Being a Deaf film maker subtitles are a vital part of my career as well as my life so despite many advances in the internet where broadband is faster, more people show their films online and a wealth of information for film makers to learn skills it is like the dark ages when it comes to online subtitles – only a very small percentage of online content is subtitled.

Loading Sony F5 / F55 Scene Files via SD Card | AbelCine
In the Sony F5/F55′s previous firmware versions, scene files had to be loaded manually via the Paint menu. Now, with the latest v3.0 update, there is a dedicated menu that supports the loading of scene files onto an SD card, as well as the camera’s internal memory.

Still lightweight and compact it weighs a mere 1.58 Kg, collapses to 84cm long and yet extends to 180.5cm. It can take a maximum camera weight of 4.25 Kg which means it can even carry cameras like the C100 and FS700 with smaller lenses.

5 Great Cold Weather Camera Tips | iheartfaces
In a pinch, I have been known to poke a hole in the bottom of a plastic bag and then sticking just the edge of my lens out of the hole, with the rest of the bag covering the body and leaving me lots of room to check and change my settings. MacGyver’s got nothing on me, I tell ya!

New Film Czar Ken Ziffren Calls Runaway TV, Film Production a ‘Devastating Blow to the Middle-Class’ | The Wrap
Of the 45 big budget feature films of 2012 and 2013, only one was shot exclusively in California, representing a loss of thousands of jobs to other states and countries. From 2005 to 2013, California’s share of the one-hour TV series market declined from 64 percent to 28 percent.

This was just going to be some additional footage for my almost done review of the camera, I needed some more tripod footage, but the sky was so stunning it deserved it's own little edit even if there weren't that many shots in it! I did do about 10 versions of that VERY long pan, but of course you can only put one in and I liked this one as it had the girl jogger adding motivation to it.

Ocean on fire shot on Digital Bolex D16 from Philip Bloom on Vimeo.

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