Notes On Video

There's been much excitement about the announcement of the Panasonic GH4. We know a lot about the specs, but we still don't know the price, though if the rumors floating around (about $2,000US) are correct, then this camera could have a big impact on the market. Of course, the big news is that it supports 4K recording (and both QuadHD 3840x2160, as well as DCI 4K 4096x2160.) Just as importantly, while internal recording is limited to 4:2:0, you can output 4:2:2 in either 8-bit or 10-bit. You'll have to buy the base module (DMW-YAGH ~$1,000?) and a (currently) expensive third-party external recorder to do it, but you can do it. Also interesting is that external box that Panasonic has produced for outputting 4K video, as well as adding XLR audio inputs. (it's the box at the bottom of the camera in the picture above.) It looks big; though remember that the camera itself isn't that big to begin with. This box really suggests that Panasonic sees this as a serious

How the ARRI ZLEXA plays with color saturation to pursue a film aesthetic | The Black and Blue Adams cleverly points out through camera tests, experience, and research that Alexa, while operating in an additive color system, is mimicking properties of subtractive color mediums by separating color saturation and luminance after a certain level of exposure in order to adopt a closer film look Traveling with gear Flight…A Filmmaker’s Plight | Pro Video Coalition Above all else, carry on your most sensitive and expensive equipment: camera bodies, lenses, recorded media and backups, and items forbidden as checked baggage -- i.e., loose lithium ion batteries. Some people will recommend that you carry these items in non-equipment bags, padded by clothing and such. Are we making too many movies? Abundance Does NOT Mean TOO Many | Truly Free Film The entertainment economy is transitioning from a mass market enterprises to one of targeted niches. In the process we are expanding

Every now and again Alex Buono, cinematographer for the Saturday Night Live Film Unit does a lengthy write-up on one the sketches he's shot for SNL. Here he does just that for their 'Her' parody. HOW WE DID IT: SNL – “ME” | Alex Buono Young cinematographers take note: stop hogging the whole budget with your precious lights and camera gear!  Give the budget to the art department and I guarantee they will make your job much easier than all those fancy toys.  I was given a lot of very nice compliments about the look of our Wes Anderson spot but the truth is, the art direction was so perfect that all it took was a simple bounce light and we were lit. Why Hollywood Will Never Look the Same Again on Film: LEDs Hit the Streets of LA & NY | No Film School The LEDs should very well prove a benefit to existing-light photography — better for the environment, and in nearly every case, better for cinematography. Whether the new look is visually preferable is a subjec

Low light testing with the Digital Bolex D16 | Red Shark News With tests like this, the question becomes more than one of pixels and stops. The question is ultimately, am I pleased with the way this camera is handling the light / image I put in front of it? In this situation, I'm going to say yes. I was particularly impressed with the ability, at 200 ISO, to pull an image out of the 5-7 foot-candle region (if you squint you can actually recognize a couple of the albums in the corner!) Andrew Reid over at EOSHD often has an interesting perspective on things. And sometimes he's just confusing: obsessing over some details, and ignoring others completely. In other words, he's just like everyone else; he's just a little more vocal about it. Anyway, he sort of likes the Olympus OM-D E-M1 . Why the Olympus OM-D E-M1 is better than expected for video (Review) | EOSHD The E-M1 only shoots at 30p. Hey you, come back! It’s not all bad! Yes 24p is the fabled film frame r

E-mount, A-mount, FE oh my! An in-depth guide to Sony lens mounts | Imaging Resources Sony's decision to drop the "NEX" moniker from its associated line within the Alpha scheme created a sea of confusion for many an NEX shooter, and for potential NEX buyers as well. Sony A7R review – does it replace a DSLR or Micro Four Thirds camera? | EOSHD The first big flaw is unfortunately video related. The image is just not good enough. The A7R has very similar video quality to the Nikon D800 as it shares such a similar sensor. What have Sony done with the A7R to improve video? Very little! Tutorial: How to Make Fake Guns Look Realistic for Less Than $10 | No Film School One of the biggest differences between a real gun and a fake gun, other than the fact that one could critically injure you (or kill you), is the materials used in fashioning them. Where's the best place for camera operators to make money and find jobs? | The Black and Blue The mean annu

A look at different ways to put together your video kit. Note that this is oriented towards news and documentary, rather than narrative filmmaking: The $5000 question: What kit made our essential gear guide? | News Shooter For the camera, Matt went for the Sony RX10 with integrated zoom lens, while Dan opted for the versatile Panasonic Lumix GH3 with a variety of Nikon interchangeable lenses. Commenter Peter Roise also chose the GH3 but preferred to use native Lumix lenses as the main optics, while another user called Heri suggested the Olympus EM-1 Here's what the Blackmagic Cinema Camera was made for | Red Shark News I know it sounds obvious, but the Blackmagic Cinema Camera was designed for making films. The only reason we make such a self-evident point is that we've seen so many tests, that you could be forgiven for thinking that this camera was used solely for demonstrating itself! SONY 4K, HD Cameras Cover Every Angle For the Super Bowl | Sports Video FOX