The Week In Cameras

Latest News About the Tools We Use by Michael Murie

  • Cinematographer Shane Hurlbut on The Illumination Experience and the Keys to the City

    In the second part of this interview with cinematographer Shane Hurlbut, we cover his upcoming “Illumination Experience Educational Tour“; why he’s undertaken this project, and the format and objective of the classes. Hurlbut also reveals what he calls “the keys to the city”: how he conducts lighting tests with actors before production starts. Filmmaker: How did the “The Illumination Experience” come about? Hurlbut: Five years ago I started on this mission of sharing. I felt like mentoring was dead in this business. I wanted to educate and inspire, and use the passion for what I love to do to energize and…  Read more

    On Sep 17, 2014
  • Shane Hurlbut (center) Cinematographer Shane Hurlbut on Camera Tests and the Joy of Older Lenses

    I first saw cinematographer Shane Hurlbut speaking at a trade show held in New York City in 2010 hosted by Canon. Hurlbut had just finished shooting Act of Valor, shot predominately using the Canon 5D Mark II, and he burst on stage with enough energy to power the building. At the time I wrote that he was “loud, in your face, cracking jokes while dashing about the stage,” but it was also clear he had a passion both for the gear and for sharing information. Since then Hurlbut has lensed the pictures Deadfall, Need for Speed, and the currently in…  Read more

    On Sep 16, 2014
  • Sony PXW-FS7 IBC 2014: A Big Show for Sony and Blackmagic

    IBC is the European equivalent of NAB, and one of the few times lots of manufacturers are announcing and updating products. This show has seen some big news, particularly from Sony and Blackmagic. Sony PXW-FS7 Sony made a huge splash with the PXW-FS7. This camera slots in between their NEX-FS700 and the PMW-F5, and while it has the same E-mount as the NEX-FS700 it is a very different camera. Sony has almost completely rethought their design, intending this one for the documentary and news shooter, and focusing on making it shoulder useable without the addition of a rig. The key…  Read more

    On Sep 15, 2014
    By on Sep 15, 2014Cinematography
  • Camera Moves with the Freefly Tero

    Freefly made a splash with their MōVI brushless gimbals, and now they have a remote controlled car. The Tero is a remote controlled car that has had a “full overhaul.” This includes run flat wheels, larger shocks, and wire rope isolators between the mounting cheeseplate and the car to further reduce vibration. At the recent Massachusetts Media Expo, Dylan Law, the in-house Freefly MōVI tech at Rule Boston Camera, talked about the car and even did a short demo. The car can reach speeds of up to 55 miles per hour and is literally plug-in and go. The car was fitted…  Read more

    On Sep 10, 2014
    By on Sep 10, 2014Cinematography
  • Is this the next Sony 4K camera? Sony 4K News and ARRI ALEXA 3.2K ProRes Recording

    It’s been another interesting week for 4K video, and all the news may not be out yet! New Sony E-Mount 4K? Rumors have been swelling the last few days about a new Sony 4K E-Mount camera that may be announced prior too – or at – IBC. There’s even talk that it will be called the FS700 II, though that seems odd given that the camera in the picture looks very, very different to the current FS700. Of course, there could be two cameras… but I’ve been wrong before when I’ve tried to make sense of Sony product naming and…  Read more

    On Sep 3, 2014
    By on Sep 3, 2014Columns
  • ARRI AMIRA To Do 4K, New GoPro Tutorials, and a New 50mm Cine Lens from Samyang

    In a move that says a lot about the unrelenting pressure to move to 4K, ARRI has announced that they will release a 4K UHD upgrade for the AMIRA by the end of the year. This upgrade will provide in-camera recording of 3840 x 2160 UHD video at up to 60 fps to CFast cards in ProRes, as well as live uncompressed UHD output through 6G-SDI. For the past year, ARRI has been discouraging the move to 4K, stressing that image quality is more important than the total resolution of the image, and with this announcement they continue this message:…  Read more

    On Aug 27, 2014
    By on Aug 27, 2014Cinematography
  • Reviewing the ProAm Taurus Jr. Crane

    With all the attention on brushless gimbals it’s easy to overlook cranes — pieces of equipment that can add cinematic motion to any shot. Cranes can also be large, difficult to move and hard to operate. The ProAm Taurus Jr is a small crane that solves most of those problems; its only limitation is that its range of motion may not meet every need. The Taurus Jr is 50” long and 5 ¾” wide and constructed primarily of two parallel rectangular tubes that are 2” x 1”. It is primarily constructed of powder coated and anodized aluminum. The only item that…  Read more

    On Jul 29, 2014
    By on Jul 29, 2014Cinematography
  • Sympathy, Said the Shark: Shooting in POV

    Writer, director and editor Devin Lawrence says that when he set out to make Sympathy, Said the Shark he’d already gone through two projects which had stalled out due to lack of financing, so he decided he had to come up with something where “money can no longer be the ultimate road block.” The resulting project was shot in 14 days and primarily in one location, but it was by no means a simple project to make as much of it was shot using a POV rig built around the Blackmagic Pocket Camera. Lawrence, who works in LA primarily as…  Read more

    On Jul 21, 2014
  • Low-light samples from the Sony a7S - Courtesy of PhilipBloom.Net Seeing in the Dark with the Sony a7S

    When Sony announced the a7S mirrorless camera at NAB everyone was interested in its 4K capabilities, but it’s the low-light power of this camera that may be the true selling point. With the “S” standing for sensitivity, the a7S is the third a7 camera to be released. The a7 and a7R were announced in October of last year and started shipping in December. Those two models record HD video and stills at much higher resolutions than the a7S; the a7 has a 24.3 megapixel sensor capable of 6,000 x 4,000 pixel stills, while the a7R has a 36.4MP sensor capable…  Read more

    On Jul 7, 2014
    By on Jul 7, 2014Cinematography
  • Vincent Laforet, center, at Directing Motion tour The Language of Motion: At Vincent Laforet’s Directing Motion Tour

    On a wet Saturday in May, about 100 people gathered in a hotel ballroom for the Boston stop of Vincent Laforet’s Directing Motion tour. This daylong event, with an optional evening session, promised to teach all levels of filmmakers the cinematic language of motion. Laforet started by saying that he was going to ruin cinema for us, and proceeded to show a clip without audio. “It’s never, ever moving the camera because the camera should move,” he said. The event is structured in two parts: a daytime workshop that runs from 9:00 am to 4 pm, and an evening seminar…  Read more

    On May 23, 2014
    By on May 23, 2014Columns
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