The Week In Cameras
Latest News About the Tools We Use by Michael Murie
-
Blackmagic Puts Some Life – and 4K – into NAB
When it comes to cameras, this year’s NAB was looking to be a consolidation year, rather than one of great innovation. Sony had only recently begun shipping their F5 and F55 4K cameras, and had no real camera announcements, though they did announce the prices for their 65” and 55” 4K displays. Canon announced that they were developing a 35mm cine lens and a few other things, but no new cameras. But then along came Blackmagic to disturb the status quo by announcing two new cameras: the Blackmagic Pocket Cinema Camera and the Blackmagic Production Camera 4K. The latter is… Read more
-
Hero Punk: A Cyberpunk Superhero Film Shot on the Blackmagic Cinema Camera in Green Screen
Kanen Flowers describes himself as a “former technology guy” who got into filmmaking around 2001 with the goal of writing and directing his own material. In 2007, he started work on Jack Forgotten, a project that he says is still in postproduction. Other projects have met with greater success; he started the That Post Show podcast, and a show called That Media Show, and has produced a variety of shorts and web-based content through his production company, Scruffy.tv. At the moment he’s working on Hero Punk, a full-length feature which was shot using the Blackmagic Cinema Camera. Hero Punk is… Read more
-
Sidewalk Traffic: Interview with D.P. Dave Kruta
The last time we spoke to David Kruta [DP David Kruta on Shooting the Movie Concussion], he’d just finished DP’ing the independent movie Concussion, which was directed by Stacie Passon. Concussion went on to become an official selection at the 2013 Sundance Film Festival and has secured a distribution deal with The Weinstein Company’s TWC_RADiUS division. Kruta recently talked to us about his latest project, Sidewalk Traffic. Principal photography just ended, and the movie will probably be completed by the end of the year. Filmmaker: What is Sidewalk Traffic? Kruta: Sidewalk Traffic is Anthony Fisher’s first feature film; he’s a… Read more
-
Kodak Cinema Tools, a Free App for Filmmakers
Kodak has updated their free iOS app Cinema Tools to add a simple Aspect Ratio feature. Using a default picture, or one loaded from your photo library, you can choose from 2-perf, 3-perf, 4-perf and 16mm motion picture film formats and then choose between 2.35:1, 1.85:1, 1.18:1 (16×9) or 1.33:1 (4×3) aspect ratios. The image is then cropped to display the results. Unfortunately, you can’t choose a focal length for the imaginary lens, so the tool is very limited. (For a better web-based example that covers digital cameras, check out AbelCine’s Field of View Comparator.) While several of the tools… Read more
-
Sony Responds to RED, Blackmagic Fix and Avid Continues to Decline
Two weeks ago RED announced that they were suing Sony for patent infringement for technology used in Sony’s PMW-F5, PMW-F55, and F65 cameras. Last week Sony posted a response on their Pro video website. First noting that the F65 has been commercially available for over a year, and that the F5/F55 were announced in October, they go on to say: Sony has now had an opportunity to study Red’s complaint and the asserted patents, and categorically denies Red’s allegations. Sony intends to defend itself vigorously in the Red lawsuit. Sony looks forward to prevailing in court, thus vindicating the Sony… Read more
-
Oscar-Nominated Cinematographers Discuss Filmmaking
The problem with the Oscars is that you spend three hours watching the show and at the end you haven’t learned anything from the winners about how they did what they did. In celebration of the event, and with congratulations to the winners, here’s some interviews with the nominees for Best Cinematography. One of the interesting themes you’ll note in these articles is that the switch from film to digital remains a hot topic: Anna Karenina | Seamus McGarvey “Anna Karenina was filmed with anamorphic lenses, which require slightly more light, and some of the lighting used is older in style,… Read more
-
RED Sues Sony and Other News
In case you are living in a cave and missed it, the big news of last week was that RED is suing Sony. RED claims that Sony’s F65, F55 and F5 infringe on patents RED holds, specifically relating to REDCODE RAW. It appears that the issue may turn on the compression of a RAW video stream in the camera. Jim Jannard posted on the REDuser Forum: We are heavily invested in concepts, inventions, designs, development and manufacturing of RED cameras, REDRAY and the RED Projector. Each is unique and has motivated the industry to get better, for the benefit of… Read more
-
Canon C100 Does 4:2:2 with the Ninja Video Recorder
In yesterday’s article “Canon C100 or C300: Which One to Get?” I wrote about the ability to attach an external recorder to the C100 and record 4:2:2 video, but added: Is 4:2:2 out of the C100 exactly the same as 4:2:2 from the C300? That’s a question I haven’t yet seen a definitive answer to, though a lot of people are assuming it is, or it’s very close. Today, I’m at least a step closer to answering that question. Paul Antico of Anticipate Media, and host of the NeedCreative Podcast, sent me some sample frames taken from Atomos Ninja 2… Read more
-
Canon C100 or C300: Which One to Get?
For many, the release of the Canon C100 has prompted one question: Which one do I get? Or, in other words, is the C300 really worth $9,500 more than the C100? These cameras have the same sensor and very similar bodies, and Canon even includes C-Log on both, but there are a lot of differences. Perhaps the most notable: C300 records internally 4:2:2 MPEG-2, while the C100 records 4:2:0 AVCHD 60p recording (at 720p) is available on the C300 but not the C100 C300 has HD-SDI & Genlock, C100 just has HDMI C100 is smaller There are other differences: The… Read more
-
Using a Home Projector for Rear Projection
Rear projection, a technique that involves projecting a background image onto a screen behind your actors, is a technique that was popular in the 40s and 50s, particularly for shooting vehicle interiors. It wasn’t perfect; the image can seem washed out compared to the foreground actors making it easy to spot the technique, and rear projection requires a fairly large studio space. Rear projection has been mostly replaced, first by front projection, and by blue- and green-screen techniques. Even low-budget NLEs now include very good green-screen filters that produce excellent results; though it’s your technique when shooting the footage that… Read more
