Added by Sarv Taghavian--Creative Planet Network,05/24/13 11:05:01 AM
Sean Hodgins has found a way to make his iPhone act as a time-lapse recorder when creating 6-second Vine video. Explains Mike Szczys of Hack A Day, "The trick is in how the app itself works. It only records video when you’re touching the screen. So you record one second of video, then remove your finger and it ‘pauses’ the recording until you’re ready for the next scene. [Sean] automated this by adding a servo motor and a stylus." Read more here.
Added by Sarv Taghavian--Creative Planet Network,05/24/13 11:05:30 AM
DP Luke Neumann has tested out the RED Epic versus the Canon 5D Mark III raw. Watch his thoughts on it below in a video interview with Big League Film School.
Added by Sarv Taghavian--Creative Planet Network,05/24/13 10:05:20 AM
Watch the below test footage from Vincent Laforet featuring Freefly Systems MoVI stabilization system. Perhaps most impressive is the shot that starts with 4:42 and features a Red Epic Infra Red camera being dropped from a balcony with a rope. Watch below. (via Imaging Resource)
Added by Sarv Taghavian--Creative Planet Network,05/23/13 05:05:09 PM
AJA Ki Pro Quad Juliet McNally of AbelCine breaks down the costs of 4K production over HD and why it may not be as expensive as you think.
Added by Sarv Taghavian--Creative Planet Network,05/23/13 05:05:56 PM
James Miller tests out Magic Lantern's hack for the Canon 5D Mark III, writing, "The 5D3 now has the ability to record a number of resolutions, limited at the moment by the speed of data written to the CF card. For now on a fast 1000x card I can manage 1920×1080 for a limited number of frames. At 1920×840 I can record until the 4GB file size is reached. This currently is about 1min at that resolution...Doesn’t the stock Canon 5D3 already produce 1920×1080 in H.264 format, why should I use this hack? That’s true and in many cases you really don’t need to change anything you do. You can simply use the latest firmware from Cannon and enjoy clean HDMI for monitoring and recording. But if you want something that has more detail and the ability to recover and balance highlight and shadow information then step right up an come paddle with the sharks."
Added by Sarv Taghavian--Creative Planet Network,05/23/13 04:05:46 PM
Watch this video from the Kessler booth at NAB Show 2013 to see DP Tom Guilmette talk about shooting in extreme weather conditions, including doing motion control time-lapses throughout freezing nights in the mountain. Watch below.
Added by Sarv Taghavian--Creative Planet Network,05/21/13 02:05:33 PM
Dan Chung of News Shooter explores what Magic Lantern's Canon DSLR raw hack means in terms of actual production. He writes, "Does the 5D RAW hacked replace cameras like the C300, F3, F5 or FS700 in regular documentary or corporate production? Of course not. But used appropriately, it may have a place. If your shot is repeatable, you have time to redo it if something goes wrong, you don’t need the results in a hurry and are prepared to post-process, and you are not overly worried about potentially damaging your camera or invalidating your warranty, then give it a try. You don’t have to run the hack the whole time, so if you are a 5D shooter then it is a useful trick to have that doesn’t add any weight to your kit bag."
Added by Sarv Taghavian--Creative Planet Network,05/21/13 12:05:43 PM
EOSHD writes up their experience shooting 2.5K CinemaScope anamorphic raw on the Canon 5D Mark III. They write, "Am I over the moon about the image quality of raw on the 5D Mark III? "Well before we were shooting 8bit, with all that banding and lack of flexibility in post. Now we have 14bit colour and can debayer the raw to 4:4:4 EXR using the full power and sophistication of an ILM workstation. That’s a bit of a step up from DIGIC 5. Effectively the image processor of the camera has been moved out of the DSLR and into the realm of Resolve, Intel and NVidia. That is a big thing. No more DIGIC debayer or mushy H.264 encoder.
Added by Sarv Taghavian--Creative Planet Network,05/20/13 04:05:10 PM
RedShark News delves into the market for the Canon 1DC, writing, "The Canon 1DC is a curious camera. Based on a top-end DSLR design, with essentially only some additional firmware it becomes a 4K camcorder as well. But where does it fit into the increasingly complex matrix of options around high res, high dynamic range (i.e. RAW) devices that are available today at approximately affordable prices?
Added by Sarv Taghavian--Creative Planet Network,05/20/13 04:05:14 PM
Philip Bloom tests out Metabones Speed Booster adapter, which allows the Blackmagic Cinema Camera to almost act as if it had a Super 35mm sensor. Explains Bloom, "Metabones, who in association with Conorus have brought us an excellent EF lens adaptor for Sony E-mount cameras like the FS100, 700 and many stills cameras under the NEX umbrella. It’s powered by the camera, supports IS and lets us change the iris. Then they brought us the “Speed Booster” for these cameras. An astonishing piece of kit that I cover fully here….in essence it focuses the light from the lens projecting a larger image that is almost a stop brighter and somewhat sharper. Yes voodoo or almost Blackmagic (come on…I had to!)"
Added by Sarv Taghavian--Creative Planet Network,05/20/13 04:05:23 PM
Piot Wancerz creates a most unusual travelogue of his trip to Peru and Bolivia with a cleverly plotted out stop-motion video featuring his traveling companion Marta. Says Wancerz of creating the video, "It was not as precise as it looks — it was a lot of work in post-production...Of course, I tried to put her into the same place, but it wasn't as perfect as I wanted it to be." Watch below and read more here on Mashable.
Added by Sarv Taghavian--Creative Planet Network,05/20/13 03:05:46 PM
EOSHD takes a look at Magic Lantern's hack for recording raw video as it applies to the Canon 600D (a.k.a. Rebel T3i). They write, "The 600D is probably best compared to the Blackmagic Pocket Cinema Camera. Like that camera it records to SD cards and is extremely affordable. Currently it has a Super 16mm crop in the most reliable current raw recording resolution.
Added by Sarv Taghavian--Creative Planet Network,05/20/13 10:05:49 AM
Star trails and pink auroras abound in Sunchase Pictures' time-lapse "Death Valley Dreamlapse 2."
Added by Sarv Taghavian--Creative Planet Network,05/17/13 05:05:06 PM
Stu Maschwitz breaks down what Magic Lantern's recent hack of the Canon 5D Mark III -- that allows for 14-bit raw 1080p video recording at 24 fps -- means to filmmakers. He writes, "The results are stunning—the highest-quality video we’ve seen from a DSLR yet, comparing favorably to images from cameras costing much more. This is a big deal. But maybe not as big a deal as some have made it out to be. Like Ham, the chimpanzee that was launched into space on a Mercury rocket, the Magic Lantern raw hack is less notable for its discrete accomplishment than for what it portends." Read more here on his Prolost blog.
Added by Sarv Taghavian--Creative Planet Network,05/17/13 10:05:51 AM
Watch Cinema5D's side-by-side raw test footage from the Canon 5D Mark III and Blackmagic Cinema Camera. They write, "What became clear is that both cameras provide very similarly capable RAW files. You can adjust everything and everything is possible. You can get similar details out of the sky and set all you like in post. Color temperature, tint, dynamic range, no problem. The 5D is just as strong as the BMCC, providing maybe a bit more dynamic range. "Where the cameras differ in terms of RAW is one big thing: Noise. The 5D mark III can shoot indoors at ISO 1600 and there’s almost no noise while the Blackmagic starts to get ugly at this point. The noise from the BMCC is also apparent when raising the blacks in a shot."
Added by Sarv Taghavian--Creative Planet Network,05/15/13 05:05:35 PM
DP Erik Naso reviews the Manfrotto 502HD Pro Video Head, writing, "The top plate is very wide and long and uses a longer camera plate as well. The 502 head is very smooth with both pan and tilt. Much improved over the 501 and 701 models that this one has replaced. It’s designed for HDSLR cameras to give them more surface to sit on." Read his full review here.
Added by Sarv Taghavian--Creative Planet Network,05/15/13 05:05:43 PM
Filmmaker Chase Jarvis was recently tasked by Samsung to recreate his most vivid dream in order to showcase the capabilities of the Samsung Premium Monitor Series 9. Read here as Jarvis explains the exact process behind his colorful commercial that eventually involved cannons of colored powder, a Nikon D4, a Sony FS700, Canon DSLRs and a GoPro. Watch a behind-the-scenes video below.
Added by Sarv Taghavian--Creative Planet Network,05/15/13 04:05:10 PM
Jeff Lee of AbelCine rounds up a list of when NAB's biggest product announcements are expected to hit the market. He writes, "Now that the dust has settled in Las Vegas and we’ve all had a chance to recuperate from the frenzy of activity known as the NAB show, let’s take a look at some of the recurring themes from this year. While the buzz word on the show floor seemed to be '4K,' other big hits included anamorphic lenses, external recorders, and stabilization systems." Read the full post here.
Added by Sarv Taghavian--Creative Planet Network,05/15/13 04:05:13 PM
Cinematographer Shane Hurlbut explains lighting for day exteriors, writing, "Lighting day exteriors is as much about choosing the right time as it is about your manipulation of the daylight. Sometimes you can choose the time that you shoot. Many times, you are locked into a schedule that doesn’t necessarily work for your lighting approach. If it is not the right time, you have to go with it and do your best." Read his full post here on his blog.
Added by Sarv Taghavian--Creative Planet Network,05/15/13 11:05:28 AM
Magic Lantern are reporting that they've successfully figured out how to record 1080p raw video at 24fps on the Canon 5D Mark III. Explains Freya Black of RedShark News, "It’s been a big day for the canon cameras with No Film School reporting this morning that magic lantern had achieved continuous 24p RAW recording (not just a few seconds) in a 2.40:1 aspect ratio which in itself was very big news as it makes the new RAW mode very usable; but now it looks like they have managed to get full 1920 x 1080 24fps continuous RAW recording working using “DMA cropping routines."