5760 x 3240 Super 35 CMOSPL , Nikon, Canon EF , B4 option mounts 12 bits 6K up to 30fps4K high bandwidth Mode/3K 30fps/2K 100 fpsSpeeds : 4K 50fps, 3K 60fps 2K 100fps1080p and 720p modes800 ISO14 stops in 6K16 stops in 3K ???Uncompressed CinemaDNG 6K on 2 KineMAGCompressed RAW on 1 KineMAGTwo SDI ports and 2 HDMI Phantom power on XLRUSB port
The Kodak Super 8 system is a brilliant film format that inspired thousands of w...
Christophe LARUE's insight:
The Kodak Super 8 system is a brilliant film format that inspired thousands of wonderfully well made Super 8 cinema cameras. Unfortunately, the proprietary film cartridges are no longer in production and existing supplies are quickly diminishing.
John Higgins is one of the world's leading Lighting Technicians in Film. In his role as Gaffer, he has worked alongside some of the leading cinematographers in the industry including Emmanuel Lubezki, Philippe Rousselot and Oliver Wood in some of the most challenging environments to film in.
A video’s aspect ratio is an important creative choice that can affect the feel of footage, but it’s also a key technical consideration that affects how and where this footage can be displayed. This article gives an overview of the various capture settings and applications.
While you always want to choose the right camera for the job, sometimes you have to deal with what you have. There are times when you might have a RED SCARLET (or maybe even a RED EPIC), but maybe you need something that’s a little more light-sensitive as a B-cam for specific shots, or you might need dual-coverage and you’ve already got a second camera handy. What if that second camera is a Canon 5D Mark III, and you’ve enabled theMagic Lantern hack so that you can shoot RAW? How would the two cameras stack up against each other?
When DPing a film, one of the first decisions that I always make with the director is the aspect ratio of the final product. Deciding this early on is important, because it informs and shapes many of the other stylistic choices that you make down the road.
Camera maker reveals details of a high-frame-rate, high-resolution and high-dynamic-range successor to its Alexa in the works.
Christophe LARUE's insight:
Arri's managing director Franz Kraus has called into question the industry's inexorable push toward 4K by suggesting that HD content displayed on HD screens at equipment trade shows is not being shown at its optimum quality in order to compare unfavorably with 4K displays.
Do you know the difference between flying a Steadicam in high mode or low mode? What about Don Juan and missionary? In this post, we put the dirty bedroom jokes aside and look at basic Steadicam positions and the terms used to describe them from a beginner's perspective.
Proper exposure in HD is not always easy. Meter readings don’t always match what the camera sees. Zebras tell us where highlights are clipped but that’s about it. False color gives us broad stroke references… but the most useful tool overall is the waveform monitor. The problem is that there are two kinds: both are extremely useful, but for completely different things.
Christopher Doyle was born in Australia, but after years of roaming, he finally settled in Hong Kong, and his work as a cinematographer there helped to define the beautiful formalism of contemporary Asian cinema. He is best known for his collaboration with Wong Kar-Wai, for whom he shot 7 films including Chungking Express, Happy Together, 2046 and the sublime In the Mood for Love, a reference for many students of cinema.
With the price decrease on the Blackmagic Cinema Camera, new functions, firmware upgrades and the anticipated delivery of the Pocket Cam, I thought it would be perfect timing to run more of the tests that I did for Need for Speed.
Apocalypse Now, Blade Runner, Close Encounters of the Third Kind, Bridge on the River Kwai, Evita — if you were enthralled by the look of these classic ’Scope films, you may be considering anamorphic lenses for your next production.
The GoPro camera has enabled you the possibilities of shooting anything and anywhere. Now, with the Genus GoPro cage, your camera can get closer to the action than ever before. Mounting a GoPro camera has never been easier.
The breakthroughs keep coming. Magic Lantern did the unthinkable and figured out how to get RAW video out of Canon cameras, and now they’ve managed to increase the native dynamic range of the image without using an HDR method of varying light and dark frames, which can cause serious motion artifacts.
When I was first dreaming of this camera, I would spend hours looking at frames of S16mm film and comparing them to the compressed HD video that was accessible to me. At the time video was highly compressed, skin tones looked mushy, dark tones were blocky, and large areas of subtle gradations just completely fell apart. By contrast film rendered gradations, skin tones, roll off, and blow outs beautifully.