Photography Gear News
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DSLR News Shooter | HandiZoom motorised zoom controller tranforms DSLRs into ENG style machines

DSLR News Shooter | HandiZoom motorised zoom controller tranforms DSLRs into ENG style machines | Photography Gear News | Scoop.it

"If you don’t have a spare $38,000 for Fujinon’s new servo zoom controlled 19-90mm cine lens then former TV news shooter Roland Boucher may just have come up with the answer. His company VizTools is showing the new HandiZoom – an ENG style motorised zoom handgrip designed for use with Canon DSLRs and regular Canon zoom lenses. It transforms them into something more like a traditional handheld news camera and when used with a Canon DSLR has controls for record start and stop and focus magnification exactly where you want them – right by your fingers."

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New anamorphic lens for Canon DSLR cameras

New anamorphic lens for Canon DSLR cameras | Photography Gear News | Scoop.it

"A new anamorphic lens for Canon DSLR cameras will be announced at this year's NAB show..."

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stephane gault's comment, April 1, 2012 9:27 PM
nice april fool
Philippe Gassmann's comment, April 1, 2012 10:15 PM
;)
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3 Years Later, DSLR Video, One Man's Perspective

3 Years Later, DSLR Video, One Man's Perspective | Photography Gear News | Scoop.it

"We have arrived on the 3 year anniversary of DSLR cameras that also have the ability to shoot High Definition video. The flexibility of having a small and inexpensive camera with fantastic battery life that also can use interchangeable lenses has captivated consumers, professionals, and camera manufacturers around the world. Personally I've used these cameras to shoot everything from live events to motion pictures for feature films. With a slew of new cameras coming out in the next few months I find myself looking back at what has worked and what hasn't. I've gone through a whole lot of headaches, frustration, and problem solving to get the material up to snuff for the big screen and dealing with the camera system's "quirks". With this particular article I'd like to share some of my experiences and what I've learned along the way."

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Video shootout: Nikon D800 vs. Canon 5D mkIII

Video shootout: Nikon D800 vs. Canon 5D mkIII | Photography Gear News | Scoop.it

"Before the advent of the Nikon D800 and D4 there was no choice if you wanted a full frame DSLR shooting 1080P video – it had to be a Canon. This past week, I and several other members of the photo and video press and bloggers have been guests of Nikon Europe in New York on the “48 hour challenge”: getting our hands on production models of the D800 and being allowed to shoot what we wanted."

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Manfrotto to unveil ‘game-changing’ Sympla range of rigs at NAB 2012

Manfrotto to unveil ‘game-changing’ Sympla range of rigs at NAB 2012 | Photography Gear News | Scoop.it

"Photo and video accessory giant Manfrotto are finally branching out into the DSLR and video support gear market with a new range of rigs called SYMPLA. The main features of the rigs seem to be tool free assembly, modularity and a rather giant mattebox.

Manfrotto products have a reputation for keen pricing coupled with Italian quality design and construction. Dslrnewsshooter.com will be at NAB2011 to see if the company’s claims that SYMPLA are a game changer are true."

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Canon DSLRs: some of the best picture profiles out there

Canon DSLRs: some of the best picture profiles out there | Photography Gear News | Scoop.it

"With the introduction of the new Cinema Picture Profile, I wanted to do a quick post on MY favorite picture styles as well as how to use/install them. Picture Profiles/Styles (PP) are meant to optimize the dynamic range in the image. One of the hardest parts about them though is picking the right one for the right job. I find that it all depends on shooting conditions and final output.

For the longest time, I had no idea that you could load PP’s onto your camera that were not pre-loaded. I also did not really think that the results would be much different. Wow, was I ever wrong!

For some shooting conditions, I find that some of the PP’s perform worse than others. At any given time, I will have three PP’s loaded on my camera to switch between.

Final output also determines which PP I will be using. For all projects that I am producing, I always shoot the flattest image I can get. However, when shooting for others, if the turn around time does not allow for colour timing/correction, I will shoot less flat (typically neutral).

Now you ask, why is a flat profile important?"


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