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Digital Film News-For Professional Videographers
Blackmagic Cinema Camera Gets Its First Real Low-Light Test.
Posted: August 22 2012 - 9:40 pm
Have you downloaded the RAW CinemaDNG files from the Blackmagic Cinema Camera yet? If not, I highly recommend doing so if you’ve been on the fence about pre-ordering the camera. The clips that John Brawley has made available are from a short film he’s been working on called Afterglow. While it’s not clear if the final product will be in this style of not, John has uploaded an extended cut of scenes that run of the gamut of lighting scenarios and really show what this thing can do — especially in lower light.
ISO 800. 24 FPS 172.8 Deg shutter 5600K 35mm Zeiss Compact Prime @ T2.1 Schneider Sapphire ND 6
ISO 800. 24 FPS 172.8 Deg shutter. 5600K. 85mm @ Zeiss Compact Prime T2.1. Schneider sapphire ND 6.
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How to Export the Sharpest RED Footage
Posted: August 17, 2012 - 9:40 pm
Most everyone can agree that 4K footage downscaled to 1080p looks great. Even cameras that don’t shoot 4K are often oversampling in order to output a clean 1080p file. However, when you’re shooting 4K or 5K on a RED camera and you’re outputting a 1080p file in post, it turns out not all downscaling is created equal. While RED has just released a tutorial on how to export footage from their grading software, REDCINE-X
New Blackmagic Cinema Camera Announced at NAB
Posted : Friday, August 03, 2012 - 10:23 am
The exciting new Blackmagic Cinema Camera was a total show-stopper at NAB 2012. It fills a unique niche in the video market by supplying a 13-stop 2.5K image sensor, a built-in SSD recorder, the ability to shoot uncompressed RAW (and compressed formats), full compatibility with EF and ZE lenses,a built-in 5inch (12.7cm) touch screen LCD and Thunderbolt connectivity. If that isn’t compelling enough, Blackmagic Design is also including a copy of the Mac and Windows compatible DaVinci Resolve 9.0 color-correction software and UltraScope with the camera. The camera itself features an attractive industrial design that oozes with elegant simplicity, and the flexibility to be used as a stripped down, low-profile handheld, or as the heart of a full-blown rig with rails, matte box and the works. Most remarkably, all of this beauty is delivered for under $3,000.
CLICK ON IMAGE
CLICK ON IMAGE
OS X Mountain Lion! What it Brings for filmmakers?
Posted: July 26, 2012 - 12:02 am
At this point it is hard to say. As with each new version of any system it is safe to wait just a little bit for the first reviews and reports. All important programs and codecs are probably fully compatible with the new OS however if you own an older Mac model you might want to upgrade it for better software performance. What will surely be useful is the possibility to make encrypted backups - a feature that might come handy in mamy situations. The same goes with Dictation. On the other hand some think that Apple wants to eliminate the software that wasn't bought via Mac App Store. If it will be the case (at the moment it isn't), many useful but niche programs, converters, and so on, might not be accessible and the authors will need to develop a new version, distributed via App Store. We can be pretty sure that such situation would represent a problem especially in the case of programs that are not developed anymore. Joe Marine of No Film School also sees a danger in the native mirroring with Apple TV and the new security setting
Working on Your Sound Mix? Learn How to Easily Remove Unwanted Audio in Final Cut Pro X
Posted: July 07, 2012 - 2:02 am
While it seems that Premiere gets most of the attention these days, there are still plenty of users who are cutting their work on Final Cut Pro X. Regardless of the reason, FCPX can be a little quirky in how it deals with audio and video, and some functions are slightly different than they were in Final Cut Pro 7. In this tutorial from Steve Martin of Ripple Training, learn how to remove unwanted sounds from your audio in Final Cut Pro X.
Act Of Valor 2012- A Film shoot with Canon 5D
Editing Act of Valor
Posted by Mike McCarthy on April 14th, 2012
When we first started out, we had no idea how much footage we would be shooting for the movie, because the 5D lends itself to a different type of shooting style than traditional filmmaking, and we had a lot of cameras available on set. So preparing for a worst case scenario, we setup our Avid system with a huge 16TB external array. Since we were using DNxHD36 files for the offline, our nearly 200 hours of source material ended up being less that 3TB of Avid media. So once we were finished with principal shooting, I replaced that oversized solution with a basic internal array of four 2TB drives, which met our needs for the rest of the project.
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