This white paper is provided to DV Info Net courtesy of Electrophysics Corporation, a leading developer of advanced high performance infrared cameras, portable thermography systems and advanced night vision imaging solutions. It’s been remarkable to witness the evolution of the…
This article was Originally published in FCPUG Supermag #4 (April 2010) and on Dashwood3D.com Updated and Revised September 2011. All images ©Tim Dashwood unless otherwise specified. 3D is back in style again and it seems like everyone, from Hollywood producers to…
The new FS-CF Pro DTE recorder provides additional features such as video playback on the unit’s color LCD, MPEG-4 proxy file generation, wireless metadata logging, and much more. The Focus Enhancements FS-CF and FS-CF Pro DTE recorders are ideal for professional cinematographers and videographers looking to upgrade their existing Canon HDV equipment to a seamless file-based workflow.
Our production was never short on challenges. They were immediate, frequent, and often unbelievable. One thing that never failed us, however, were the D-SLRs. From the beginning, getting through customs was not an issue. Shooting quickly and unobtrusively in crowded areas, in the streets or in the middle of a massive festival was something very doable with our small crew; which often times meant we had to take a back-to-film-school approach. We could shoot multiple cameras simultaneously during live events and transition quickly to a scripted scene with ease.
Ergonomically, the new EPIC body weighs in at 5 lbs. The prototypes were lightly rigged with LCD, new REDVOLT battery grips, REDMOTE, and CF modules, to show how adaptable the camera is for a range of fast environments. The lightly rigged EPIC looks like a DSLR on steroids. Jim handed the EPIC across the cocktail table to my new RED-using pal Eythan from Atlanta, saying “You want to hold this, don’t you?” and he later told me excitedly that “it was as easy as holding any camcorder.” RED is currently planning Nikon and Canon EF mounts for EPIC, and with these lighter lenses, the camera will have built an excellent documentary and event camera. You can easily build the camera, including in-camera audio inputs, for around 8 or 9 lbs., depending on the lens.
Meet the GoPro Hero HD camera. This tiny powerhouse has got capabilities at a price we could only have dreamed of a few years ago.
If you use a Mac, and you’re one of those who likes previewing footage on a large living room monitor, these low cost solutions may be just the ticket.
There is always a lot to see at NAB in the way of new product offerings. Here’s what I found at the Anton Bauer booth today.
Today, Adobe launched – meaning “officially announced” – the much anticipated CS5 version of their Creative Suite. At their NAB booth, they indicated that it will actually be available in about a month. So what’s new? And is it worth opening your wallet to upgrade? Ultimately, of course, you’ll have to answer the second question based on the first. In this article, I’ll be sharing with you what I glimpsed during a fairly brief test drive of a prerelease Windows version of Premiere Pro CS5 that should give you a head start toward that big decision.
This has evolved into a long article as I have not only ventured into the technical aspects but into a broader perspective of filmmaking. For me, technical choices are mostly tied to aesthetic decisions. Sometimes aesthetics determine the technical choice and sometimes it’s the other way around. As I started this piece I found myself wading into issues that ultimately pushed this project in a distinctive direction, far outside issues of frame rates, shutter speeds, ISO, and codecs.