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“Interstellar”: My Take on IMAX vs. 35mm
I’ve now seen “Interstellar” projected digitally in a multiplex as well as in 70mm OmniMax. They were very different experiences.…
Quick note: Veydra Mini Primes tested; Kickstarter funded at 5.4x goal
I’ve had a few days to play around with a set of four prototype Veydra MFT Cine Lenses: the 16mm,…
The GH4 Audio Buzz Fix
As noted in my GH4 review earlier this year, first-run GH4s suffered from an “audio buzz” problem, most noticeable with…
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Review: Canon Cinema EOS 1D C
In the beginning… there was the Canon 5D Mk II. It wasn’t the first HD-capable DSLR, but it was the first one good enough for serious work. Once Vincent Laforet’s “Reverie” went viral, there was no putting the large-sensor, low-light, super-shallow-depth-of-field genie back in the bottle—no matter how soft the images, how prevalent the aliasing, and how much bother it was (for the two years prior to firmware version 2.0.3) to deal with 30p images in a 24p world.
Fast-forward five years: Canon’s EOS-1D C, announced at NAB 2012, is now shipping. It’s a full-frame DSLR with an 18 Megapixel sensor, full-frame and crop-mode HD recording, and true 4K at 24fps: 4096×2160 pixels. Yep, 4K in a DSLR package. And it’s only… $12,000.
My First Lighting Class; or How I Learned to Light
Recently I taught my first lighting class, for Abel Cine, at Sony DMPC in Culver City, California. It got me…
Showreels: What They Are, and Tips on How to Make Them
Every once in a while someone who reads my articles shoots me an email and asks if I’ll watch their…
Arlo and Julie: A Feature Length Film on the Canon C100
Last February I shot a short test film with the Canon Cinema EOS C300. Thanks to Canon I got the…
Sony F55: Turning Sub-Menus Back on Without a Viewfinder
There are times when you’ll want to use a small camera like the Sony F55 without a viewfinder–say, if you’re…
Sony F5: Dynamic Range, plus interpreting it in Resolve
Sony gives us a lot of gamma table options in the F5 and F55. I recently had a chance to sit down with an F5 and map them all out, and in doing so I learned a lot about both gamma curves and how BlackMagic Resolve Lite handles them. I had no idea what I was getting into when I shot these tests. Usually I bring clips into Final Cut Pro, export them to Apple Color and capture waveform images from there, but according to Sony there are no current options to import XAVC HD directly into Final Cut Pro 7 or X. I’m not that familiar with BlackMagic DaVinci Resolve Lite, but I learned a lot… while putting a nice dent in both my forehead and the wall over my desk along the way.
Early Access to Sony F5/F55 1.03 Firmware Update
On Monday you’ll see firmware v1.03 for the Sony F5 and F55 cameras appear on Sony’s website, but if you’re…
Adobe CS6 DVi Workshop: Transitioning to Adobe Creative Cloud
Pete Bauer explains the process of transitioning from Adobe CS6 or other disc-based NLE applications to Adobe Creative Cloud. (runs…
Kappa Studios and Annoying Orange
Kappa Studios switches from Avid to an all Adobe workflow for the production of Cartoon Network’s new hit show Annoying Orange. This animated series originated online and when viewership broke a billion views it was time to take the production to broadcast. With the demand for extremely quick turn around Kappa Studios knew only Adobe video tools could meet their needs for complicated animation and accelerated post workflows to make the production a success.