Shannon Wild and Russell MacLaughlin, Paul Nicklen, Andy Casagrande and Asgeir Helgestad all have a passion for nature and wildlife. They also have another thing in common: all use RED cameras.
RED’s Collective series is the ideal place to discover how different authors use the RED cameras they have chosen as their tool to share their visions with the world. The work of different filmmakers, covering different genres and areas, is displayed there, and each video is a lesson on technical aspects, but goes well beyond that, sharing with viewers how authors approach their preferred subjects.
The newest addition to Continue reading "Wildlife and nature as seen through a RED"
Camera Assistants, Owner – Operators, and DPs the Sony VENICE Menu Simulator is online and waiting for you and your curiosity. Well, maybe I’m overhyping this a touch. It is a menu simulator for the VENICE and it is online, but I doubt it is waiting for you. Now future users can be learn the new camera’s menu system so they are ready to take the VENICE out for a shoot once it arrives at your doorstep sometime in February.
I have taken the VENICE simulator for a spin and one big take away is the new Menu is cleaner
Last summer I replaced my trusty Sekonic L-758Cine light meter with the new L-858D model. The 858D features a mix of physical buttons and a touchscreen UI, and some really smart upgrades over previous models. After using it for around 8 months, I wanted to share my thoughts on this new meter.
Firstly, I found the 858D a lot simpler to pick up and learn. The 758Cine was an excellent meter, but I personally never really found it to be very intuitive. Anyone who has used the 758 will recall the multi-button dance it takes to modify settings…there was a
The new version 1.0 features added to the VENICE will include support for Full-Frame 24x36mm recording in time for the camera to ship. Continuing on listening to customer feedback into the camera’s development, Sony is announcing several new capabilities including a “Dual Base ISO” mode. With 15+ stops of exposure latitude, VENICE will support an additional High Base ISO of 2500 utilizing the sensor’s unique physical attributes. Take that Panasonic! Maybe other camera manufacturers will follow suit. The Dual Base ISO takes advantage of Sony’s unique sensor for superb low light performance with great dynamic range – from 6
In their new camera announcement, Blackmagic Design dropped the “Mini” in the URSA Broadcast camera name. Read into it if you want. The URSA Broadcast, and the URSA Mini camera body design, are hardly Mini cameras. The features found in these cameras offer up big help to creatives and broadcasters who use them. Now, Blackmagic has squarely turned its attention to the specific needs of Broadcasters.
The new URSA Broadcast is a professional broadcast camera designed for both studio programming and live production. URSA Broadcast will work with existing B4 broadcast HD lenses, can be used for both HD and
Panavision’s DXL2 is a unique offering, backed by a unique color pipeline. This is not your average Monstro.
When I started out in the film business—at a time when dinosaurs roamed the Earth and the numeral “zero” was a distant glimmer in a mathematician’s eye—two major companies made nearly all the cameras that I worked with on a regular basis: Arriflex and Panavision. Each had their pluses and minuses, and crews certainly had their preferences. I was happy to
Today, Blackmagic Design took the opportunity to live stream their new 2018 broadcast product updates. On-screen Blackmagic CEO, Grant Petty, showed off a number of new broadcast products. Most notably the URSA Mini Broadcast camera as well an SMPTE Fiber solution for broadcasters. Blackmagic also updated their ATEM Broadcast Switcher and a free update for ATEM 2 M/E Broadcast Studio 4K users to the new ATEM 4 M/E Broadcast Studio 4K
Updating to help broadcasters embrace 4K a little bit easier and the new model looks very much like the DaVinci Resolve Mini and Micro panels. The new modern
I’ve been getting some play time with RED’s new Monstro camera at Videofax in San Francisco. Jim Rolin, one of Videofax’s owners and a top video engineer, said something during my previous visit that got me to thinking. He said he’d put some older glass on Monstro to see what happened, and the results were fascinating. I’m a big fan of TLS-rehoused Cooke Speed Panchros and the new Cooke Classics, so I decided to take a look and see what strangeness I could squeeze out of otherwise normal lenses by using as much of their image circle as possible.