NAB-AT-HOME: 2020 Cooke Talks Lenses and Industry Wisdom


This post is by Brian Hallett from ProVideo Coalition


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Wisdom comes from experience. Cooke’s expertise gained from years of making cinema lenses ranging from some of the very first cinema lenses to new Large Format 1.8x anamorphic lenses. In this NAB-AT-HOME 2020 video Les from Cooke and I talk about lenses, the state of the industry, and wisdom learned from a long career. NAB AT HOME Cooke Lenses

Large Format. Full Frame. That super shallow depth of field. The evolution of filmmaking has been in a state of constant change, which seems to speed up faster and faster. Cooke Optics showed off new additions to their Macro line-up, Large Format Anamorphic, and Large

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Exploring the New Lens Distortion After Effects Plugin


This post is by Charles Yeager from The Beat: A Blog by PremiumBeat


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In this video tutorial, we’ll take a look at the new Lens Distortion plugin from Red Giant for After Effects. Let’s see it in action right here.

ProResRaw Now In Adobe Creative Cloud Mac Versions!


This post is by alisterchapman from XDCAM-USER.COM


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Hooray! Finally ProRes Raw is supported in both the Mac and Windows versions of Adobe Creative Cloud. I’ve been waiting a long time for this. While the FCP workflow is solid and works, I’m still not the biggest fan of FCP-X. I’ve been a Premiere user for decades although recently I have switched almost 100% to DaVinci Resolve. What I would really like to see is ProRes Raw in Resolve, but I’m guessing that while Black Magic continue to push Black Magic Raw that will perhaps not come. You will need to update your apps to the latest versions to Continue reading “ProResRaw Now In Adobe Creative Cloud Mac Versions!”

Atomos Ninja V and LUMIX S1H RAW firmware delay


This post is by Brian Hallett from ProVideo Coalition


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The firmware updates enabling the much-anticipated Atomos Ninja V and Panasonic LUMIX S1H RAW over HDMI combination have unfortunately been slightly delayed from the original 25th May release schedule, to ensure the highest possible level of RAW recording.Atomos and Pana

An unforeseen technical issue has come to light in the final rounds of beta testing that needs rectification prior to shipping. The companies are working together to complete the development as soon as possible. We apologize to our mutual customers waiting for the functions this release
enables.

188s1h_thumbPlease note that Panasonic will be releasing Ver 2.0 firmware on May 25th with various improvements to camera functions,

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Irix Introduces Cine 15mm T2.6 Ultra-Wide


This post is by Duclos Lenses from The Cine Lens


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The newest wide-angle lens from Irix joins the ultra-wide 11mm, standard 45mm, and macro 150mm.  Inspired by their popular Firefly and Blackstone 15mm f/2.4 models, the new cinema lens is lightweight, affordable, and exhibits very little distortion.  Available in EF, E, PL and Micro 4/3 mounts. The new cinema lens fits in perfectly as it […]

Everything You Should Know About Picking Your Film’s Color Schemes


This post is by Jourdan Aldredge from The Beat: A Blog by PremiumBeat


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Let’s explore one of the core issues of a film’s cinematography — color scheme. A film’s color scheme sets the tone, emotion, and complexity of the film.

NAB AT HOME 2020: Canon Broadcast Lenses and Controls


This post is by Brian Hallett from ProVideo Coalition


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One really cannot beat the speed of a B4 lens on a 2/3-inch sensor. If you have worked in the news, then you know how fast the combo can be used to capture a developing scene. The ability to cover an event with this combo is incredibly fast. I talked to Larry Thorpe at Canon about the less expensive, and portable CJ18ex7.6B KASEnab-at-home-2020canon-broadcast

The portable CJ18ex7.6B KASE is an important 4K UHD telephoto zoom lens that is part of the 2/3-inch UHDgc series. Its compact size and low weight support the high mobility shooting often entailed in documentary

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Tokina Unveils New 25-75mm T2.9 Cine Zoom


This post is by Duclos Lenses from The Cine Lens


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Tokina Cinema has announced the new 25-75mm T2.9. Its focal length falls between its predecessors 11-20mm and 50-135mm, creating a versatile trio of zooms. While it’s designed to cover Super 35 cameras, combining the Tokina Cinema 1.6x Expander and the 25-75mm you’ll have a 40-120mm T4.2 that covers FF/VV sensors. It is mechanically and optically […]

New Vista One Upgrade Announced By Tokina Cinema


This post is by Brian Hallett from ProVideo Coalition


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Own a set of Tokina Cinema Vista Primes but want the exciting flare found in the Tokina Cinema Vista One lenses? Well, you may have found just a little bit of luck.tokina-vista-ones

Today, Tokina Cinema announced the Vista One Upgrade Program. Owners of Tokina Cinema Vista Primes can upgrade their existing lenses to the popular Vista One single-coated version. The cost of the upgrade is $19,349 for a 6-lens set of 18mm, 25mm, 35mm, 50mm, 85mm, and 105mm lenses when customers send in existing Vista Prime lenses for conversion to the Vista One single-coated version. The conversion is also available

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Special Edition of RED Komodo Now For Sale. Price? $7,000


This post is by Brian Hallett from ProVideo Coalition


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$7,000 is the newly announced price for a custom color RED Komodo 6K Camera. As for the regular (black) RED Komodo? Well, a black RED Komodo is a little cheaper, priced at $6,000.Komodo

Jarred Land, RED Digital Cinema president, posted to his Instagram page stating the California camera company is geared up and ready to sell limited editions of the 6K Komodo camera.

Now that COVID19 manufacturing restrictions are slowly being lifted, RED’s factory has slowly started production; hence RED announced a limited run. Now, you cannot just type up red.com on your browser and click a link to

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Shoot Like the Coen Brothers — Filmmaking Pro Tips


This post is by Rubidium Wu from The Beat: A Blog by PremiumBeat


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So, what goes into a Coen brothers’ film that makes it so distinctive, and their style so admired? Let’s look into the brothers’ filming techniques.

5 Affordable Fisheye Lenses for Shooting in Small Rooms


This post is by Jourdan Aldredge from The Beat: A Blog by PremiumBeat


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Check out the best wide-angle camera lenses for beautiful cinematography in tight areas, that won’t break the bank. Let’s see why these cameras are so good!

Why the Best Camera is NOT the One You Already Have


This post is by Tanner Shinnick from The Beat: A Blog by PremiumBeat


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As content creators, we’ve been inundated with the notion that the best camera is the one you already have. Is it so? Let’s figure out what filmmakers …

Atomos Brings 12-bit ProRes RAW to Z CAM E2 Camera


This post is by Brian Hallett from ProVideo Coalition


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Atomos and Z CAM bring ProRes RAW recording over HDMI from the E2 cinema camera to the Ninja V 5″ HDR monitor-recorder. The 12-bit color smooth color creaminess we all drool over is coming to the pint-sized Z CAM E2; the E2 is the MFT camera. Or is the drooling just something I do myself, gross. The Ninja V will record 12-bit Apple ProRes RAW at up to 4Kp60. 12-bit ProRes RAW will give Z CAM users the best possible image quality from the camera. Now, we all may start shooting tremendous amounts of 4Kp60 in 12-bit; best to

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NAB-AT-HOME: 2020 HEDEN YMER-3 3-CHANNEL FIZ CONTROLLER


This post is by Brian Hallett from ProVideo Coalition


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The HEDEN Ymer-3 system circles around HEDEN’s already our legendary FIZ motors. The HEDEN Ymer-3 channel FIZ controller has quite a few features like lens mapping, LenSaverTM manual calibration, manual override, for safe use on any lens with or without end stops, and one of the quickest manual calibration system on the market. In the ole U.S.A., one can find the HEDEN Ymer-3 with Bold Distribution the makers of Bold Bags.nab-at-home-2020heden

All of these Ymer-3 features in the hand of a single camera assistant. FYI, I live in the South; we sometimes have trouble pronouncing words correctly.

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NAB-AT-HOME:2020 FilmConvert’s CineMatch


This post is by Brian Hallett from ProVideo Coalition


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CineMatch is a camera matching plug-in from FilmConvert. The idea of CineMatch surrounds around a single-click solution to match different cameras in post-production with ease and speed.CineMatch

To find out more about CineMatch, the good fellows from FilmConvert fired up their computers in New Zealand and jumped on an early morning Zoom call with me. Coffee in hand, FilmConvert answered my sometimes silly or dumb questions. On the surface of CineMatch, I understand the need for matching color between two cameras quickly. Trust me, live a life as a news photographer and the cripplingly quick deadlines that come with it,

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The Cinematography of The Crown with Adriano Goldman ASC ABC


This post is by Matthew Allard ACS from Newsshooter


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On the latest Go Creative Show podcast, cinematographer Adriano Goldman ASC ABC provides a behind the scenes look at Netflix’s hit series The Crown. Adriano and Go Creative Show host, Ben Consoli, discuss the challenges of filming the first couple of episodes, the stunning visual approach to the series, why they changed cameras and lenses … Continued

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How Cinematographer Hoyte van Hoytema Pulls Off a Shallow Depth of Field


This post is by Logan Baker from The Beat: A Blog by PremiumBeat


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Take a closer look at the career of Hoyte van Hoytema and the inner-workings of his signature shallow-depth-of-field shots.

NAB-AT-HOME: 2020 ARRI Signature Primes and Image Manipulation


This post is by Brian Hallett from ProVideo Coalition


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The ARRI Signature Primes exemplify top of the line optical precision while also retaining an organic, emotionally engaging image. These lenses produce an impeccable image. ARRI

Yet, as good as the glass and design of the ARRI Signature Primes are, one is more likely to rent these lenses than outright own. ARRI’s Art Adams shows us how a cinematographer may bring his own set of tools when using ARRI Signature Primes.

As Art demonstrated in the video above, the ARRI Signature Prime lenses are highly adaptable for image manipulation. Using the Universal net holder and magnetic positioning system, cinematographers can find

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Splitting Focus: Secrets of the Split-Field Diopter


This post is by Anthony Najera from The Beat: A Blog by PremiumBeat


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The split-field diopter is a practical lens attachment that can add an unusual and visually exciting effect to your movie. Here’s what you need to know.