Jump to content

Tim Tyler

Admin
  • Posts

    1,262
  • Joined

  • Last visited

Everything posted by Tim Tyler

  1. The air-to-air team behind Top Gun: Maverick shares a detailed behind-the-scenes look at exactly how they pulled off making the groundbreaking film, including gear choices, challenges, victories, and more. Featuring commentary from: @Claudio Miranda ASC - Director of Photography David B. Nowell, ASC- Aerial Cinematographer/Team5 Michael FitzMaurice- Aerial Cinematographer Kevin LaRosa- Aerial Coordinator/ Lead Camera Pilot
  2. NOPE BTS https://www.youtube.com/watch?v=_dsvj6BvhJk
  3. This summer, hundreds of professional filmmakers in New York City will join forces to create six short films as part of the Women’s Weekend Film Challenge (WWFC). https://www.womensweekendfilmchallenge.com/ A grassroots initiative founded in 2017 by filmmakers Katrina Medoff and Tracy Sayre, WWFC aims to address the lack of women and nonbinary people behind the camera and on screen through a variety of programs, including its signature film challenge. This will be the organization’s fifth film challenge, and the first since the pandemic forced productions across the country to shut down. To date, WWFC has held four film challenges — three in NYC and one in LA — and worked with more than 700 female filmmakers to produce 30 short films that have been screened at more than 90 film festivals. “We are so excited to once again be hosting the Women’s Weekend Film Challenge to provide a diverse group of talented filmmakers with the opportunity to tell their stories on screen,” Sayre said. “Many creative relationships have been fostered through our four previous challenges, and the results — 30 expertly crafted short films — prove there is no shortage of skilled women in every role of production.” This summer, women and nonbinary filmmakers will be placed on teams to write, shoot and edit a short film in just one weekend. It’s free to apply to and participate in the challenge, and the organization provides top-of-the-line equipment, workshops and more. Organizers are expecting more than 1,000 applications and will select about 200 participants. The challenge weekend will take place Aug. 11-14. Filmmakers in every role of production — from gaffers and sound mixers to writers and actors — can apply between June 1 and 27 to participate in the challenge. WWFC enlists the help of guest judges to thoroughly review each application. This year’s judges include cinematographers Nancy Schreiber, ASC, and Carmen Cabana; casting director Adrienne Stern; and filmmakers Anna Sang Park, Annie Sundberg, Danielle Eliska and Mahak Jiwani. WWFC then places accepted individuals onto crews in order to ensure that each team has the talent necessary to make a stellar short film. Top-of-the-line equipment, software, production insurance, production stipends and film festival submission stipends are provided courtesy of WWFC and its sponsors, including Zeiss, Sony, ARRI, Cinelease, Gotham Sound, Casting Networks and Final Draft. Participants will meet their fellow crew members for the first time during a pre-production meeting at CarStage in Long Island City in early August. The film challenge kicks off on Thursday, Aug. 11, when organizers will pick a genre out of a hat for each team and announce a prop that all films must incorporate. Teams will begin writing their scripts that evening and will have until Sunday, Aug. 14, at 11:59 p.m. to submit the completed film. “While progress has been made to combat gender imbalance in the film industry, more work must be done to achieve equity,” Medoff said. “Participants will finish the weekend not only with a highly professional short film but also with a broad network of motivated, talented women.” WWFC will host a premiere screening of the films in late August at Village East in Manhattan. Participants will network with each other and other industry members at an afterparty. Experienced, NY-based filmmakers in every role of production and post-production can apply to the upcoming challenge for free by visiting womensweekendfilmchallenge.com. The deadline to apply is June 27. About Women’s Weekend Film Challenge: Women’s Weekend Film Challenge (WWFC) works for gender equity by creating opportunities for women to bring their leadership, talents and stories to the forefront of the film industry. WWFC places professional filmmakers on teams to write, shoot and edit a short film in just one weekend, creating intensive networking opportunities while helping filmmakers to bring women’s stories to the screen. Since its first challenge in January 2018, WWFC has worked with more than 700 women to produce 30 short films, which have been accepted to more than 90 film festivals. When COVID-19 upended productions, WWFC established a popular virtual workshop series featuring Hollywood powerhouses, such as Elle Johnson (co-showrunner, "Self Made"), Kasi Lemmons (writer/director, "Harriet"), Catherine Hardwicke (director, "Twilight"), and Alma Har'el (director, "Honey Boy"). In 2021, WWFC launched a pilot accelerator designed both to help emerging writers advance their careers and to increase the representation of women and nonbinary people in television. The fellows received three weeks of industry training before pitching their scripts to HBO, Netflix, Comedy Central, Warner Bros., and more. -- Katrina Medoff and Tracy Sayre, Founders of Women's Weekend Film Challenge
  4. B&H's video with ARRI's Günter Nösner talks a little about the Alexa 35's application of noise reduction.
  5. Film and Digital Times ALEXA 35 Camera Report by Jon Fauer, ASC (Here's is Jon Fauer's Introduction on Film and Digital Times' comprehensive 90+ page report.) An ALEXA 35 pre-production test camera was delivered to the FDT office by ARRI’s Guenter Noessner on March 18. The result, 74 days later at camera launch, is this camera report of 96 pages. Initially, the June edition was planned with some pages of ALEXA 35 along with many other products that missed the April deadline. The page count kept growing, a massive Dickensian doorstop. And then, real world supply chain challenges arrived, and not only limited to semiconductors, copper, cars and aluminum. Paper deliveries, and ink for the paper this is printed on, dried up. But, that is not the only reason all 96 pages are monopolized by ALEXA 35. If you send a camera here three months before deadline, you know that it will be tried, taken out, taken apart, scrutinized and tested like a ship’s open water sea trial. Every angle and surface will be photographed with as much obsession as Col. Henry Charles Baskerville Tanner, the Victorian surveyorartist who mapped the Himalayas. Moreover, this was the first time a company has made available so many scientists, engineers, executives, product managers, designers, testers and planners to talk about their work in lengthy discussions. Usually a factory visit is a sweaty tour lasting a couple of days, punctuated by a few meetings of short duration. (By the way, “Sweaty Tours” was what film director Mel London called location scouting trips.) This time, it was Zoom that enabled so many fascinating, in-depth interviews. The new ALEXA 35 is like a film lab inside a digital camera. A film lab is an alchemy of permutations: chemicals, water, temperature, light and human temperament. Let’s forget the dreaded 3 a.m. call, “Oh sorry, the developing machine jammed with all your footage ruined inside.” ALEXA 35 is digital and fortunately doesn’t jam. And yet, ALEXA 35 offers many hitherto unobtainable digital possibilities that are reminiscent of an analog film process: textures, contrast, grain, sharpness. The digital camera is no longer just a lens onto which you put all kinds of different lenses to achieve unique looks. Now the camera itself returns as an instigator of looks, along with your good looks created by lighting, lenses, composition, art, planning and happy accidents. I never suspected that something Super35 was afoot at ARRI, not even several years ago when they kept asking why FDTimes was writing so fervently about Full Frame: “But don’t you think there’s room for a new generation Super35 camera?” I must have caused Franz Kraus great agida at Yamazato in Amsterdam one evening after IBC. It wasn’t the sushi, but rather my unknowing (about plans of a new camera) speculation and repetition of Jeff Allen’s observation that “old” 35mm would be relegated to productions that formerly were done in 16mm, while Full Frame would be the “new” replacement for high-end productions that previously shot on 35mm. Little did I know that ALEXA 35, or at least its sensor, had been in development for a decade or more. It turns out that a camera this interesting and good certainly provides ample room for both formats to continue to coexist salubriously. The 35mm format has been a universal standard ever since the Lumière Brothers projected Workers Leaving the Factory on December 28, 1895 at the Grand Café in Paris. Along the way, cinematographers have enjoyed a vast inventory of 35mm lenses, many of them still cherished and used today. As for ARRI, there has always been a historical affinity of separate cameras for different formats: 16BL and 35BL; 16SR and 535; 416 and 435 and 765. And now: ALEXA 35 for Super35—together with ALEXA Mini LF for Large Format, a.k.a. Full Frame. If someone told you, “The new ALEXA 35 has 17 stops of dynamic range, prettier images and better color, your inner DP instinct would most likely reply, “Great, but show me.” This healthy skepticism of verbal description—how ironic—is assuaged by viewing real and really good images. They’re here. ARRI’s series of Encounters films shot around the world by eleven talented cinematographers are online (arri.com) with frames and production stills beginning page 81. ALEXA 35 represents a new chapter in the hundred and five years of ARRI. I hope you enjoy the ALEXA 35 camera system as much as I did trying it and writing all about it. Read the full report here.
  6. 17 Stops of Dynamic Range! ALEXA 35 is a 4K Super 35 camera that elevates digital cinematography to unprecedented heights. ARRI’s first new sensor for 12 years builds on the evolution of the ALEXA family over that period, delivering 2.5 stops more dynamic range, film-like highlight handling, better low light performance, and richer colors. The new REVEAL Color Science takes full advantage of the sensor’s image quality and provides a fast, simple workflow, while ARRI Textures enhance in-camera creative control. Easy operation, robust build quality, new electronic accessories, and a complete new mechanical support system round out the ALEXA 35 platform. ALEXA 35 measures at 17 stops of dynamic range (exposure latitude), far more than any other digital cinema camera. Filmmakers gain 1.5 stops in the highlights and a stop in the shadows over previous ALEXA cameras, while retaining the naturalistic, film-like highlight roll-off. Sophisticated stray-light suppression ensures that the full character and contrast range of each lens is captured. Together, the increased dynamic range and stray light control make it easier to handle any lighting conditions on set, increase flexibility in post, and provide the best possible source for HDR (High Dynamic Range) projects. Impressively low noise and sensitivity settings ranging from EI 160 to EI 6400 make ALEXA 35 a “High ISO” camera. An optional Enhanced Sensitivity Mode can be applied to settings between EI 2560 and EI 6400, producing an even cleaner image in low light. This exceptional sensitivity, combined with the wider dynamic range and truer contrast, allows ALEXA 35 to capture the most delicate nuances of light and shadow in a wider range of shooting situations. Filmmakers can work with available light in real locations, safe in the knowledge that even at extreme ISO values, any noise will have a pleasingly film-like structure. Introduced alongside the ALEXA 35 is REVEAL Color Science, which is the collective name for a suite of image processing steps that, along with the new sensor, help the camera to record more accurate colors with subtler tonal variations. Skin tones of all types and colors are rendered in a flattering, lifelike way. Highly saturated colors such as those in neon signs or car brake lights are captured with incredible realism, as are typically challenging colors like cyan, burgundy, and pastel shades. Overall, the true-to-life color fidelity and amazing resolving power of the sensor make for beautiful, immersive images. ARRI Textures provide a new and unique way for cinematographers to exert greater creative control on set. A texture defines the amount and character of grain in an image, as well as the amount of contrast at different levels of detail, perceived by the viewer as sharpness. Previous ALEXA cameras were pre-programmed with a default texture, but with ALEXA 35 you can choose from an evolving menu of custom ARRI Textures, either to suit a specific shooting environment or to hone your look. This allows you to fundamentally alter the way the camera records images, much like selecting a film stock. With its Super 35 4:3 native 4K sensor, ALEXA 35 can be used with the vast global inventory of existing lenses—modern and vintage, anamorphic and spherical, Super 35 and large format. Filmmakers wanting to shoot with ARRI cameras while having to fulfill 4K mandates now have an immeasurably broader lens choice. A total of 19 recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow productions to optimize data rate, resolution, and other parameters, based on their individual needs. Mixed Reality Productions (MRP) will benefit from the camera's ability to record lens metadata in all common standards and output real-time streaming metadata to ARRI's Live Link Metadata Plug-in for Unreal Engine. ARRI’s discussions with filmmakers and careful review of the image pipeline have led to significant image quality enhancements and a faster, easier workflow. REVEAL Color Science is a suite of new image processing steps used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing. It includes an improved debayering algorithm for cleaner compositing, a new color engine for more accurate color reproduction, a new wide gamut native color space for faster grading, new LogC4 encoding to contain the increased dynamic range, and new LogC4 LUTs (Look Up Tables) for enriched color fidelity. ALEXA 35 is the smallest fully featured ARRI production camera ever, packing the features and processing power of a larger ALEXA into a Mini-sized body. Crews will be intuitively familiar with the simple menu structure; support for 1TB and 2TB Codex Compact Drives; and MVF-2 viewfinder, now with HDR. Fast and easy operation is assured through usability improvements such as a new left-side display and additional user buttons. Temperature resistant, splash and dust-proof, and conceived with future hardware and software updates in mind, ALEXA 35 is the best A-camera, B-camera, and drone or gimbal camera on the market, all rolled into one. ARRI has crafted a new line of bespoke ALEXA 35 accessories that expand the camera's capabilities and ensure maximum speed and versatility on set. Closely integrated electronic accessories offer additional power outputs or extended audio features. A complete new set of mechanical support items provides flexible options for any situation, scaling quickly and easily from a small and lightweight setup to a full-blown production configuration. ALEXA 35 is available in sales sets that group together components suitable for different shooting styles and production types, with further accessories and system options facilitating countless setups.
  7. Here's a good place to start, Matt. https://www.amazon.com/shop/cinematographyforum/list/2C9LGBNKW7L9S
  8. IMAX Corporation announced it has begun development on a new fleet of next generation IMAX film cameras — building on its more than fifty-year legacy of innovation to meet growing demand for its technology among a broader and more diverse group of filmmakers and artists. In cooperation with Kodak, Panavision, and FotoKem, IMAX will develop and deploy at least four new, state-of-the-art film cameras over the next two years — growing its existing fleet of film cameras by 50% — with the first new camera being put into use by late 2023. The Company is working with the world’s most accomplished filmmakers and cinematographers, including Jordan Peele and Christopher Nolan, to identify new specs and features for the prototype development phase already underway. The next release filmed with the current generation of IMAX film cameras and KODAK 65mm film will be Jordan Peele’s “Nope”, hitting screens on July 22, 2022, while Christopher Nolan’s “Oppenheimer” is currently shooting with IMAX Film Cameras. “As IMAX grows as a global platform for entertainment and events, we want to offer more filmmakers, storytellers and artists the opportunity to create with our unrivalled end-to-end technology,” said Megan Colligan, President of IMAX Entertainment. “From our connected global network to IMAX Enhanced for the home, the IMAX Experience provides a more expansive creative canvas than ever, and these new film cameras will enable a new generation of creators along with those who already love working with the cameras a better way to unlock the power of IMAX.” “IMAX film brings images to life,” said Chris Nolan. “From resolution and color to sharpness and overall quality, there is nothing compared to using IMAX film cameras today. Filmmakers and movie fans worldwide should be thrilled at the prospect of new and improved IMAX film cameras – I know I am.” “IMAX is movie magic pushed to its limit,” said Jordan Peele. “When you see a film in an IMAX theater, it feels like you are there. It's complete immersion, and there's nothing quite like it. Shooting with the IMAX Film Cameras gave us a look and feel you can’t get anywhere else. And we are only at the beginning, there's still so much to be explored in this format.” New and improved features being explored for the new IMAX film cameras include a quieter design and a number of useability enhancements. IMAX’s existing fleet of cameras and lenses are also undergoing major upgrades as part of the program. Several industry partners are also joining IMAX in the initiative to strengthen the global and future support of its film cameras: Kodak will offer enhanced technical support and manufacturing of the 65mm film stock. Panavision will continue to provide a global network of service and maintenance for IMAX camera productions worldwide along with new tools and technical support for the cameras. FotoKem will work alongside the IMAX camera and post-production departments to improve production workflows and coordinate lab and post services.
  9. Shaping Light for Video in the Age of LEDs: A Practical Guide to the Art and Craft of Lighting 2nd Edition by Alan Steinheimer A must-have resource for film and media production students taking classes in lighting and/or cinematography. https://amzn.to/3hUBTkA A practical, hands-on guide to lighting for video, this book explores how LEDs are changing the aesthetics of lighting and provides students with an indispensable guide to the everyday techniques required to produce professional-quality lighting in the age of LEDs and wireless control options. The book focuses on first-hand application of technical knowledge, beginning with simple lighting setups and progressing to more complicated scenarios, and features accompanying diagrams, illustrations and case studies to demonstrate their real-world application. Key topics covered include basic three-point lighting, lighting moving actors, set lighting and exposure, instrument selection, bringing style to your lighting, color temperature and the Kelvin scale, exterior lighting, lighting categories and genres, green-screen techniques, money and budgeting, and electricity and electrical distribution. The book also provides guidance on career paths including what a grip does, case studies with photos and diagrams, and an extensive glossary of set terminology to introduce students to the language of filmmaking.
  10. https://www.hollywoodreporter.com/movies/movie-news/roger-deakins-knighted-windsor-castle-1235085883/ Legendary cinematographer Sir Roger Deakins was knighted Feb. 1 by Prince Charles at Windsor Castle. He is the first cinematographer to receive this recognition. “The knighthood was an incredible honor that must be shared with my crew and collaborators. They are the reason I have been able to do what I’ve done. It’s a wonderful recognition that we all share,” said Deakins in a statement provided to The Hollywood Reporter. Joining Deakins at the ceremony was his wife and collaborator, digital workflow specialist James Ellis Deakins. The pair are in the U.K. prepping for Sam Mendes’ England-set Empire of Light.
  11. For that particular client I'd suggest you double your PA rate, at least for a short while, and see how things go.
  12. Cinematography.com sends our deepest thoughts and condolences to the family, friend and colleagues of cinematographer Halyna Hutchins. Santa Fe New Mexican news article By Victoria Traxler: The director of photography for the feature film Rust, Halyna Hutchins, 42, died at University of New Mexico Hospital in Albuquerque, and director Joel Souza, 48, was taken to Christus St. Vincent Regional Medical Center, where he was receiving emergency care, the sheriff’s office said. Baldwin is one of the film’s stars as well as a producer. He went to the sheriff’s office willingly and provided a statement to investigators, sheriff’s office spokesman Juan Ríos said. “We’re treating this as we would any other investigation,” Ríos said, adding deputies were still trying to determine whether what happened was an accident. The Santa Fe County Sheriff's Office responded to the scene of a fatal accidental shooting at a Bonanza Creek Ranch movie set Thursday. The prop was fired at Bonanza Creek Ranch, where filming was underway, the sheriff’s office said in an early evening news release. The set was locked down while deputies began their investigation. Attempts to get comment from Baldwin outside the sheriff’s office were unsuccessful. The state film office and the Santa Fe Film Office declined to comment. Deputies were investigating how the incident occurred and “what type of projectile was discharged,” the sheriff’s office said in a release. In a statement, Rust Movie Productions said, “Production has been halted for the time being” on Rust and that “the safety of our cast and crew remains our top priority,” according to Deadline.
  13. How about high temp spray paint?
  14. I could never bring myself to check heavy sandbags on a plane. I'd either bring empty sand bags, hire a local PA with sandbags, bring cloth shopping bags and fill them with something from the location (books/rocks), or bring some straps and use my empty equipment cases to weigh the stands down.
  15. Fortunately LED light quality has come a long way since 2011. Another YouTuber, Andrew Locke, took a color meter to to the 600D at the end of this video:
  16. Akie, According to this IndieWire article cinematographer Hong Kyung-pyo used poor quality florescent lights. You might try RGB LED tube lights which would give you more color options. Consider using tube lights that dim all the way to 1%.
  17. Blackmagic Design today announced a new family of Blackmagic Studio Cameras for live production. The new compact all-in-one design will help a wider range of live production customers who need cameras with professional features that are also fast to setup on location. The new Blackmagic Studio Cameras include design features such as carbon fiber reinforced polycarbonate and large integrated 7" viewfinders so they are very light weight making them much easier to transport and setup than large traditional studio cameras. Blackmagic Studio Cameras are available immediately from Blackmagic Design resellers worldwide from $1,295. Blackmagic Studio Cameras have the same features as large studio cameras, miniaturized into a single compact and portable design. Plus with digital film camera dynamic range and color science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. The sensor features an ISO up to 25,600 so customers can create amazing images even in dimly lit venues. Advanced features include talkback, tally, camera control, built in color corrector, Blackmagic RAW recording to USB disks and much more. While Blackmagic Studio Camera is designed for live production, it’s not limited to use with a live switcher. That’s because it records Blackmagic RAW to USB disks, so it can be used in any situation where customers use a tripod. The large 7" viewfinder makes it perfect for work such as chat shows, television production, broadcast news, sports, education, conference presentations and even weddings. The large bright display with side handles, touch screen and physical controls makes it easy to track shots while being comfortable to use for long periods of time. Large broadcasters use expensive studio cameras that are extremely large, so they’re not very portable. It features a lightweight carbon fiber reinforced polycarbonate body with innovative technology in a miniaturized design. The camera is designed for live production so it’s easy to track and frame shots with its large 7" viewfinder. The touchscreen has menus for camera settings, and there's knobs for brightness, contrast and focus peaking. Plus a tripod mount with mounting plate is included for fast setup. The Blackmagic Studio Camera features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it's optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The gain can be set from the camera, or remotely from a switcher using the SDI or Ethernet remote camera control. The amazing 4K sensor combined with Blackmagic generation 5 color science gives customers the same imaging technology used in digital film cameras. The color corrector can even be controlled from the switcher. With 13 stops of dynamic range, the camera has darker blacks and brighter whites, perfect for color correction. The sensor features a resolution of 4096 x 2160 which is great for both HD and Ultra HD work. Plus, all models support from 23.98 fps up to 60 fps. With the popular MFT lens mount, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Photographic lenses are incredible quality because they're designed for use in high resolution photography. To eliminate the need to reach around to adjust the lens zoom and focus, the optional focus and zoom demands let customers adjust the lens from the tripod handles just like a large studio camera. It gives customers the same feel as an expensive B4 broadcast lens. The large 7" high resolution screen will totally transform how customers work with the camera because it's big enough to make framing shots much easier. On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. Customers can even apply 3D LUTs for monitoring shots with the desired color and look. Unlike consumer cameras, the Blackmagic Studio Camera 4K Pro model has SDI connections that include talkback so the switcher operator can communicate with cameras during live events. That means the director can talk to the camera operators to guide shot selection, eliminating the problem where all cameras could have the same shot, at the same time. The talkback connector is built into the side of the camera and supports standard 5 pin XLR broadcast headsets. Blackmagic Studio cameras have lots of connections for connecting to both consumer and broadcast equipment. All models feature HDMI with tally, camera control and record trigger, so are perfect for ATEM Mini switchers. Customers also get headphone and mic connections, and 2 USB-C expansion ports. The advanced Blackmagic Studio Camera 4K Pro model is designed for broadcast workflows so has 12G-SDI, 10GBASE-T Ethernet, talkback and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback and camera power via a single connection, so setup is much faster. That's just like a SMPTE fiber workflow, but using standard Category 6A copper Ethernet cable so it's much lower cost. The Blackmagic Studio Camera 4K Pro model supports connecting cameras via a single Ethernet cable. Traditional broadcast studio cameras use SMPTE fiber to communicate and power cameras, however SMPTE fiber is very expensive. Blackmagic Studio Camera 4K Pro model has 10G Ethernet as an alternative to SMPTE fiber so it's much lower cost. The Ethernet includes all camera video, program return feeds, tally, talkback, camera control and also power. The Blackmagic Studio Converter handles all video conversions at the switcher end plus adds power to the Ethernet cable. That means customers don't need to connect power to the camera. The Blackmagic Studio Camera features a high speed USB-C expansion port that allows customers to record to external disks or connect to a wide range of accessories. Plug in an external USB flash disk and the camera can record high quality 12-bit Blackmagic RAW files for later editing and color correction. That means customers can just move the disk to a computer to work, and customers don't need to waste time with file copying. Plus the USB port will power any phone or disk that’s plugged in. Some file formats such as H.264 are highly compressed, so add noise and artifacts, causing sensor detail to be lost forever. Blackmagic RAW eliminates this problem so customers get stunning images with incredible detail and rich color throughout the whole post production pipeline. Blackmagic RAW also saves camera settings as metadata so customers can change ISO, white balance and exposure later in DaVinci Resolve. Plus the files are small and fast, so editing responsiveness is incredible. Blackmagic Studio Cameras include built in microphones so customers get sound included in the design making setup much faster. Plus the built in microphones are shock and wind resistant, so customers get great sound even in tough conditions. There’s also a 3.5mm audio input for connecting video camera microphones as well as a 3.5mm headphone jack. Because the most common location to place microphones is near to cameras, the Pro model includes the best audio ever designed into a studio camera. The professional 2 channel balanced XLR inputs support +24 dBu line level and have an ultra low noise microphone preamplifier with P48 phantom power alongside an equivalent input noise (E.I.N.) of -131 dBV(A). That's followed by two 117 dB high dynamic range analog to digital converters, so customers get the high end audio demanded by broadcasters and audio engineers. This means any microphone plugged into the XLR inputs will have a higher level of noise than the camera's audio. To allow quick mounting onto tripods and faster setup, all Blackmagic Studio Camera 4K models include a tripod mount with a machined metal design and quick mounting plate. The quick mounting plate allows the camera to slide onto the tripod and customers get forward and rear adjustment of the camera so customers can adjust the position to get the perfect camera balance. Blackmagic Studio Cameras have lots of different power options. All models have a common 12V DC locking power connector so the cable won't be accidentally pulled out. However if users are using a single Ethernet cable to connect to the Blackmagic Studio Camera 4K Pro model, then the whole camera and its accessories can be powered from the Ethernet connection. The Blackmagic Studio Converter has a large power supply that adds PoE power to the Ethernet cable so customers don't need any power connection to the camera. That’s a great solution when there's no power available where the cameras are placed. The optional zoom and focus demands can be added to turn affordable photography lenses into amazing broadcast lenses. The focus and zoom demands have USB-C connections so they work with all Blackmagic Studio Camera 4K models. Each zoom and focus demand has 2 USB-C ports, so customers can daisy chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel and so customers get very fine lens control, and customers can frame and adjust the lens without taking their hands off the tripod handles. With 10G Ethernet on the Pro model, customers can connect all signals to the camera with the one Ethernet IP link connection. That means the camera feed, return program feed, timecode, reference, tally, talkback and control are all sent down the single cable. That's the same benefits of SMPTE fiber, but the standard 10G copper Ethernet cable is much lower cost. The Blackmagic Studio Converter allows breakout of all the video, audio and talkback connections at the studio end. It also includes a massive power supply that powers the camera down the Ethernet cable, so customers don't need a power source near the camera. "These new studio cameras are built on all the knowledge and customer feedback from the original Blackmagic Studio Cameras," said Grant Petty, Blackmagic Design CEO. "These new models are a big step forward and they have been designed to be high end cameras, not entry level cameras. They might be small and self contained, but the features such as the built in 10G Ethernet, low light capability and professional viewfinder design make them very high end cameras for high end work!" Blackmagic Studio Cameras Features Designed specifically for live production. Carbon fiber reinforced polycarbonate chassis. Up to 25,600 ISO for incredible low light performance. Native 4K sensor with 13 stops of dynamic range. Compatible with a wide range of popular MFT lenses. Large 7 inch high brightness viewfinder. Includes 12G-SDI, HDMI, 10G Ethernet connections. Single 10G Ethernet allows SMPTE fiber style workflow. USB-C port allows recording directly to external disks. Features incredible quality Blackmagic RAW recording. Built in stereo microphones with wide separation. Professional mini XLR inputs with 48 volt phantom power. Includes tripod mount for quick location setup. Powers by 12V or Ethernet connection. Optional focus and zoom demands for lens control. Blackmagic Studio Converter allows all connections via Ethernet. Availability and Price Blackmagic Studio Cameras are available now from $1,295, excluding local duties and taxes, from Blackmagic Design resellers worldwide.
  18. Cine Gear Expo is the premier event for professionals engaged in the film and entertainment technology industry. Taking place September 23rd - 25th at the Los Angeles Convention Center, Cine Gear features exhibits, new product and service introductions, complimentary seminars led by industry leaders, and ample opportunity to network with peers. Badge registration is now open for Cine Gear LA 2021. All attendees must complete this FREE registration process to obtain their credentials. Registration is free until 11:59 p.m. PDT, September 18th, 2021. Advanced registration will help convey our COVID-19 safety plans to guests before they attend. Attendee Registration Cine Gear Expo LA 2021 Location: Los Angeles Convention Center Exhibits & Seminars Friday, September 24th Hours: 12:00 noon - 8:00 p.m. Saturday, September 25th Hours: 10:00 a.m. - 5:00 p.m. Film Competition Screenings Thursday, September 23rd Finalist Screenings 12:00 noon - 5:30 p.m. Friday, September 24th Winners Announced at Awards Party Master Classes Saturday, September 25th Lighting Master Class 4:00 p.m. - 7:00 p.m. at the Los Angeles Convention Center Sunday, September 26th Master Classes TBA Tickets for the Film Series Screenings, Master Classes, and Gold & Silver Passes will be available soon. Check back regularly for show updates. www.cinegearexpo.com
  19. It's been almost a decade since ARRI's last 3-axis lens control became available. The new, state-of the-art "Hi-5" features: Hi-performance: strong radio signal over long distances Hi-versatility: swappable radio modules for different locations Hi-speed: fast and efficient on-set ecosystem Hi-tech: future-proof hardware and software architecture Hi-reliability: robust, weatherproof, long battery life The new ARRI Hi-5 is the most sophisticated hand unit on the market, providing reliable wireless camera and lens control in demanding situations on set. Weatherproof and solidly built, it features an exceptional radio link range and unique, swappable radio modules for different territories and shooting challenges. Replacing ARRI’s previous top-end hand unit, the WCU-4, and representing a significant step forward, the new Hi-5 is central to the fifth-generation ecosystem of ARRI’s Electronic Control System (ECS). Together with a new radio system, new intelligent batteries, smart focus rings, and an iOS app, the Hi-5 modernizes on-set connectivity, simplifying complex tasks for film crews. Various of the new technologies incorporated into the design have patents pending. Typically, the Hi-5 will be in the hands of a focus puller or 1st AC, and ARRI has done everything possible to enhance their comfort and confidence. Proven ergonomics make the Hi-5 a pleasure to hold and operate, while the modern, stylish touchscreen interface, based on a camera GUI, will be instantly and intuitively familiar. Lens file management and software updates are faster and easier with the new ARRI ECS Sync App. Most innovative of all are the swappable radio modules—a feature never before seen in a hand unit. With an often congested 2.4 GHz ISM band and different frequency regulations in different countries, the ability to exchange radio modules is a huge advantage, allowing crews to choose the module that best suits each shooting location. ARRI will release three radio modules in the 900 and 2400 MHz ranges, using direct sequence and frequency-hopping spread spectrum technology to cut through interference. Together, they cover a multitude of shooting situations with a significantly improved, robust and long-range radio link, while ensuring backwards-compatibility with existing camera equipment. As technology evolves, even more modules can be added, making the Hi-5 a future-proof investment, able to accommodate future standards for on-set hardware communications. Reliability of all features and functions was an overriding priority in the Hi-5’s design and construction, with particular attention paid to the ruggedized housing for operating in harsh environmental conditions. Sealed, dustproof, and weatherproof, the hand unit feels unmistakably solid the moment it is picked up, and will keep you shooting even when the elements are against you. Various design elements of the Hi-5 are oriented towards maximizing efficiency. Smart pre-marked focus rings now communicate directly with the Hi-5 hand unit, being instantly recognized and mapped to the lens focus scale. Batteries for the Hi-5 are ARRI products, based on the NP-L interface; they can be hot-swapped without powering the unit down, and their remaining capacity is always precisely displayed on the Hi-5 screen. Meanwhile, a new Tail Slate Mode prevents the user from stopping recording before capturing a tail slate on shots that need it.
  20. Happy Holidays! - and what Gregory said...
  21. Steven - Did you read the Marketplace FAQ? I'll quote it here: You cannot edit a post more than a few minutes after it has been published (or 24 hours for Sustaining Members).You may amend a post by adding your own reply to the thread.Do not request an administrator or moderator remove your post when your item is sold. Just add a reply to the thread. "SOLD".
  22. I disagree. Take Steve Cardellini's clamp, for example.
  23. LOL. Those are great, Satsuki. Since English is a second language for many who use the site, and sarcasm can often be misinterpreted, I think we should use the simplest, most direct descriptions. Thanks again!
×
×
  • Create New...