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Found 86 results

  1. At the forthcoming BSC expo in London, Carey Duffy of Tiffen UK will screen the Tiffen 4K Diffusion tests I shot for them late last year. The tests consisted of a series of simple comparisons between every brand of Diffusion filter Tiffen currently offer and serve as an excellent reference. Designed in conjunction with Steven Poster ASC the test is a simple, but very effective, starting point for a Cinematographer to compare the effect of Tiffens range of Diffusion filters before selecting specific filters to test under their own lighting conditions. We wanted to keep as many of the parameters as simple and unbiased as possible. The light is soft but not too soft to allow us to see the effect of the filter. The half light allows us to judge contrast changes, the backlight and bare bulb allow us to see blooming. Similarly the Primo primes were chosen because I felt they were a). familiar to most Cinematographers worldwide and B). sat somewhere between Master Primes and Cooke S4's in terms of sharpnes and contrast and therefore would be a better lens to showcase the effect of the filter. Shot on a Panavisied Sony F55 in 4K the tests will be presented in 4K at events around the world over the coming months. I believe the idea is that eventually Panavision and Technicolor, who co-sponsored the tests, will have copies of the 4K DCP as reference for projection in facilites around the world, so speak to your local Panavision/Technicolor rep for details, or contact Tiffen directly. For my tastes the current generation of 4K+ cameras are just too sharp, especially when projected at 4K, so for me I cant see myself shooting without some form of filtration either infront of, or behind, the lens, especially if I think the project will be projecting in 4K. I also think a lot of the diffusion filters give the image some texture, something I find lacking in most digital images. It'll be interesting to see how many people feel the same way and perhaps we'll see a resurgence in the use of Diffusion over the coming years. Regardless, these tests should still be a very useful reference for us over the next few years so keep an eye out for them. There's a few BTS images and brief video here along with a few other notes on the tests http://stephenmurphydop.blogspot.co.uk/2014/01/notes-on-tiffen-4k-diffusion-tests.html
  2. I have developed a new HD Plug-n-Play Pkg. that enables the paralleling of two Honda EU6500 inverter generators to generate 100 Amps of power. A complete system consists of two modified Honda EU6500s, a Paralleling Control Box, and one of our Transformer/Distros (either 60- or 84- Amp.) Parallel operation of two Honda EU6500 generators made possible by our new Paralleling Control Box) The generators require modification to interface with our standard Paralleling Control Box, which syncs the frequency and equalizes the load between the generators. Our proprietary paralleling control circuitry uses the Pulse Width Modulation (PWM) of the generator's inverters to control the load sharing. The phase angles of the two generators are synchronized using open loop architecture. The final function of our control box is to switch the outputs of the inverters to a common bus after their frequencies are locked in step (same phase angle and time base.) 
(As demonstrated here, our new HD Plug-n-Play Paralleling System can power a 6K HMI as well as 2-2k and 2-1k Fresnels) To provide power that is readily accessible in industry standard outlets, our Paralleling Control Box is outfitted with both a 240V Bates receptacle, as well as a "Hollywood Style" 240V Twist-lock receptacle. The 240V Bates pocket is there to power larger HMIs than has ever been possible before on Hondas (4k - 9k ARRIMAXs.) The "Hollywood Style" 240V Twist-lock receptacle is there to supply power to either our 60- or 84- Amp Transformer/Distro. The Transformer/Distro serves several important functions in this system that enables two EU6500s to be paralleled (use this link for details), but its' primary function is to step-down the combined 240V output of the two generators into a single large 120V circuit (either 60- or 84- Amps) that is capable of powering more small lights, larger 120V lights (5-10k Quartz) than has ever been possible before on portable Hondas. Each of our Transformer/Distros is likewise outfitted with an industry standard 120V Bates receptacle so that you can use standard distro equipment, like Bates Siameses, Extensions, and Break-Out boxes to distribute power around your set, breaking out to U-Ground Edison Outlets where ever needed. Our 60A Transformer/Distro provides 120V power to smaller lights while a 6K HMI operates at 240V) 
 An added benefit to using a Transformer/Distro to distribute the combined power of the two generators is that, no matter where you plug into the Transformer/Distro on its' secondary side, it automatically balances the load on the generator's two legs (which is critical for successful paralleling of two machines – use this link for details.) This feature also makes electrical distribution on set incredibly simple: you just plug in lights until one of the generator's load indicators reads 6000 Watts and the Transformer/Distro does the rest. But, the most important benefit to be gained by using a Transformer/Distro, the one that makes it possible to parallel two EU6500s in the first place, is that it isolates the generators from high neutral return currents that can lead to dangerous neutral “cross-current” between the two generators that can overheat their inverters (use this link for more details.) By reducing the dangerous neutral “cross-current” created by two generators operating in parallel, our Transformer/Distros make it possible to operate more lights, or larger lights, on portable Hondas than has ever been possible before. Given the high sensitivity of HD camera systems these days, just about all the light you will need to obtain good production values can now be operated on our new HD Plug-n-Play Pkg. (use this link for more details.) Contact me if you want to retro-fit your Honda EU6500 for parallel operation without modification. Guy Holt, Gaffer, ScreenLight & Grip, Lighting Rental & Sales in Boston
  3. Hi There, I would like to share with you my first job as a DOP. This was a short film for the BFI 48hours SCI FI Challenge. We where given a title, an action and a line of dialogue on Saturday morning around 11am and had 48 hours to finish. The film was filmed, edited, scripted and finished in 48 hours. This short was filmed using a Blackmagic Production 4K Camera with 13 Prime Canon EF lenses ranging from 8mm to 300mm. Let me know your thoughts... Enjoy it.
  4. 2 more cameras from Blackmagic! The Blackmagic Studio HD and The Blackmagic Studio 4K cameras: Heres my article on it here: http://www.redsharknews.com/production/item/1594-blackmagic-release-studio-cameras Freya
  5. Hey friends, I have been working on this film for the last year, shooting all in 4K (Via Red Epic or time lapses from a Canon MKIII processed into 4k standard 3840x2160) Please take a look and let me know what you think: Watch in 4K Would love to hear your feedback. If you dig this project help us finish it by sharing this link: https://www.kickstarter.com/projects/1503578410/secrets-of-the-west-a-4k-adventure Thanks all!! -James
  6. Hi everyone! I'd like to ask what you think about the following, If you were to shoot a multicam television show in 4K to future proof it for the coming UHD technology and broadcast specs.... what would you shoot it with? I was looking at the pros and cons of renting either RED Epic, RED Scarlet, Sony F55 CineAlta, and the Panasonic 4K Varicam. How would you keep cost low as possible while maintaining a smooth workflow for a 3 unit camera setup? And what would you do differently for a talk show as opposed to a reality show? For a talk show, I've been told 60fps in HD is the normal recording format to give a live feel, I was under the impression that was the case only because many television cameras captured frames interlaces and not progressive? So considering most of these 4K cameras (I think) capture progressive, would 60fps still be needed? And to wrap this up with a final question, how would you both stream each of the 3 4K feeds to a switch as well as record all 3 stream individually? While keeping costs as low as possible. Sorry for all the questions, it's just it's a new frontier and I haven't found a whole lot published about this.
  7. I received a loaner BMPC 4K for the weekend and did a few test shots. It's an interesting machine, not without faults, but quite wonderful if you keep it in its sweet-spot (which is anything under ISO 800) http://www.adammyhill.com/blackmagic-production-camera-4k-thats-what-they-call-it/
  8. http://www.youtube.com/watch?v=vn6b1xeI9wU&list=PLvfmoEMI4m_8xgDQ1GesmEJ0Dt_EMkNv_&index=1 This music video was shot late 2013 in Sydney Australia. Shot on RED epic at 120fps, 4K. We shot in a 4m dive pool and blacked out the sides as well as shooting at night. Enjoy! Feedback welcome! The Year of our War "Nocturne" www.theyearofourwar.com Director Stuart Edgeworth www.chuckedgeworth.com DOP Jon Shaw www.ginclearfilm.com www.soundcloud.com/theyearofourwar www.bandcamp.com/theyearofourwar
  9. Canon's 30-Inch 10-Bit IPS LCD Display Features a 16:10 Aspect Ratio, 4096 x 2560 Resolution Full RGB-Array Scanning, and a Backlit Panel to Deliver Precision Color and DCI Standards Compatibility MELVILLE, N.Y., November 6, 2013 – As motion picture, television and commercial production continues to transition to ever-higher resolution digital video and CGI (computer graphic imaging) formats, color-grading and postproduction professionals increasingly rely on reference displays with exceptional detail, color and gradation accuracy. Developed in response to this trend is the new DP-V3010 4K Reference Display from Canon U.S.A., Inc., a leader in digital imaging solutions. The Canon DP-V3010 4K Reference Display measures 30 inches wide diagonally by 7.4 inches deep to help minimize space requirements and provides a 2000:1 DCI-compliant contrast ratio, uniform brightness, very wide viewing angles in all four directions, internal color calibration and additional advanced features. Designed for use in color-grading, digital intermediate (DI), CGI/animation/visual effects (VFX), and editing/finishing suites, as well as digital imaging technician (DIT) workstations on production stages and on-location "video villages," the Canon DP-V3010 4K Reference Display provides full-screen 4096 x 2560 resolution with extremely high levels of color accuracy and fidelity. "We are proud to continue the Canon tradition of providing our customers with complete solution technologies, providing them the option to work within a Canon ecosystem from input through output, and maintain the quality and reliability of our brand," noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. "These displays are the result of the enthusiastic response we received to the Canon Cinema EOS System of cameras and lenses, and we look forward to continuing to demonstrate our commitment to these markets with outstanding technology, quality and reliability to help creative professionals deliver and tell the stories as they envision them." The DP-V3010 4K Reference Display features a 16:10 aspect ratio for the display of video signal information essential to VFX creation. With a tightly packed "pixel pitch" of 157.5æm, the Canon DP-V3010 4K Display provides high-accuracy tonal gradations between darkest and brightest areas, with 1024 shades in each color channel. The technology enabling such performance is a new and proprietary display engine developed by Canon that helps maximize color accuracy and brightness uniformity. The actual panel employed by the DP-V3010 4K Display is an IPS (in-plane switching) LCD with full array RGB LED scanning backlight technology that delivers excellent color accuracy, and crisp video imagery without the perception of motion blurring between frames. By featuring an IPS LCD panel with polarizing and filtering film layers to prevent changes in color and contrast, the DP-V3010 4K Reference Display enables image viewing within a wide viewing angle, top to bottom and left to right. Industry Compatibility The Canon DP-V3010 4K Reference Display is compatible with the five major color gamut standards - SMPTE-C, EBU, ITU-R BT.709, DCI, and AdobeRGB - as well as conforming to DCI standards for 4K display. These DCI standards include a 2000:1 contrast ratio, which the DP-V3010 4K Reference Display evidences in its faithful reproduction of detail in the shadows and accurate highlights. This high contrast accuracy is essential for critical assessment and mastering of high dynamic range cinematic imagery. Also supported by the Canon DP-V3010 4K Reference Display is the ASC CDL (American Society of Cinematographers Color Decision List) format. The display controller provided with the DP-V3010 4K Display includes a dedicated CDL button. Color settings made at the shooting location can be stored on a USB flash drive and imported into the user's color-grading system, which can then relay color correction parameters directly to the DP-V3010 4K Display in the ASC CDL format using slope, offset, power, and saturation parameter adjustments to the overall RGB image and/or separately to the individual R, G, and B channels. The importation of LUT (Look Up Table) data created by third-party color-grading systems is also supported by the DP-V3010 4K Reference Display. The Display allows both 1D and 3D LUTs to be easily imported by operating the menus of the unit itself. This enables accurate color matching between displays and the ability to import customized "looks" created in third-party applications. In this way, the unique colors and gradations intended by producers can be easily reproduced. Ready to support the wide dynamic range of Canon Log gamma video data recorded by the popular Canon EOS C500 and EOS C300 Cinema cameras, the Canon DP-V3010 4K Reference Display also comes pre-installed with the Cinema EOS Canon Log viewing LUT allowing those cameras to be integrated with the DP-V3010 4K Display for linear conversion and display in real time. Furthermore, using 1D/3D-LUT data, the display will be able to provide support for ACESproxy output from Canon's EOS C500 digital cinema camera. A wide variety of the full HD video production format resolutions, typically used for TV dramas, commercials and other TV content, can also easily be displayed by the new Canon DP-V3010 4K Reference Display. To accommodate HD formats, the DP-V3010 Display offers upscaling modes offering smooth and accurate rendering up to 4K resolution of DCI 4K (in up to 12 bit 4:4:4 color), 2K, 1080p, 1080i and 720p. Inputs include 3G-SDI, HD-SDI and DisplayPort connectors for compatibility within many different production, post and VFX workflow environments. Calibration and Convenience Each Canon DP-V3010 4K Reference Display undergoes high-precision calibration before shipment to help ensure high color uniformity between all units. Color accuracy is further improved by the Canon DP-V3010 4K Display's control system, which continuously monitors internal conditions of the display which might affect color, uniformity and performance accuracy, like heat or aging of internal components and make corrections to help ensure long-term image stability and exceptional color consistency. External calibration of the Canon DP-V3010 4K Reference Display can be performed without the need for a dedicated PC application through the use of a third-party spectroradiometer. Use of such an external sensor allows users of the DP-V3010 Display to maintain factory calibration settings as well as help adjustment for specific display applications or account for variations in ambient lighting. The DP-V3010 Display features an easy-to-navigate on-screen display that can be controlled using the included display controller. Built-in carrying handles allow the display to be easily transported and positioned on top of a desk or a counter, or attached to a VESA-compliant bracket for easy wall or rack mounting. The accompanying display controller is designed to be used as both a desktop control device or to be rack-mounted for easy integration into suites, control rooms or mobile vehicle applications, such as HD sports production trucks. Markers, time code display and test patterns are provided within the Canon DP-V3010 4K Reference Display. A variety of markers (aspect, safety zone, grid, and center) and test patterns (pluge, grayscale [20%], white, five-step, ramp, color bars, and black) are also built into the DP-V3010 Display. The Canon DP-V3010 4K Reference Display is scheduled to be available in the first quarter of 2014 for a suggested list price of $40,000. For more information about this update, please visit the Canon U.S.A. website at http://usa.canon.com/cusa/professional/products/reference_displays/dp_v3010.
  10. Company to Showcase New Offerings and Equipment Sales at Cine Gear Expo Bexel Cine Gear Expo Booth # 98C (BURBANK, CA) - Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, has expanded its selection of camera solutions with the purchase of four Sony F55 cameras, a compatible selection of PL-mount Fujinon Cabrio Lenses, as well as 10 Canon EOS C300 cameras. The new camera packages will be on display at Cine Gear Expo (Booth #98C), which runs May 31 through June 1 in Los Angeles. "The investment in these acquisition formats expands the broad base of Bexel's available camera packages, and ramps up our turnkey solutions featuring leading products from the chief manufacturers in the industry," says Bexel CTO Tom Dickinson. "We have been following the market quite closely, as we always do at Bexel, and know that this is the right time to jump into an extended offering that includes a series of PL-mount cameras." The Sony F55 cameras will play a crucial role in Bexel's new 4K solutions, and their capabilities for providing camera packages that augment any major sporting event or live production, while also providing clients with an outstanding HD source for various broadcast television projects and other high-end programs. Bexel will offer a full suite of accessories with the camera, including the AXS-R5 RAW recorder, which enables incredibly precise 16-bit linear RAW in both 2K and 4K. To complement their new Sony F55 cameras, Bexel has acquired eight Fujinon PL 19-90mm Cabrio lenses (ZK4.7x19) and PL 85-300mm Cabrio lenses (ZK3.5x85). These premier PL-mount lenses provide a film-like look, and are easily scalable to enable full 4K production. The Cabrio lenses feature a detachable servo drive unit, making it suitable for use as a standard PL lens or an ENG-style lens. Bexel anticipates that the ability to extract sharp, crisp, high-resolution 4K images from a zoom will be especially desirable for live sports broadcasts. The Canon EOS C300 with the EF-mount provides users with the ability to give a project a variety of looks, as it delivers an effective and cost efficient cinema-style look that is ideal for reality programming, field acquisition, and the enhancing of high-end video production. The Canon's Super 35mm CMOS Sensor, DIGIC DV III Image Processor and XF Codec augment reality show productions at a very cost effective price point. Dickinson adds, "We're very pleased to be expanding the range of our camera lines. The Sony F55 is going to give our clients great shots that look like film, and the ability to be more creative. And on the 4K side of the spectrum, particularly when paired with the Fujinon PL Cabrio lenses, the F55 provides a larger image for 4K production. We also have a whole range of customers who will benefit from the flexibility and affordability the EF-mount Canon EOS C300s offer in augmenting a variety of video productions." Also at Cine Gear, Bexel's Technical Sales & Solutions division (Bexel TSS) will be promoting its portfolio of new and pre-owned gear. Bexel TSS is the leading dealer of professional broadcast equipment sales, boasting a multi-million dollar standing inventory of the latest audio, video and fiber equipment. Bexel TSS recently became a premier reseller of DiGiCo's broadcast digital audio consoles, and will showcasing the DiGiCo SD 11 at the booth. The company is planning a summer sale at its Burbank headquarters on June 7. Expo attendees can preview a selection of gear that will be available for purchase, as well as inquire about other equipment sales and rental needs. "Having everything under one roof makes Bexel the go-to resource for rentals and sales," notes Joyce Bente, director of sales for Bexel TSS. "We are thrilled to be able to provide more resources to our customers, including increased support and the ability to leverage all our products to meet their demands." About Bexel Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers - including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow Bexel on Facebook (https://www.facebook.com/BexelBroadcast) and Twitter (@Bexel). About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. # # # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254 / sally@ignite.bz
  11. Ok, somebody needs talk to me about this. An open source 4k cinema camera. I believe they'll be releasing the plans this summer, and perhaps selling prototypes. http://axiom.apertus.org/index.php?site=alpha I've been wondering when the open source hardware movement would find its way to the camera world. I'd be amazed if this project didn't flop (the beta version they want to sell via kickstarter seems more like an interesting paperweight than a working camera), but man, I would love to beta test. Perhaps someone else will pick up where this group leaves off. So. The topic is, will you someday be building your production camera out of off the shelf parts, like a PC? My position: it will be possible, but it'll be more of a hobbyist pursuit, and the heir to Epic, Alexa, etc will have features the home builders still can't touch. Perhaps there will be a few models developed (like Redhat Linux) that are more widely adopted in professional applications. The first professional cinematographers had to build their own cameras, y'know...
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