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I apologize in advance if this isn't the correct sub-forum for this question, but it didn't seem like it fit into any of the other ones so I put it here. Feel free to change it if it doesn't. Lately, I've been watching all kinds of footage from different camera brands ranging from the most budget friendly film-making cameras all the way up to the premium stuff. And while there is no doubt that we're living in the golden age of cameras (in terms of being accessible to new-comers), at one point I came across a comment where someone mentioned the term "motion cadence" and how high level cameras have that little something that stands out against the budget versions. I never really knew the word for it until he said that term, and I have noticed that it really does add a pleasing motion to the image quality (this is all assuming 24fps 180 shutter, of course). What is the reason for this discrepancy between manufacturers? The only thing I could think of was perhaps the type of shutter being used in digital cameras but that's about it. Thanks

Irvine, CA — Nov. 6, 2017. RED Digital Cinema will be showcasing its new cinematic Full Frame sensor for WEAPON cameras, MONSTRO™ 8K VV, at the 25th Camerimage International Film Festival in Bydgoszcz, Poland, from November 11-18. The MONSTRO 8K VV sensor is an evolutionary step beyond the DRAGON 8K VV sensor with improvements in image quality including dynamic range and shadow detail. A WEAPON with MONSTRO 8K VV sensor offers Full Frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds — up to 300 MB/s. Festival attendees visiting RED’s stand in the Opera Nova Main Foyer will have the opportunity to handle the company’s latest DSMC2® cameras, including WEAPON 8K VV, WEAPON 8K S35 and EPIC-W 8K S35. RED cameras will also be on display at Leica, Cooke, Zeiss, Angeniuex, Hawk and Panavision stands. An official sponsor of Camerimage, RED will also host two seminars at the festival. On Nov. 13, cinematographers Christopher Probst, ASC and Markus Förderer, BVK will discuss “The Future of Digital Formats.” From music videos to feature films and original TV series, Christopher and Markus will share their process for evaluating tools, and approach to choosing a camera and lenses. Attendees will also learn how their progressive filmmaking, combined with the high resolution, large format and flexibility of RED cameras, helped to produce the desired results for their latest endeavors. The seminar will take place at 16:30 in the Miejskie Centrum Kultury (MCK). On Nov. 15, Light Iron Colorist Ian Vertovec and RED’s Dan Duran will discuss RED’s "High Resolution Image Processing Pipeline.” Attendees will learn about the color science behind RED’s Image Processing Pipeline (IPP2), which offers a completely overhauled workflow experience featuring enhancements such as better management of challenging colors, an improved demosaicing algorithm, smoother highlight roll-off, and more. Light Iron will also be featuring modern high resolution workflow, HDR, and its unique color grade used in the Netflix original series, GLOW. The seminar will take place at 16:45 in the Miejskie Centrum Kultury (MCK).

Hi all, I am currently in the process of writing my University dissertation which is a comparative study between L.E.D lighting against traditional lighting fixtures in Hollywood film-making (such as Tungsten Halogen lighting fixtures) and was wondering if anyone could help me answer some questions on the subject. How far a role does colour rendering index play in D.O.P’s choosing Tungsten Halogen lights over L.E.D? With improved sensors able to operate in less light will this be advantageous for less powerful LED lights. Is there still a need in film-making (especially Hollywood film-making) for the bigger lighting fixtures? (e.g lighting fixtures such as the Sunray 24K Fresnel light) Thank you very much for your time.