Posted By Neil Matsumoto
With Sony‘s announcement of the new NEX-FS700U, 1920 x 1080 capture is now officially over! Well, not quite. Everyone is predicting that NAB 2012 will officially launch mainstream 4K solutions and this announcement definitely kicks off the “4K for the masses” movement. We already have a number of cameras on the high-end of production (Sony
Posted By Neil Matsumoto
At last year’s NAB, I got a chance to check out Assimilate’s Scratch Lab, an innovative software tool that allows a DIT or video engineer to be able to create professional production dailies for review. It combines a fast review process, shot, timecode, and LUT metadata, audio sync and fast background rendering – all in one
Posted By Neil Matsumoto
As most of you know, the Canon C300 is the most talked about camera on the market. With the announcement of the Cinema EOS system, Canon is going ‘all-in’ on the high-end digital production game, especially with the C300 camera and the new Cinema EOS professional PL- and EF-mount lenses. The C300 is now on
Posted By Neil Matsumoto
In a landmark year for production and post-production gear, 2011 will most likely be remembered for the tragic events in Northern Japan. Although minor compared to the devastation and loss of life, all the major camera manufacturers (Sony, Canon, Panasonic, etc.) were greatly affected by the disaster leaving factories badly damaged, which disrupted production and
Tags: adobe cs5.5, angenieux optimo 45-120, arri alexa, canon c300, convergent design gemini 4:4:4, iphone 4s, red epic, red scarlet-x, sony f3, sony f65, technicolor cinestyle, thunderbolt, zacuto z-finder evf pro
Posted By Neil Matsumoto
Since you’re reading this online, you’re probably well aware of the sorry state of print newspapers. Going along with this trend, The New York Times is coming up with creative ways to add eyeballs to its website by offering content you just can’t get from print. Just in time for awards season, The New York
Posted By Neil Matsumoto
Right before its launch at IBC in Amsterdam this weekend, Sony Electronics debuted its new flagship CineAlta high-def camera – the F65. Just on specs alone, the camera will set a new standard for high-end digital cinema camera systems. The F65 delivers true 4K resolution at 4025 x 2160 and can output 16-bit Linear RAW
Posted By Neil Matsumoto
Band Pro Film & Digital, renowned pioneers of digital cinematography equipment including the ultra-high resolution Leica Summilux-C PL mount lenses, and RED Digital Cinema, groundbreaking developers of RED cameras including the RED EPIC, announce a joint sales and marketing agreement that provides RED EPIC and Leica Summilux-C™ lens packages for sale. Under the arrangement, Band
Posted By Neil Matsumoto
Happy New Year! 2010 will go down as a landmark year for further leveling the playing field between studio and independent filmmakers. Like in ’09, 2010 was again dominated by HD DSLRs. Although the Canon 5D Mark II made its debut back in ’08, it still continues to transform the production industry in new and
Tags: adobe cs5, canon 5d mark ii, idc system zero, leica summilux c, litepanels sola6, matrox mxo2, panasonic ag-3da1, panasonic ag-af100, red epic, singular software pluraleyes, sony pmw-f3, sony srw-9000pl, zeiss cp.2 lenses
Posted By Neil Matsumoto
The news is spreading on the blogs like wildfire so if you haven’t heard, RED’s Jim Jannard just announced that director Peter Jackson (The Lord of the Rings) will be using 30 RED EPICs (holy cow!) to shoot two film adaptations of J. R. R. Tolkien’s The Hobbit. The films will also be shot in
