Audio giants THX and Dolby get into the professional monitor business
By Mel Lambert
It’s often surprising, with the best will and intention, how trusting we can become. Through experience, we take it for granted that the color balance, brightness and contrast levels we see on LCD screens fitted to our digital cameras only vaguely match the scenes being imaged. But it can be critically important to determine during a live shoot and... Read more
A new convertible equipment bag/camera support system
By Todd Sali
Have you ever dreamed of lighter travel and a quicker setup? In an industry first, the new airline carry-on-approved Petrol Cambio offers a unique solution, combining a solid camera/equipment bag and capable tripod. Travel with the essentials securely tucked away in the overhead luggage compartment and avoid baggage claim delays.
Imagine this: Arrive... Read more
As more and more productions go tapeless, have storage drives become the new medium?
By Iain Blair
Storage drives may not be the most exciting, sexy elements in the creative process, but they’re quickly becoming more and more crucial as the end of videotape draws ever so closer with productions essentially now capturing data.
“Storage is the medium now,” says Rob Kobrin, Chief Technology Officer at Integrated Media Technologies,... Read more
HD-DSLR accessories that will elevate your production without breaking your budget
By Clint Milby
Using a traditional still camera for video capture is revolutionary not only because it’s unconventional, but also because the relative low cost of shooting with HD DSLRs allows anyone with a little money to shoot stunning footage. Of course, you can spend a small fortune on expensive gadgets that may or may not elevate your production value;... Read more
On average, professional HD studio monitors used in postproduction can run anywhere from $3,000 to $5,000 on the low end to nearly $20,000 on the high end. With the popularity of laptop editing, which gives filmmakers the opportunity to edit their projects in any environment, Matrox has released a great new product, the MXO2 Mini, which not only can... Read more
Let’s face it, you pretty much have to be a Zen master in focus-pulling to shoot high-def video with an HD DSLR camera. While shooting wide-open on a moving subject, it’s near impossible to maintain sharp focus, especially for daylight exterior shots. The biggest factor is the camera’s monster-sized sensor that gives a shooter razor-thin shallow... Read more
Filter manufacturers offer creative choices for cinematographers to create a multitude of effects
By Debra Kaufman
When cinematographer Daryn Okada, ASC, went to a gathering held by Formatt, a U.K.-based filter manufacturer, and Bogen Imaging, its U.S. distributor, he heard the Formatt Filters factory manager Ann Davis ask for ideas for new filters.
Okada had an idea. He had been using the HD Soft filters, which he called “a well-made, fine softening filter,”... Read more
Tips and tools that will help you create cinematic movies with your new video-DSLR camera
by Neil Matsumoto
In the past year, video-DSLR cameras have turned the HD-video industry on its head with hype not seen since the announcement of the RED ONE back in 2006. So what’s all the buzz about? Simply put, it’s all about the sensor. Because of the video-DSLR’s monster-sized sensor, shooters at all levels can now achieve “film-like”... Read more
A high-speed, big-capacity RAID solution designed for the high demands of video-editing applications
By David Willis
No production crew wants to have to worry about damaged or lost video. From initial capture to final edit, it’s imperative that workflows are failsafe, secure and accessible, and the only way to guarantee that costly reshoots don’t happen is to back up files. The challenge is that video files are big, bulky and difficult to store and transfer,... Read more
Redrock Micro’s new cinema lens adapter, the M2 Encore, enables video shooters to get that elusive 35mm-film look
By Neil Matsumoto
With the cost of film and postproduction services (not to mention gear rental), shooting a feature in 35mm film isn’t feasible for most indie filmmakers. But for the vast majority working in digital cinematography, obtaining that "35mm-film look" is their "Holy Grail." So what defines a 35mm-film look, and how does a shooter... Read more