The diminutive Micro Studio Camera 4K houses innovative built-in features that make it especially appealing to live productions
By David Willis
Designed as an affordable multiple-setup camera that also offers large-sensor, cinematic capture with live production capabilities, the Micro Studio Camera 4K (MSC4K) from Blackmagic Design is an extremely versatile tool given its size, housing myriad options for reality television, sporting events, live performances, comedy stand-up, educational... Read more
With groundbreaking new cameras, ARRI looks to dominate all sectors of the high-end production industry
By Neil Matsumoto
Along with Panavision, ARRI has been the gold standard in the production industry for decades, but the Munich-based company has had a much smoother transition to the digital age than their American rival. ARRI released the Arriflex D-20/21 in 2005, and although it wasn’t an immediate success, cinematographers appreciated that ARRI listened to... Read more
VR has arrived, and with it, a new type of filmmaker capable of engaging viewers more deeply with content than ever before
By Robert Powell
Virtual Reality (VR), the next great frontier for film and entertainment, is no longer in a phase of incubation, but rather in its last throes of anonymity. For those unfamiliar with this technology, VR involves wearing a headset that covers your entire field of vision with a screen to envelop the user with dynamic imagery and sound.
You may recall... Read more
Featuring a Micro Four Thirds sensor with an integrated 13x Leica Dicomar zoom lens, Panasonic has announced the affordable and highly anticipated AG-DVX200PJ.
By The Editors
With an 8.4-megapixel Super 35-sized CMOS sensor and a Sony E-mount for use with an extensive lineup of compact and interchangeable Sony and Zeiss lenses, the Sony PXW-FS5 XDCAM offers UHD at 24/30 fps, as well as HD at up to 240 fps. The form factor makes it an ideal choice for handholding, while internals provide cinematic features... Read more
Although you can capture high-quality images, DSLRs and compact mirrorless cameras were never designed to capture high-quality sound. Their built-in microphones are pretty useless except for capturing scratch audio for dual-system sound. Also, the cameras lack XLR inputs for use with professional mics and their preamps are pretty rudimentary. Since... Read more
With three-axis lens control and a lens data display, the WCU-4 is an impressive remote system in an ergonomic housing
By Jim Matlosz
Designed to work seamlessly with the ARRI ALEXA line of cameras—the Plus, Plus 4:3, XT/SXT Plus, Studio, XT/SXT Studio, 65 and Mini—ARRI’s Wireless Compact Unit WCU-4 is a lightweight, handheld, remote-control system for lenses. No motor controller or extra power is required to use the WCU-4, as each camera possesses its own onboard wireless... Read more
A decade ago, no one was talking about the problems of lighting for digital because traditional Tungsten and HMI lights were dominating the market.
By Lisette Rose
A decade ago, no one was talking about the problems of lighting for digital because traditional Tungsten and HMI lights were dominating the market. What a difference a few years can make. Although Tungsten and HMIs are still popular with cinematographers, a new generation of LEDs has flooded the marketplace, as well as sets. Lighting equipment has quickly... Read more
New Headphone:X technology from DTS, Inc., delivers high-quality surround sound to almost any set of headphones
By Dan Brockett
For content creators and producers, the ability to bring theatrical-quality sound to almost any platform—especially mobile content through headphones—opens up new potential markets for high-quality soundtracks in any playback medium. DTS, Inc., based in Southern California, recently invited me to experience a new technology called Headphone:X. The... Read more
This lens system from Vantage offers contrast, flare and other old-school “flaws” reminiscent of 1970s cinema built with state-of-the-art Hawk mechanics
By Jim Matlosz
Digital sensors continue to improve in quality of image capture, allowing filmmakers to push their creativity and experiment with a variety of specific looks. Yet, as lens manufacturers continue to reach new heights in lens quality, cinematographers are often found degrading new lenses, applying techniques and know-how to "take the edge... Read more
ARRI PL-mount Anamorphic Ultra Wide Zoom 19-36/T4.2 incorporates a telecentric optical design for highly uniform field illumination from the center through the corners of the image, even at the minimum object distance.
By The Editors
ULTRAWIDE ANAMORPHIC LENS
Offered as a complement to ARRI’s line of Master Anamorphic prime lenses, the ARRI PL-mount Anamorphic Ultra Wide Zoom 19-36/T4.2 incorporates a telecentric optical design for highly uniform field illumination from the center through the corners of the image, even at the minimum object distance. Anamorphic elements... Read more
Hands on review of the new Samsung NX500 – a compact mirrorless camera system that captures 4K and UHD
By Neil Matsumoto
Although a relatively new player to the world of interchangeable lens cameras, Samsung has made waves in the professional photography world, especially with their NX1 – a powerhouse mirrorless camera that contains a Super 35mm sized, 28-megapixel CMOS sensor, a high-speed DRIMe V image processor, and records 4K and UHD video in camera. With a price... Read more
The state of camera drones for film and television production
By Dan Brockett
2015 is destined to go down in history books as the year of the drone. A quick scan of the floor at NAB revealed new, lower-cost, more advanced drone technology everywhere. As a producer, director or cinematographer, you may have merely a passing interest in drones, but your projects in the future undoubtedly will utilize them to capture shots that... Read more
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