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
The Panasonic AG-HMC40 is a compact camcorder that packs a professional punch
By Barry Green
The HMC40 is Panasonic’s latest AVCCAM camcorder, an entry-level professional unit that records in the AVCHD format to regular SDHC memory cards. At a suggested retail price of $2,295 ($1,995 estimated street price), it’s even less expensive than the standard-def Panasonic DVX100B, but it’s jam-packed with features. These include a... Read more
Reminiscent of the technology in Steven Spielberg’s Minority Report, could TAMPER be the new editing interface of the future?
By Dan Brockett
If you attended last year’s Sundance Film Festival, you might have had the opportunity to glimpse at the future of editing. The radical new technology that was on display was in a small booth, presented by a venture-backed developer of a new kind of human/machine interface, Oblong Industries. The promised glimpse of the future was provided by... Read more
In this new era of capturing movies with DSLRs, the Achilles’ heel is definitely sound, with the current crop of video DSLRs all lacking professional sound-recording features. The cameras don’t allow you to manually control sound, nor do they contain XLR inputs for professional microphones. To obtain good sound, many video-DSLR users are... Read more
JVC GY-HM100U and GY-HM700U camcorders capture unique shots for FOX’s 24
By Jeffrey Nielsen
If you were to visit the set of a prime-time network show, you would probably find top-of-the-line digital cinematography cameras or film cameras in use. But some producers and cinematographers find innovative ways to use low-cost equipment, such as on the current season of FOX’s 24, now in production.
The gear in question is JVC’s GY-HM100U... Read more
Production tools that move the camera to help bring the audience into a scene
By Ian Blair
While great literature excels at portraying complex internal thought processes and motives, great cinema always has excelled at capturing the sheer kinetic energy of motion and delighting audiences with car chases, crazy stunts and the restless forward momentum of modern society. And how you move the camera to capture that kinetic energy not only is... Read more
Constellation VCM is poised to take tiered storage techniques to the next level
By Ian Blair
Constellation VCM (Video Content Manager) is the new, innovative integrated storage-management and archive-management system for professional video environments, developed by Media Distributors and SoleraTec, with an end-user interface that offers full search, retrieve and manipulation capabilities for video and project files, without touching the... Read more
New technology enables productions to capture high-def signals wirelessly
By Skip Ferderber
Let’s start with a caveat: This is not, for want of a better phrase, a technology article. Learning about the emerging age of HD wireless transmission primarily is about artistic freedom: to go anywhere, shoot anything in HD and not be encumbered by wires and cables.
A second caveat: This is not about "TV." Now that HD digital video... Read more
Priced-to-purchase lenses join the digital cinema revolution
By Jim Matlosz
Many people will argue that it’s not so much what’s behind the camera, in terms of capture medium or format, but what you put in front of the camera in the way of lenses that matters most. And while this debate rages on the set, fodder for these arguments is being offered annually by those who set the standard for high-quality glass. Motion-picture... Read more
The SI-3D, Silicon Imaging’s stereoscopic camera setup for capturing high-definition 3-D video, is an evolution in 3-D setups. Conventional systems use independent left and right cameras to capture two channels of video.
By The Editors
NOW AVAILABLE IN 3-D
The SI-3D, Silicon Imaging’s stereoscopic camera setup for capturing high-definition 3-D video, is an evolution in 3-D setups. Conventional systems use independent left and right cameras to capture two channels of video. The SI-3D circumvents the elaborate postprocessing involved in correcting alternating color controls, record... Read more
You’d think that the convergence of still and motion photography has always been inevitable. Up until recently, though, even with the proliferation of digital still cameras and digital HD cameras, the lines between still and motion cameras were still drawn in the sand. Other than the relatively low-quality "movie modes" typically seen... 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
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