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
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
To reach a global audience, broadcasters look to the Internet to stream news, sports, music and other events
By Jeffrey Nielsen
If you haven’t had to consider streaming video as part of the high-def production process, you probably will soon. For example, last November, the MTV Europe Music Awards (MTVEMA) sent out over 800,000 live streams of the awards’ red-carpet wraparound show. You’ve probably pasted clips onto a website, but squeezing a video file down... Read more
Organized by the Producers Guild of America and the American Society of Cinematographers, the Camera Assessment Series analyzes top-notch HD cameras
By Simon Wakelin
An unprecedented event occurred a few months ago at the Universal Studios lot in Burbank, Calif. The American Society of Cinematographers (ASC) teamed up with the Producers Guild of America (PGA) to test eight professional cameras, together for the first time, to better understand the benefits of today’s digital camera systems.
"The entire... Read more
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