Larry Thorpe of Canon U.S.A.’s Imaging Technologies & Communications Group, Professional Engineering & Solutions Division has been listening to the company’s camera and lens customers.
“I see three major format sizes dictating most of what is being done with lenses and cameras today: the large-format, Super35, there’s no question that’s very hot. And good old 2/3-inch is rock solid in applications like sports and still a lot of broadcast studios, and some ENG and EFP. And then down in the small format, the 1/3-inch and variants on that, we see it still briskly growing, especially in broadcast news.”
Canon is a player in lenses for all three of the camera types he mentioned, but only makes digital video cameras in the large-format and 1/3-inch sensor arenas.
Canon recently introduced three new DSLRs: the EOS 5DS and EOS 5DS R, which pushed open a new era of still camera resolution with 50 megapixel sensors, and the EOS 7D Mark II, with a host of still photography tools such as the ability to shoot 20-megapixel still photos at 10 frames per second.
“Of course that does not have much bearing on the video capabilities,” said Chuck Westfall, advisor, Canon U.S.A.’s Strategic Research & Development, Future Product & Solution Plan Division, “but we’re seeing that there’s a tremendous level of interest in these cameras as general purpose tools that can do more in terms of high resolution for stills, while maintaining full HD capability.”
Tags: Photo, Photography, NAB, Photo Canon, Assistant, Photographers Assistant, Digital Tech, DIT, Photo Production, Video editing, NLE
Red launched the first mainstream 4K camera when 1080p seemed like overkill, and now that this whole 4K thing might work out, it's got an 8K RAW model. The Weapon 'Vista Vision' features a mind-boggling 8,192 x 4,320, 35-megapixel sensor that can do up to 75 fps, widescreen 8K. The chip is also 40.96 x 21.6mm or Vista Vision-sized, considerably larger than the full-frame sensor on a camera like the Nikon D810. Video can be recorded in RAW and scaled-down ProRes formats simultaneously, just as with the company's 6K Weapon models.
So, how much does it cost to be on par with Peter Jackson and James Cameron? A helluva lot. If we're reading the (rather confusing) pricing correctly, you'll need to order the company's 6K Weapon Woven CF "brain," or bare camera for a cool $49,500, then add another $10,000 for the 8K sensor upgrade. That makes $59,500 by our counting, plus whatever your accessories, storage and lenses cost. The upgrade price is only good until the end of NAB on April 16th, after which time it'll be $20,000. If you already own a Red Scarlet or Epic camera, you can get credits in various amounts towards the Weapon models.
Other specs are still unknown, as is the exact shipping date. Red actually launched its 6K Weapon camera just a few months ago, and it's still not shipping. We're not sure who exactly needs 8K, since there aren't a lot of TVs out there in that format -- but it might look great blown up to IMAX size. Red said the sensor would arrive by the end of the year.;
8K VISTA VISION FORGED WEAPON from RED Digital Cinema on Vimeo.
Tags: RED, 4K, 1080P, Photo, Photography, NAB, Photo Assistant, Photographers Assistant, Digital Tech, DIT, Photo Production, Video editing, NLE
OWC announced the Envoy Pro Mini SSD drive back at CES 2015 but is getting closer to shipping the drives. The Envoy Pro Mini will be available in 120GB, 240GB and 480GB.
Using an USB 3.0 interface, the Envoy Pro Mini can deliver up to 433MB/s transfer speeds. The form factor is pretty incredible given that is slightly larger than the chintzy USB thumb drives. However, the Envoy Pro Mini can be formatted for use as a dedicated external drive.
Pricing will be $119 for the 120GB version and $199 for the 240GB version. Pricing has not yet been announced for the 480GB version but it is likely to be $299.
find them on OWC’s website.
Tags: OWC, Thumb Drive, Flash memory, Photo, Photography, NAB, Photo Assistant, Photographers Assistant, Digital Tech, DIT, Photo Production
CanonRumours.com says that the upcoming Canon EOS 5D Mark IV sensor will employ the same dual-channel readout as the EOS C300 Mark II.
READ MORE HERE.
Tags: Canon, Photo, Photography, Video, Photo Assistant, DIT, Digital Tech
WICHITA, KS APRIL 9, 2015 – Justin McClure Creative has launched Get Your Shit Together, a hub for animators, editors and motion-graphics artists. The website offers industry insight on creating project folder structures, project naming conventions and After Effects project folder scripts.
The site also offers free downloads from Justin McClure Creative and other top professionals in the industry including David Bennett of CMT, Jonathan Winbush of Winbush and Harry Frank from GrayMachine.com. “The way you structure and name your files might just be the biggest tip of the hat that you’re still a rookie,” said McClure.
“It wasn't until I landed a job as a designer/animator at CMT in Nashville that I really learned what it meant to be organized. From naming conventions to folder structures, I learned that everything had a place and a name.”
McClure hopes the site will help freelancers and rookies save time, headaches and possibly that next big gig.
“It takes years to craft your style and technique,” stated McClure. “As designers and animators we have to keep track of many different types of assets, so the last thing you want to do is lose a client because you just didn’t have your shit together.”
Tags: Photo, Photography, Photographer, Photo Assistant, Photoassistant, digital Tech, DIT
Most of Canon’s camera designs are pretty straightforward. But the company has also thrown some interesting and super-weird models into the mix over the years: The tubular 35mm film Autoboy Jet, the submarine-themed PowerShot D10, and the buttonless and belt-buckle-sized PowerShot N among them. But 99 times out of 100, Canon’s design sense skews conservative.
Not this time, and it’s nice to see that Canon can still bring the funk. The new Canon XC10 ($2,500) splits the difference between a camcorder and a camera, although Canon is billing it primarily as a camcorder. The company says the XC10 was built with roving journalists in mind. It captures 4K video and 12-megapixel stills with its mechanical shutter and 1-inch-type sensor—the same size sensor found in Sony’s RX100 cameras and AX100 4K camcorder. This time, that imager is baked into a body that looks like it should be comfortable to use when shooting both stills and video, and that’s a rarity.
Sensor size isn’t the only trait this hybrid video-and-photo machine shares with Sony’s hardware. Its adjustable swiveling handgrip and unique body hearken back to retro jams such as the Sony Cybershot DSC-F828 and its predecessors. The XC10 is a little more advanced, though.
At its highest resolution setting, it captures 3840×2160 video at 30 frames per second. It will also record 1080p clips at up to 60fps, and 720p clips at up to 120fps for those slow-motion sequences. For the Ultra HD video, the camera uses Canon’s proprietary XF-AVC codec, which is also used in its just-announced Cinema EOS C100 Mark II professional camera. Here’s the kicker: That codec supports a bitrate of up to an insane 305Mbps. That should mean absurd detail.
In order to handle all that data per second, the XC100 won’t work with your average SD card to capture 4K video. It uses a CompactFlash-sized CFast 2.0 card—a 64GB SanDisk card and reader is included with the camcorder—although you can use SDHC/SDXC cards for 1080p and 720p recording.
It’s a fixed-lens camcorder, making it sort of a step-down non-interchangeable companion to the CX100 series, and its optics range from 24mm wide angle to 240mm telephoto (10X) with a maximum aperture of F2.8 to F5.6 at the respective ends. Manual focus is adjustable via a control ring around the lens, and there’s a physical mode dial and control wheel on the grip for tweaking manual, shutter-, and aperture-priority controls. An adjustable 3-inch tilting touchscreen around the back lets you tap to focus and access deeper menu selections, and there’s a separately sold clip-on unit to turn that screen into an EVF.
One thing that’s missing for anyone thinking about picking this thing up as an independent-filmmaking tool: There are no XLR mic inputs. There are stereo mics built in, and a hot shoe on the top of the camera for other lower-end mics, but you’ll need a step-up Cinema EOS camera for XLR.
Compared to those higher-end EOS cameras, the $2,500 XC10 seems like a bargain. Just keep in mind that it has a much smaller sensor than a full-frame 4K-capable shooter such as the EOS-1D C. And compared to Sony’s similarly sensored 4K Handycam AX100, it’s a thousand dollars more. Just like it splits the difference between a still camera and a camcorder, the XC100 will also split the difference between a consumer camcorder and a professional-level model when it comes out in June.
Tags: Photo, Photography, NAB, Photo Assistant, Photographers Assistant, Digital Tech, DIT, Photo Production, Video editing, NLE, Canon XC10, 4K, 1080P
Magic Bullet Suite 12 includes the all-new Magic Bullet Film, an easy-to-use effect that gives your footage the real look of motion picture film, thanks to hundreds of feet of 35mm film we shot, processed, scanned, and measured.
This film simulation is also included in Magic Bullet Looks, where we broke it into two separate Tools — one for simulating camera negative stocks, and one for print film stocks. You can use these together, or on their own, and optionally in combination with the other powerful Tools in Looks. Here's how.
Tags: Red Giant, Magic Bullet Looks, Photo, Photography, NAB, Photo Assistant, Photographers Assistant, Digital Tech, DIT, Photo Production, Video editing, NLE
On first blush the XC10 appears to be a mash-up of Canon corporate bits combined and modified in a novel way, yielding a product addressing the gap between Canon’s current lineup and its more innovative competitors in the video space.
Without cannibalizing existing sales.
A tough design brief, but they just may have pulled it off.
The XC10‘s non-interchangeable zoom lens (8.9mm– 89mm, f/2.8 – 5.6 is the full-frame equivalent of 27mm-270mm, f/5.6 – 16.8) will not give anyone shallow depth of field nor real low-light flexibility, even with a top ISO of 20,000. A 12-stop dynamic range is not going to wow anyone expecting a Sony competitor. The rear LCD flips up and down (very much like the Sonys) but not out. And the XC10 shoots UHD, not full 4K.
Read More Here
Tags: Canon XC10, Canon, Photo, Photography, Video, Photo Assistant, DIT, Digital Tech
A nice little article on lighting over at Cenema5D.com
Beyond the camera and lens, the most important technical and creative skill you can have is learning to use and shape light. A good place to start is knowing the tools you have at your disposal.
Read more Here
Tags: Photo, Photography, Photographer, Studio lighting, ARRI, HMI, Fresnel, PAR