Monday, April 02, 2012
LED Light Tests: PRG Sponsors an LED Light Shootout
Art Adams | 04/02- 03:44 PM
A dozen lights, an Arri Alexa, an intrepid crew… what could go wrong? Lots, which is why we had to work extra hard. Tests are never easy, and comparison tests are among the hardest of all.
“LED Light Shootout” sounds so dramatic, as if a collection of motley illuminants met in a dusty western town to settle their differences with bullets instead of marketing. It’s actually tedious, mind numbing work… and a real eyeopener.
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Friday, March 30, 2012
CANON C300: Trimming White Balance, Plus a Look at Daylight vs. Tungsten Color
Art Adams | 03/30- 08:14 AM
Cameras used to be SOOOO boring. Now every new camera is a mystery to be unfolded: What does it do well? What tweaks can make it better? Here is my first C300 article that addresses these questions…
I’ve shot a lot of web and broadcast spots on the Canon 5D and while it makes pretty pictures the controls are very limited. It’s also not a camera that can be used quickly. At the moment the Canon C300 is a bit of a mystery to me: before my recent tests I didn’t know whether it’s a 5D with more controls and a cinematographer-friendly form factor or if it’s something more. My initial conclusion: it’s more. A lot more. In my next few articles I’m going to take a peek inside the machinery and see what I can find. With the help of charts from DSC Labs I hope to shed some light on the inner workings of the C300 and try to figure out what its niche is.
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Wednesday, March 28, 2012
CAMERAS: Now It’s Rocket Science
Art Adams | 03/28- 10:32 AM
It used to be so simple: pick a film stock, pick a lens, shoot images, process and print, repeat. It wasn’t rocket science. Now, though… it’s rocket science.
Not so long ago the toughest choice we had to make was which film stock to use. It was possible to learn one or two stocks really, really well and use them predictably over the course of many years. Now a game-changing camera comes out every year, introducing us to new strengths and weakness. Not so long ago cinematography wasn’t rocket science. Now… it is.
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Tuesday, March 27, 2012
The Masters of Compositing Series - Part 2: Paul Vlahos
Jeff Foster | 03/27- 12:56 PM
Co-founder of Ultimatte and developer of modern compositing technologies.
This is the second in a series of interviews with the pioneers and masters in the compositing/VFX film & television industry. I originally recorded these interviews for my published book “The Green Screen Handbook” (Sybex/Wiley, pub) and had intended to produce one full-length documentary from the materials. But after a couple of years past now, I thought they would be better served as individual parts of a series to help educate and inform people about these historic times from the early days of VFX compositing through modern-day techniques.
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Monday, March 26, 2012
Lights, Camera, Kids: Shooting a Childish Spot for T-Mobile on the Canon 5D
Art Adams | 03/26- 06:37 PM
“Just for the web” is no reason to skimp on a project’s look. A few simple tricks made this web spot shine.
A web spot may be seen by more people than a broadcast spot, so making it pretty is more important than ever. In this case, simple but elegant lighting and custom gamma curves made this spot shine. (And when shooting kids, “simple” becomes very important.)
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Sunday, March 25, 2012
Quick Look: Sony PVM-740 OLED Display
Adam Wilt | 03/25- 01:46 PM
A small field monitor… that doubles as a reference display?

OLED—Organic LED—is said to be the display technology of the future… and it’s here today. The PVM-740 is the smallest of Sony’s trio of professional-series OLED displays, and Sony lent me one for a while when I was testing the NEX-FS100.
It’s nice. I mean, it’s really nice. Perfect? Well, not quite, but darned close; let’s just say I’ve reset my expectations when it comes to reference displays.
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Saturday, March 17, 2012
REVIEW: Blackmagic ATEM 1 M/E Video Switcher
Bruce A Johnson | 03/17- 06:52 PM
Dollars To Donuts: Through The Roof
I’ve been working in TV stations for over 30 years now. I can trace one of the primary reasons I made this career choice back to a basic fact of my DNA:
I love buttons.
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Monday, March 12, 2012
Why an iPad is like a 4x5 view camera, and why you’ll need a black “focusing cloth”
Allan Tépper | 03/12- 01:36 PM
In case you hadn’t heard yet: Apple has just established the iPad (2012) as a viable HD video camera (among many other things). Back in the days when still photography was done with 4x5 view cameras, photographers used something called a “focusing cloth”… defined by Merriam-Webster as: “an opaque dark cloth used to cover the rear of the camera and the head and shoulders of the photographer in order to exclude most of the light except that coming through the lens”. In the case of still photography with a 4x5 view camera, it was primarily to help the photographer focus. In the case of the ultra-glossy iPad screen when used outdoors to shoot HD video, you’ll need it even to see the screen properly, in order to compose and assign the subject for autofocus and exposure… and even to start and stop the recording. In this article, I’ll cover what an iPad has in common with a 4x5 view camera, show a iPad tripod mount, a “focusing cloth”… and make a request to FiLMIC PRO, Hoodman USA and Zacuto.
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