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Added by Sarv Kreindler--Creative Planet Network, 04/08/14 02:04:52 PM

RED Debuts Redlink Development Kit to Remotely Control Cameras

At NAB Show, RED has debuted its new Redlink Development Kit, a wireless box that attaches to RED cameras and makes them controllable remotely. Megan Geuss of Ars Technica explains, "Using the Development Kit, filmmakers can build their own apps to remotely control features 'including Record Start/Stop, Shutter Speed, White Balance, ISO, and programmable User Keys,' a Red press release said. 'You can also program your custom app to monitor the status of your camera settings.'" The Kit retails for $395. Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 04/08/14 11:04:20 AM

Emmanuel Lubezki Plans to Explore High Dynamic Range for All Future Projects

Emmanuel Lubezki, the Oscar-winning DP of Gravity, has stated that he would like to explore high dynamic range cinematography for all of his future projects. He tells The Hollywood Reporter, "I think every cinematographer will have an interest in high dynamic range, because it’s the way that we want to capture images, so later we can do whatever we want in [digital color grading]. We need all the information that is captured by the camera. That’s something that we don’t have right now. We are living in what I would call ‘the gap.’ We have all these new instruments, and they are fantastic, but they are not really capturing what I was used to capturing with a [film] negative. So if I could capture [and project] that, or more, I would be incredibly excited.” Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 04/08/14 11:04:18 AM

A Snapshot of the Current Digital Camera Industry

David Leitner of Filmmaker Magazine writes his annual NAB Show digital camera roundup, focusing on the current state of the industry as it stands going into the show. He writes, "What do these splashy product introductions mean? Do we need to trade up our cameras? How soon? Are more resolution, bit depth, frame rates, color space even critical to what we do? I offer this year’s camera round-up as a snapshot of where cameras stand as we head into this year’s milepost NAB — and a guide to where I think they, and we, are going." Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 04/08/14 10:04:16 AM

Blackmagic Aims New URSA Cameras at Pro Market

Blackmagic Design is introducing four versions of its new 4K URSA cameras at NAB Show, aiming them at professional broadcasters.

Added by Sarv Kreindler--Creative Planet Network, 04/08/14 10:04:53 AM

See Footage Shot with the New Sony A7S

Sony has released some footage shot with its newly announced a7S camera. Writes Jon Fauer of Film & Digital Times, "Like its siblings, the α7s is a mirrorless camera with a 24x36mm CMOS sensor and E-mount (18mm flange focal depth.) But there are big differences. This camera’s 12.2 megapixel sensor has a sensitivity up to an astonishing ISO 409,600. It shoots stills and UHD4K video: 3840 x 2160–to be recorded to an external device." Watch below and read more here.

Added by Sarv Kreindler--Creative Planet Network, 04/07/14 05:04:06 PM

'Captain America: The Winter Soldier' Shows Solid 3D Returns

The healthy box office returns for 3D showings of Captain America: The Winter's Soldier are a good sign for the format. Writes TheWrap's Brent Lang, "Its record-breaking opening wasn't enough to bring 3D back to its Avatar and Gravity-level highs, but the results do point to a new normal for comic book and special effects films released in the format. Domestically, 3D continues to lack the sizzle it enjoys in foreign markets, where it can generate between 80 to 90 percent of a film's box office, but it would be a mistake to count it out." Read the full story here.  

Added by Sarv Kreindler--Creative Planet Network, 04/06/14 09:04:10 PM

An In-Depth Look at Wes Anderson's Style

Professor of Film Studies at University of Wisconsin-Madison David Bordwell takes an in-depth look at the framing and composition that make Wes Anderson's style unique to him. He says of what he calls a planimetric style, "The key idea is that the people and the setting aren’t observed from an oblique angle; if the background is perpendicular, the people will stand or sit at 90 or 180 degrees to that...Anderson is today the most widely visible example of the style, partly because while others use it sporadically, he is single-minded about it. He has made people shot-conscious (at least when they watch his movies). So after seeing his newest film, I thought it would be fun to think about what distinguishes his approach."

Added by Sarv Kreindler--Creative Planet Network, 04/06/14 07:04:51 PM

HFR and Second Screen discussed at NAB Show's Technology Summit on Cinema

Panelists at NAB Show's Technology Summit on Cinema discussed the future of movie theaters with technology ranging from high frame rate, to IMAX, to second screen. Howard Lukk, VP of production technology at Walt Disney Studios. said, "We’re playing around with everything. We are asking if it will push the story. That is the question we start with. Film is coming to the end of its life. We're going to have high dynamic range, high frame rates … as a filmmaker, just think of the possibilities." Read the full story here on The Hollywood Reporter.

Added by Sarv Kreindler--Creative Planet Network, 04/06/14 07:04:43 PM

DP Chris Manley Talks His Work on 'Mad Men'

In the latest Go Creative podcast, Ben Consoli talks to Mad Men director of photography Chris Manley about his work on the hit show and his career shooting for the likes of Revenge, Homeland and more. Listen to it here.

Added by Sarv Kreindler--Creative Planet Network, 04/03/14 03:04:36 PM

Hands-On with the ARRI Amira

Cinematographer Justin Aguirre writes about his experience getting hands-on with the new ARRI Amira.