Traipsing around Manhattan over the course of two days, H. Paul Moon shot the below video handheld with the Blackmagic Pocket Cinema Camera and a single Panasonic 12-35mm lens. He edited and color corrected his footage in Adobe Premiere Pro CC, adding a Kodak color stock look to it via FilmConvert Pro 2 to, as he puts it, add "vintage Super 16mm film grain to match the feel -- and the actual size -- of the BMPC's digital sensor."
Says Moon about his experiences with the camera, "The BMPC concept has a long way to go; it doesn't live up to its promises in terms of dealing with highlights (those dreaded white orbs), its batteries last a New York minute, and its interface is wonky, but I'm excited by the latitude that it buys me for image corrections in post, given its portable form factor which really suits my working style."
The Video Edge Live! summit is a new, engaging conference program designed for professionals who produce and deliver online video for media and entertainment, enterprise, educational, and government applications. The interactive, informative event consists of four panel discussions, each featuring a combination of end users, industry experts and manufacturers.
Video Edge Live takes place on Wednesday, September 25th as part of DV Expo.
Panel topics include:
Real-World, Real-Time Production
Vivid sunsets, crystal blue waters, rainbows over waterfalls and a thriving city are all a part of Joe Capra's stunning time-lapse of Rio de Janeiro. The footage was shot on a Canon 5D Mark II, 5D Mark III and a PhaseOne IQ180 and is a mix of both 4K and (a whopping)10K. It was shot over the course of five weeks while Capra was out on assignment.
Watch below. (via Huffington Post)
Turn your old iPhone into a motion-detecting, streaming camera with free app Presence.
Write Zagg, "People Power, the company behind the app, sees the app as a great way of re-using old iOS devices. For example, if you just upgraded to an iPhone 5, use your old iPhone 4 as a security camera."
Read more here.
Sony has unveiled a beta version of its new Camera Remote API which will allow third party developers to create smartphone and iPad apps that will act as a remote for many of its cameras including the Action-Cam HDR-AS30, NEX-6 and more.
Writes Engadget, "This is definitely good news for current and future owners of any of the aforementioned, since the new API can certainly add much more value to Sony's cameras via the third-party app creations that are born from it."
Read the full story here.
Blackmagic Design has announced that Nashville’s WSMV-TV is using Blackmagic Cinema Camera to shoot promotions and PSAs for the station’s news broadcasts. The station also is using DaVinci Resolve for color correction.
Brian Hallett, creative services senior producer and writer at the station, chose Blackmagic Cinema Camera for its high resolution 2.5K sensor, 13 stops of dynamic range and CinemaDNG RAW and Avid DNxHD codecs, as well as its affordable cost.
Definition Magazine reviews the new Blackmagic Pocket Cinema Camera writing, "Just like the Blackmagic Cinema Camera, the Pocket Cinema Camera is in a class of its own – particularly given the price, about £665 plus VAT – so it’s hard to compare it to other cameras. Probably the closest would be the Panasonic Lumix DMC-GH3 – a DSLR with the same lens mount and a decent(ish) CODEC. Results straight out of the GH3 are fantastic, but the Pocket Cinema Camera can be better, carefully used, and the GH3 is more expensive (though, of course, it takes stills too).
In July, Sony introduced the Anycast Touch AWS-750 live content producer, which features an all-touchscreen interface.
Sony Anycast Touch
Folding up into the size of a briefcase, the AWS-750 combines a video switcher, character generator, audio mixer, camera pan/tilt controller and web streaming encoder, all operated from two touchscreens. The system also includes a recorder, so that a live production can be recorded for future playback.
Jon Fauer of Film and Digital Times calls Sony's just announced PXW-Z100, a 4K camera that retails for less than $6500, a jaw-dropping announcement.
He writes, "With the familiar 'Handycam' shape (viewfinder in back, hand inserted between grip and tight strap, integral zoom lens) this camera from Sony takes off where its previous lines of affordable HD cameras left off. Clearly, Sony is moving 4K not just into movies, but into the home, corporate world, sports, and government."
Read the full story here.
JVC will be demonstrating their GY-HM650's in-camera live-streaming capabilites by broadcasting a twice-daily live show from the IBC.
The GY-HM650 has the ability to simultaneously record and broadcast in HD when connected via Wi-Fi, 3G or 4G. It has three full-HD 1/3-inch 12-bit CMOS sensors and an integrated wide angle 23x autofocus zoom lens. With dual JVC codecs, it records ready-to-edit .mov and XDCAM EXTM compatible MP4 or MXF files with metadata on one memory card, while simultaneously creating smaller, web-friendly files on a second card.
Read more here on Live Production.
BERLIN, GERMANY – The HDMI Forum, Inc., a consortium of the world’s largest consumer electronics and computer manufacturing companies, has announced the release of Version 2.0 of the HDMI Specification, now offering what it terms a “significant increase” in bandwidth (up to 18Gbps) to accommodate 4K and up to 32 audio channels. The release was announced at IFA 2013 in Berlin.
Version 2.0 of the HDMI Specification, which is backward compatible with earlier versions of the specification, is the first spec to be developed by the HDMI Forum’s Technical Working Group. The HDMI Forum currently has a membership of 88 companies.
Version 2.0 of the HDMI Specification does not define new cables or new connectors. Current High Speed cables (category 2 cables) are capable of carrying the increased bandwidth.
Sony has released sample footage from its brand new $4500 4K FDR-AX1.
Writes DP Erik Naso on his blog, "I think this is a smart move for Sony since they need consumers to have 4K content in order to want to buy a new 4K television, and if they can create their own with a high end camera then the need would be more pressing to get a new display. This train has left the station and in order to get more people on board it has to be affordable. I’m sure we are going to see a lot more 4K offerings in this price range soon from Panasonic. They have been so quiet they must be getting something going soon."
Read the full story here and watch the sample footage below.
In a notable expansion of its 4K broadcast equipment products, Sony is planning to launch a new 4K camcorder by the end of the year that will be targeted to the professional market but priced at under $6,500.
The new PXW-Z100 4K handheld XDCAM camcorder is designed to expand the use of 4K equipment beyond motion picture or high-end TV production into the houses of worship, education, corporate, and live events business, where buyers demand less costly gear.
This fall, Canon will be releasing a series of firmware upgrades for its Cinema EOS line.
Writes motionVFX, "Canon decided to further enhance the maximum ISO setting on the EOS C500, EOS C300 and EOS C100, from the current maximum of ISO 20,000, to ISO 80,000! In other words you will be able to shoot in even more extreme low light conditions."
Read the full story here.
Sony has announced two new 4K cameras: the PXW-Z100 and their first consumer-level 4K camcorder, the FDR-AX1E.
Writes RedShark News, "The two devices are very similar and share the same sensor. The differences are in the codecs. The consumer-oriented FDR-AX1E will use XAVC-S - a 4K evolution of the AVC consumer forma and closely related to the professional XAVC. The professional PXW-Z100, the newest member of the XDCAM family, will use XAVC, making its media compatible with Sony’s high-end F55 camera."
Read the full story here.
In this short film from artist Ivan Cash, the filmmaker asks people to share the last picture they took on their cell phones and the stories that go with them. The results are a mixed bag that take us from the sublime to the inane.
Says Cash, "[The project is] based on the idea that we all have our phones on us at all times. Most of us have smart phones so we can stay connected at any time. But the irony is, when you look around in a public space, half the people are on their phones, and it feels really isolating when people are not open to what's going on around them."
Watch below and read more here on Huffington Post.
Successful behind-the-scenes videos benefit from the same kind of care and expertise that go into creating your main project.
Writes Alan Steadman of PetaPixel, "In my experience there seems to be a common misconception that shooting production photography and behind the scenes videos/documentaries are an easy task. While it’s true that these sometimes don’t require the normal spit and polish, photographers are used to, especially in terms of video work, I can assure you they’re no walk in the park. As is the case any time you’re working around high level talent, or even low level talent for that matter, there’s still plenty that could go wrong. A lesson I quickly found out as I started shooting behind the scenes videos a few years ago."
Read his full post here.
Redrock Micro talks to A Couple of Night Owls' Captain Hook about his recent tests with the Blackmagic Pocket Cinema Camera.
He says, "I was really floored by the image and color, and that might seem strange having used the 2.5K version, but I'm still enamoured with that camera also. Both of these cameras cost less than our 2 Canon 5D3s we use for stills, it's just incredible. There will be a shock for some who don't know much about the BMD line of cameras currently, both good and bad. Missing firmware features like audio meters, in-camera formatting, remaining disc/record time, custom LUTs, etc, get requested often - but if you do your research prior and understand what you need to get going with these cameras then that stuff can be dealt with."
Dan Chung of News Shooter recently took the Blackmagic Pocket Cinema Camera out for a spin on a night shoot in Beijing.
He writes, "Overall I found the results to be quite pleasing but marred by the presence of a ‘black dot’ issue from point light sources. These can be clearly seen in several frames of the video. I had encountered this before on the larger BMCC but was disappointed to see it on this camera too. Whilst this can be removed fairly easily in cinema post-production (harder if the object is moving), it makes life difficult for real world shooters on tight deadlines – who might have been hoping to use this camera for its stealth factor."
Read his full post here.