» Posts Tagged ‘andyshipsides’
When Sony first announced the FS700, they somewhat cryptically stated that there would be a 4K upgrade path to this formerly 1080p-only camera. It wasn’t long before we found out what that upgrade option was going to be, and it includes purchasing another module along with the Sony AXS-R5 recorder (the same one that can be used for 4K RAW on the F5 and F55). This rig, besides doubling the price of the camera, is quite a bit unwieldy. Fortunately, there are other options out there. Convergent Design recently announced an update to their much more affordable Odyssey 7Q that gives 4K RAW and ProRes to the FS700 (along with ProRes to any other camera). More »
There has been some significant news on the Arri front over the past few months — namely, that the growing Alexa family is forking out ‘budget’ HD-specific and Doc-friendly body implementations. All the while, AbelCine has been a great resource on keeping us all up to date on the family’s tech specs & specifics. This trend continues as AbelCine’s Andy Shipsides walks us through Arri’s Alexa XT system. Briefly, the XT series upgrades Alexa to Codex-powered internal ARRIRAW recording. Andy’s videos go through the ins and outs of this system — detailing everything from virtual media to live-grading metadata. Read on to check out the videos. More »
Ever asked yourself, “What in the f#$% is a LUT?!” Or what a LUT’s relationship is with color space? Or what a color space is? If “yes,” not to worry — these concepts can be fairly confusing. Fortunately, engineering can and will work for you as an artist, so long as your understanding of it covers the fundamentals. And even if you answered “no” to all the above, you should still check out some of outstanding basic-breakdowns of these concepts below — including how to convert CinemaDNG footage into the Academy Color Encoding Spec color space (ACES) in Davinci Resolve, plus how to use that very program to generate dailies (like a boss). More »
With each new camera comes a slightly different workflow, and the situation is no different with the Canon C500. We already talked a bit about the interesting way in which Canon is producing a RAW image with that camera (aside from being completely uncompressed), but we didn’t get into what you’ll actually need to do in order to begin working with this footage. Click through to check out a great video from Andy Shipsides of AbelCine on importing footage that has been recorded with the Convergent Design Gemini 4:4:4. More »
While many productions choose the Arri Alexa for its superior dynamic range, sensitivity, and color rendition, having the ability to record to high quality ProRes can mean faster turnaround times with a workflow that is already a standard. Any production that will rely on color correction will usually choose a log profile, but this also means that unless you do some sort of correction, the files will be very flat. Since the Alexa can output both log and standard gamma profiles, you can use an external recorder like the Sound Devices PIX 240 to record proxy files with a standrad gamma profile. The new 2.01 firmware for the 240 gives it the ability receive timecode and have identical file names to the internally recorded files from the Alexa, so those can be matched up perfectly when you want to re-link files later for color grading. Andy Shipsides from AbelCine gives a walk-through of that process in this video: More »
Can you view raw footage on a monitor? What’s baked into the image by Log recording? What’s the advantage of having uncompressed footage vs compressed footage? With more and more cameras offering a variety of outputs and formats, it’s easy to lose track of just what you’re getting with each option and what they ultimately mean for the final image. Well, lucky for us, there are folks like Andy Shipsides at AbelCine looking to clarify and explain the differences, as he does in this very informative breakdown for HDVideoPro.
The FS700 has dominated much of the camera buzz in the couple of weeks heading into NAB, and with the early announcement comes early footage. Last week we posted the official launch film that excerpted a number of test shorts shot by various DP’s with a pre-production FS700, and over the past week the full shorts have been coming on-line. These tests by Peter Prevec, James Miller, and Den Lennie/James Tonkin, show off just what the camera can do with a variety of subjects — from dirt bike races, to samba dancers to birds flying against the sun’s light. Throw in a balloon murdering test by Andy Shipsides and you’ve got plenty to compare and contrast: More »