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Fast & RAW: Sony FS700 Achieves 4K Via External Recorders, 120FPS Burst & 240FPS 2K

04.11.13 @ 9:09PM Tags : 4k, cinemadng, convergentdesign, externalrecorder, fs700, nab, nab2013, odyssey7, raw, sony, sonyfs700

Since its release last year, we’ve know that Sony’s FS700 — the high-speed ‘little brother to-be’ of the F5 and F55 — had 4K capabilities awaiting in its future. This option, with 4K RAW speeds up to 120fps burst shooting and 2K RAW up to 240fps (continuous) is made possible by a ‘middle-man’ interface/adapter module, the HXR-IF5 along with the AXS-R5 recorder. What we probably didn’t expect was support for 2K CinemaDNG at up to 240fps, or even 4K DPX at a more modest 30fps (still — it’s DPX) by way of another external recorder, the Convergent Design Odyssey7Q. Click through for further details from Sony, some speculative pricing on the R5, and a quick look at these beastly additions to the FS700 system. More »

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Tutorials Galore: Dailies in DaVinci Resolve, CinemaDNG to ACES Conversion, Plus What's a LUT?

01.29.13 @ 11:29AM Tags : abelcine, andyshipsides, blackmagic, bmcc, cinemacamera, cinemadng, colorscience, colorspace, davinci, davinciresolve, howto, lookuptable, lut, transcoding, tutorial, tutorials, watch

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 »

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Digital Bolex's Lab-Style RAW Software Will Be Your CinemaDNG Workflow Workhorse

01.17.13 @ 3:09PM Tags : adobe, camera, cinemadng, digitalbolex, digitalcinema, postproduction, software, transcoding, workflow

By coincidence or not, it seems like each camera announced to use CinemaDNG as its RAW shooting format is poised to change the world in its own way. The Blackmagic Cinema Camera and the ~$3K Digital Bolex D16 seek to put quality acquisition tools in nearly anyone’s hands, while the future-bound Aaton Penelope Delta and open source Apertus Axiom bear their own technical notabilities (and nobilities). Clearly it’s time to really start wondering about CinemaDNG. As of now, the license-free format is being adopted by way more cameras than NLEs, and workflow questions, concerns, and schools of thought and technique abound. There’s hope and then some, though — just over the horizon the RAW processing software shipping with the Digital Bolex D16 just might change the world in its own way, too. More »

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Aaton's Penelope Delta Camera: Innovation, 3.5K RAW, and Time Travel (Sort Of)

10.23.12 @ 3:08AM Tags : aaton, camera, cinemadng, johnbrawley, penelopedelta, raw

Upon its eventual release, the Aaton Penelope Delta just might be the most innovative digital cinema camera on the market. The Delta features 14 stops of latitude, onboard 3.5K RAW recording in CinemaDNG (with simultaneous proxy recording ability), the world’s first optical viewfinder for a full-res internally-recording camera, an ISO 800 base sensitivity, a mechanical shutter able to reduce that sensitivity by 3 full f-stops, a revolutionary sensor package that simply boggles the mind, and all within a quiet, operator-friendly body. This machine means business — and it’s not going to be cheap, either — but the specs and design plainly speak for themselves. Read on for the full details. More »