» Posts Tagged ‘latitude’
Even though Canon DSLRs might not be getting a whole lot of love from filmmakers these days, the Cinema-EOS line of cameras from Canon, the C100 and C300 in particular, have been widely adopted in the professional video production world, especially for documentary-style work. Since these cameras are fairly ubiquitous at this point, it makes sense for us to know how to get the most out of them. A recent video from AbelCine helps us do just that by teaching us how to maximize dynamic range on the C100 and C300 by tweaking the internal gamma settings. More »
With DRAGON now available for purchase or upgrade in RED‘s EPIC and SCARLET cameras, it’s about time to see how well the new sensor outperforms its predecessor, the Mysterium-X. Cinematographer Ryan Walters has recently done just that at Indie Cinema Academy. His battery of tests compare everything from overall latitude, highlight handling, recoverable underexposure, low light performance, IR pollution, and more between two EPICs — one old and one new. Needless to say, if you’re thinking of upgrading or simply wondering how all the DRAGON hype stacks up to reality, you definitely want to check out his results.
This is a guest post by cinematographer Angelo Lorenzo.
Maybe you’re an army-of-one indie director. Maybe you’re a cinematographer who has decided to step up your game or reinforce your fundamentals. Whatever the case may be, the cornerstone of video capture is the control of the light that hits your lens and knowing the limitations of your recording system: the camera. More »
The first episode of Zacuto’s anticipated sequel to the Emmy award-winning Great Camera Shootout 2010 is now available. This year’s installment is a bit different than last year’s, as it’s actually a documentary on the Single Chip Camera Evaluation conducted by Robert Primes, ASC. The cameras tested include 35mm film (Kodak 5213 and 5219 stock), the Arri Alexa, RED ONE M-X, Weisscam HS-2, Phantom Flex, Sony F35, Sony F3, Panasonic AF100, Canon 5D Mark II, Canon 1D Mark IV and Nikon D7000. More »
I’m confused. In the DSLR Guide’s chapter on ISO noise, I originally stated that it was optimal to shoot at ISOs divisible by 160, because the camera’s noise levels were lowest. Then I was told that this came at the expense of highlight headroom, so I recanted a bit. Now, as part of the Technicolor CineStyle picture setting release, the user manual mentions that one should shoot at “multiples of 160.” I assume Technicolor knows what they’re talking about, but the question remains. More »
One of the highlights of NAB’s “content theater” screenings was the Single-Chip Camera Evaluation, the result of an exhaustive camera shootout conducted in February by Robert Primes, ASC and a full crew (totaling what was estimated at over 5,000 man- and woman-hours). After seeing the terrific half-hour presentation at Zacuto’s booth, I went back for a second look at the full presentation. While the images — which should be released online in the future — are far more important than the charts, here are some key results from the screening, which featured cameras ranging from the cheapest Canon DSLR to cameras costing hundreds of thousands. More »