» Posts Tagged ‘lowlight’

Description image

Sony A7s at NAB 2014Sony’s new camera at NAB this year comes in a familiar form factor for all of the DSLR users out there. The Sony a7S, an extension of the previous a7 models, is a full frame 12.2 megapixel sensor capable of HD recording up to 120 fps, with 4K recording only through HDMI to an external recorder such as the new Atomos Shogun. Hit the jump to watch our interview with Sony at their NAB booth: More »

Description image

cleantechnica led street lighting lights lamps sodium vapor mercury clean green la los angelesAfter Michael Mann set out to direct Collateral, the story’s setting moved from New York to Los Angeles. This decision was in part motivated by the unique visual presence of the city — especially the way it looked at night. Mann shot a majority of the film in HD (this was 2004), feeling the format better captured the city’s night lighting. Even the film’s protagonist taxi needed a custom coat to pick up different sheens depending on the type of artificial lighting the cab passed beneath. That city, at least as it appears in Collateral and countless other films, will never be the same again. L.A. has made a vast change-over to LED street lights, with New York City not far behind. Read on for why Hollywood will never look the same again — on film or otherwise. More »

Description image

Digital Bolex Low LightFor the past several weeks, footage from the Digital Bolex D16 has slowly but surely been making its way around the web. So far we’ve seen that the D16′s RAW footage is eminently gradable, and that the skin tones are on par with, if not better than any other digital cinema cameras like the Digital Bolex. Now we’ve got the first low-light shots from the D16. Despite the fact that the camera maxes out at 400 ISO, these tests might just surprise you: More »

Description image

This is a guest post by Cinematographer Ryan E. Walters.

Welcome to Part 02 of Some Like It RAW, where I am comparing the Arri AlexaBlackmagic Cinema Camera, and the RED EPIC. My goal for these tests is to explore how each of these cameras handles real world shooting environments. Part 01 explored how these cameras handle IR pollution. In Part 02, I test the limits of low light levels, or underexposure. Continue on to watch the 11 minute video, read my summary, and get the downloadable RAW frames from each camera. More »

Description image

I’m as captivated by striking portrayals of urban nightscapes as anyone, ranging back to the existing-light-only Nocturne, to the aerial ghost-eye-views of FIREFLY. There’s just something breathtaking about seeing the biggest centers of life and activity during the desolate, slumbering hours. Filmmaker Colby Moore has added another quieting noct-urban document to the list. City In The World lays some high dynamic range RED EPIC sights on the city that never quite gets to sleep. Check out some of New York City’s dark side below, plus some details from Colby about his non-HDRx workflow. More »

Description image

Film is going the way of other elegant, exotic, but evolutionarily condemned creatures such as the Tasmanian Tiger, the Dodo bird, and the Macarena. Somehow chart the decline of film use against the rise of digital and you’ll hear a lot about ‘how to make digital look like film’ in your research. It’s almost an existential crisis for shooters of our transitional generation, and the heart of digital’s identity crisis. If film is the look of cinema, what’s the key ingredient? Resolution? Latitude — or worse, light response curve? Motion transfer? Color reproduction? Or should we just let “the digital look” evolve into its own beast altogether? That’s a lot of heavy questions for a Sunday afternoon read, but ones unavoidably raised by a post from Art Adams of Pro Video Coalition about the wide open lensed and low light look of ’80′s and ’90′s films. More »

Description image

We’ve posted about minicopter-mounted cinematography before by the companies Helicam and omstudios — both of which created some spectacular RED EPIC aerial shorts — thought they require a rental/operation package. This is more simply to say that you can’t purchase the minicopters directly from these companies. Recently, another impressive aerially-shot short has surfaced — that’s a bird’s eye night view of a traffic circle (or rotary, or round-about, depending where you’re reading from) at left. This time, the company supplying the minicopter — czech manufacturer JamCopters — actually has their quadrocopter, hexacopter, and octocopter for sale. Read on for some details and the beautiful and quieting FIREFLY short. More »

Description image

Hyperbole? Not really. It’s no secret that the Canon C300 is a low-light monster. It’s also marginally better than the F3 and FS100 in high-ISO situations (debatable, but from what I’ve seen, it holds slightly more detail and color information in those extreme situations). But this is just ridiculous. Barry Goyette has posted a video of mostly available light C300 footage – and get this – parts were lit with just moonlight. Yes, that moon, as in the reflection of the sun off of the lunar surface. For the really interesting footage, wait until after the credits. Here’s the video: More »

Description image

Cameras have been getting more and more sensitive, so it follows that low light tests are a nice showcase of the latest in camera technology. Here, Sebastian Wiegärtner pits the Canon C300 against the Sony F3 (with S-Log) and Canon 7D: More »

Description image

First, Canon has announced a 24p/25p update to the Canon 5d Mark II; this is crucial and I will now be keeping the camera I purchased mere months ago. But I don’t have much interesting to say about that, other than, “thank the lord.”

There’s some other news out of the Canon camp today, however, and that’s what the title of this post is about. The thing about light is… when it comes to guerilla filmmaking, there’s never enough of it. More »