» Posts Tagged ‘raw’
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 »
We’ve had a few posts revolving around open source 3D modeling & animation suite Blender recently, including some info on using it to model color space in three dimensions. Now, as a bit of a ‘BTW, FYI’ to a more recent post concerning the free release of all 4k F65 footage acquired for Blender’s CGI/live-action Tears of Steel, we have some info that may actually help you visualize that or any other 4k footage in full-res — without an actual 4k monitor. It isn’t perfect — it’s a bit rough and ready, and may require Linux, but we thought our readers should know that it’s possible, especially since very few of us have access to 4k viewing, be it through projection or UHD TV sets. Read on for some details on how the Project Mango team devised its ‘DIY 4k’ monitoring solution. More »
Blender Foundation Releases 4TB of 'Tears of Steel' Sony F65 4K Footage & Demonstrates Post Workflow
The Blender Foundation is constantly pushing the boundaries of availability, openness, and access to the raw materials it uses to create its ‘proof-of-Blender’ animated shorts. This type of access is usually more associated with open source software than filmmaking, but especially since the Project Mango live-action CGI/VFX-heavy Tears of Steel was realized, that distinction has become increasingly blurred. Now filmmakers, animators, or compositors looking to cut their teeth on professional-grade material have access to the entirety of Tears of Steel‘s footage, in 4k OpenEXR (in the ACES color space), courtesy Xiph.org. In the meantime, the Foundation has also made available a number of resources concerning their post-production pipeline, which allowed them to transcode 4K Sony F65 footage to those Linux-workable OpenEXR frames. Check below for more details. More »
The Micro 4/3 mount Blackmagic Cinema Camera was announced back in September 2012, and just recently we saw that beta cameras were starting to ship to people around the world. Many have asked which camera they should be ordering (since they both sell for $3K and you can switch your pre-order to EF), and while we’ve done our best to answer that question (and more), it’s always good to hear the perspective of someone who has used both models. Philip Bloom reviewed the camera back in September, but he finally got an MFT camera to try out, and he’s posted his review online. Check it out below. More »
A lawsuit from rival RED hasn’t stopped the Sony F5 and F55 cameras from shipping on-time, and now we’ve got some more concrete information about what is currently enabled and when we can expect future features to be implemented. For FS700 owners, we also have a pretty good idea of when you can expect full 4K support from Sony with their AXS-R5 recorder, which needs a separate piece, the HXR-IFR5, to interface with the camera. Click through for all of the currently supported frame rates and resolutions, and when you can expect them to be updated. More »
There might be a lawsuit going on right now regarding compressed RAW, but Arri and their Alexa camera have avoided that business by sending out uncompressed, untouched RAW to third party recorders. Codex, maker of one of these third party recorders, has now partnered with Arri to design an internal RAW upgrade solution for all Alexa models called the XR Module that replaces the internal SxS technology, and takes a brand new 512GB card. From now on, the only new models offered from Arri will be the XT line with the XR upgrade, and the original Alexa with a 16:9 Super 35mm sensor. All new XT models will have the 4:3 sensor as standard. Check out the videos of the XR in action below. More »
This one came as a bit of a surprise back in January, and now it looks like pre-orders have already begun. The KineRAW-MINI, a new camera from Kinefinity, has an identical sensor to the KineRAW-S35 (which is shipping in China). However, it forgoes some of the fancier aspects of the larger S35 — like Cineform and dual SSD slots — to create a compact and much more affordable version. We’ve now got some preliminary pricing information that should make this a very, very interesting option when it starts shipping next month (likely in China first). Check out more details below. More »
I don’t envy those who make the little grey or black boxes that give us pretty pictures. Another day, another camera, but there is something special about this one: Kinefinity, who makes the 2K KineRAW S35 camera that shoots RAW and Cineform compressed RAW for under $10,000, looks to be planning a smaller and cheaper version called the Mini S35 that just may compete with the Blackmagic Cinema Camera — and literally everything else out there. More »
Will Post Houses and DITs Be Extinct by 2017?
The media management and quality control handled by the digital imaging technician and post house is nearly universally vital in modern filmmaking, where each digital camera brings its own varying formats, workflows, and quirks. This need for DITs and post houses, however, may evaporate just as quickly as it has arisen — at least according to the predictions of Michael Cioni. As the CEO of post house Light Iron, he has helped pioneer RED workflows at the highest level of filmmaking, so his word is not to be taken lightly — particularly since he’s predicting the end of what his and any other post house does as we know it by 2017. Furthermore, what cameras (and therefore camera teams) will have to take care of themselves is staggering, especially taking a look at the duties fulfilled by today’s high-end DIT carts — including those assembled by Light Iron itself. More »
We told you back in July about the Apertus project and their goal to build the first open source digital cinema camera — not only that, but one that could match or exceed the specs of some of the other digital cinema cameras out there. This open source camera, the Axiom, will be capable of RAW high-speed 4K recording, and best of all, the software will be made open to the public so that the users can do whatever they want with it, similar to the Magic Lantern project, but without any hacking involved since it’s being made available for free. The team over at Apertus has been hard at work behind the scenes, and while their crowdfunding project for the camera will not start this year, they launched a website to detail the Axiom and the new Axiom Alpha, a prototype using the same sensor as the final camera. More »
Working with Canon C500 RAW and the Convergent Design Gemini 4:4:4
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 »
The Blackmagic Cinema Camera may be shipping within the next month or so, but in the meantime, we are continuing our review and we’ve now got a possibly final roundup of videos for this camera (at least for the near future until they start shipping), as it has finally made its way into enough hands to really get a sense of the quality. While we haven’t seen much narrative content make its way to the web yet, there are still plenty of different situations that show off just how much this little $3,000 camera can do. Click through to check them out. More »
Sony gave us some official prices back in November — which was a part of the RED back-and-forth — and it looks like we’ve finally got real street pricing for both cameras, the F5 and the F55, and some of the accessories. I’ve talked a bit about where I expected them to be, and the F5 is priced even more aggressively than I thought it would be. Sony is serious about taking back marketshare in the medium to high-end digital cinema arena, and it also shows just how far technology has come in a short time — because really — the F3/FS100 were just stopgap solutions in the meantime while they prepared for their real 4K sensor and true cinema cameras. Click through to check out the pricing. More »
While it seems like it has been all Sony around here, it’s really because the news and videos have been trickling out slowly, rather than in one burst after the recent presentation. We already saw what the Sony F55 with its global shutter could do with one crew, now we’ve got the opportunity to see it in the hands of another. Dig, written/directed by Martin Scanlan and shot by Steve Lawes, premiered at the Camerimage Film Festival in Poland, and was part of the European launch for the F55. Check out the full film below. More »
Last night Sony went in-depth about their new camera offerings, the F5 and the F55, and their accompanying accessories, and also detailed the list pricing for all of those items. In addition to the presentation they showed a plethora of footage from both the F5 and the F55. Now we’ve finally got one of those samples online — from the F55 — thanks to the good people over at Stargate Studios. Click through to check out some of the first images from this camera. More »
Sony and RED have been playing an interesting back-and-forth over the last month or so. Sony announced brand new cameras, but didn’t reveal pricing information. Then RED announced significant price drops for their cameras. After an event introducing the F5 and F55 in Los Angeles tonight, Sony has finally released the pricing information for both cameras and for all of the related accessories — including the new PL lenses — and interestingly, they closely match a Sony Japan leak we had earlier in the month. More »
Aside from the short film Man & Beast shot by Jeff Cronenweth, ASC, there hasn’t been much footage showing off what the already shipping Canon C500 is capable of. Since it has the same sensor and identical internal recording, footage shot right on the cards within the camera should be similar, if not identical to that of the Canon C300. What most people (including me) really want to see, however, is more footage that has been recorded externally using the superior RAW output of the C500. That’s exactly what DP Nino Leitner has done with a new short film, ALEX. Click through to check it out. More »
We’ve featured some great reviews from Dave Dugdale in the past, but this time we’ve got a completely different video to share: a prediction about the future of the camera industry. Whether realizing it or not, I’ve written a tremendous amount about the camera industry and where I think it’s going, but most of my predictions are short term and usually based on some sort of concrete information. Either way, let’s speculate for a bit, is it possible that we could see RAW video DSLRs in the next year or two? Click through to check out Dave’s video. More »
If you just got in on a RED camera for a tremendous price, and you aren’t familiar to the RED workflow, it can be a little confusing at first, especially since RAW files offer a tremendous amount of flexbility. If you’ve got Adobe Premiere Pro CS6, RED has put together a little video showing exactly what you need to do to get started working with RED RAW files and manipulating them within the program. Check out the video below: More »
Either someone has made a mistake at Sony or they are planning on announcing prices soon, but a Sony Japan site has listed a press release showing prices for not only the F5 and F55 cameras, but also the AXS-R5 4K recorder and some of the other accessories. While these are currently listed in Japanese Yen, doing a rough conversion can yield us pretty close to where we might be seeing these actually retail for. I had already speculated based on a number of different sources what the prices might be, but this is the first time we’ve gotten a real source from Sony themselves. Click through to check out all of the listed prices. More »
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