Posts Tagged ‘red’
The most beautiful footage I’ve seen from the RED ONE to date.
[via Blake Whitman]
Interesting look behind the scenes of the first feature(s) shot on RED, Steven Soderbergh’s diptych Che. The Criterion Collection version of the film was released last week, and it includes a recounting of the frantic scramble to get the RED cameras ready in time (hint: they weren’t ready, and shooting had to be pushed a week): More »
I unpacked my brand new Canon 5d Mark II a few months ago and excitedly clambered onto my Manhattan rooftop to put it through some tests. Within minutes I discovered the nasty aliasing artifact seen above, wherein the uniformly brown brick building down the block seemed to have a pattern of gray concentric circles overlaid across its surface. I knew about, and expected, the DSLR aliasing problems, and even wrote that I had some ideas about how to defeat them (on the rooftop that day, I tested several contrast and softening filters in an attempt to defeat the oversharpened look, to little avail). But I knew what I was getting into, and for the price, I’ve learned to (more than) love the one I’m with. More »
Lots of news from the RED camp today. If you’re interested in what may be not only the future of digital acquisition, but also display, head on over to their forum. Of note: More »
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 »
The new Canon 7d is coming out with the 5d Mark II’s most-requested missing feature: 24p. It seems Canon learned from their mistakes and have corrected it with a new video chipset capable of 24p and 30p at 1080, and 50p and 60p at 720. This is great for DSLR filmmakers looking for an APS-C (crop, although it is roughly the size of the sensor on the RED ONE as well as 35mm motion picture film) camera at a cheaper price point than the 5dII. Video quality should be similar to its more expensive brother, although low-light performance will be inferior. Now the question becomes, will Canon ever add 24p to the 5d? Is it even technically possible without new hardware? Why sell a camera for $1700 that is superior in so many ways to its $2700 big brother (and why not follow traditional naming schemes, where larger model numbers are better)? More »
Let’s get technical.
The human eye is a far superior instrument to the film or video camera. Over the years film stocks have gotten more sensitive, larger negatives and three-strip processes have been developed, and video cameras have improved immeasurably, but these innovations have not brought the baseline visual fidelity of cameras to the level of our own ojos. It’s been claimed that the resolution of the human eye is equivalent to 576 megapixels; while that claim should be taken with a grain of salt, as should any calculations of dynamic range, sensitivity, and field of view, all such assesments lead to one conclusion: our eyeballs are pretty damn good. For decades, the most common observation for first-time cinematographers has likely been, “wow, this camera needs a lot more light than my eyes.” More »
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