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DP Szymon Lenkowski & editor Tomasz Wolski present a similar shot of a woman with 12 cameras from Arri, Red, Canon, Sony, Panasonic, Black Magic and Kineraw.

It’s interesting to see the ungraded camera footage, combining the pastel RAW images with the more contrasty RGB ones. The filmmakers also offer color-timed versions of the test. Here’s the ungraded version:

Unfortunately, the one thing you can’t really appreciate on the HD video is the difference in resolution, notably between the Alexa and the Dragon.

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Here’s the graded version:

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links

vimeo: 12-camera test part III Ungraded video
vimeo: 12-camera test part II Graded video

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It’s summer, hopefully you’re in a place with darkness at night, and you can shoot the stars!

Ian Norman from lonelyspeck.com shows some of his beautiful night skyscapes, and also tells us how to shoot our own using the ETTR (Expose To The Right Method) and then process them to get nice images even in light-polluted environments.

Simply put, ETTR means over-exposing by 3 Stops, and then processing the image to bring the overexposed areas back into the midtones. Ian recommends shooting with a 30-second exposure, at f/2.8 with ISO 6400.

Ian explains that overexposure is the best way to reduce noise in the night sky.

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watch on YouTube

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link

http://bit.ly/1qznYxl

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VICE Media’s Director of Photography Jake Burghart and Segment DP Jerry Ricciotti show us how they configure their Canon C300s for their rugged and sometimes dangerous documentary shoots.

The video is on vimeo

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The 2014 World Cup is using a 7-camera system to calculate the ball’s position near the goal line within a few millimeters. The cameras run “up to” 500 fps. The system was developed by a German company, and also sends a “Goal” message one second after the action to a watch worn by the referee. Goalcontrol also offers possible 3D animation replays for the public. The system of 14 cameras (7 per goal) costs 300 k Euros.

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video explaining the system:

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Links

GoalControl-4D
video of system used during France-Honduras

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Our friends at Photocinerent shot with a high-speed Phantom Flex as they drove through Paris, and posted their video on vimeo.
The combination of frozen people and a moving camera is eerie.

I’m guessing that the video was shot in HQ mode at 1275 fps, which means they were driving pretty quickly

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Link

http://bit.ly/1iMjUJu

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In an interview with Carolyn Giardina for The Hollywood Reporter, Emmanuel Lubezki shares his excitement about HDR (High Dynamic Range), in order to get ride of “the gap” between current digital cameras and what he is used to getting on film negative.

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Link

http://bit.ly/1mdxgAN

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I wrote an article on 4K and better pixels for my blog on theasc.com

I discuss:
- 4K and UHD
- 6 factors for better pixels
- Arri’s 2.8K
- Sony’s 4K and UHD
- futures
- the challenge to theaters
- compression & Rec 2020
- upconversion
- image quality

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___

Here are my notes:

Dragon sensor is 10% larger than the Mysterium-X
Dragon sensor diagonal is 34.5mm versus 29 mm for the Mysterium-X
(35mm full frame is 40.5mm)
– This means there will less cropping if you shoot anamorphic than with the Epic

Dragon’s photosites are 5 microns wide versus 5.4 microns on the Epic

Dragon ASA is around 1500
Dragon dynamic range is “16+ stops” versus Mysterium-X “13.5 stops”
– One wonders how you get more dynamic range with smaller photosites

Dragon compression ratios go from 3:1 to 17:1

Dragon maximum output is a 6144 x 3160 16-bit lin image

If you want to match the 5K Epic’s field of view
you should set Dragon at 5.5K because its photosensors are smaller

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Any errors are mine, not Kris’ and any corrections are most welcome

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Go to the Red User for Phil Holland’s information, including his very useful crop factor illustration:

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Sony PXW-Z100 4K camcorder features:

- 20x zoom lens
- 1/2.3 inch sensor
- 422 10-bit 4K (4096×2160) or UHD
- 50 or 60P
- up to 600 Mbps (at 60P)
- XAVC format (like the F55)
- XQD cards
- $6500
- will also do HD

I should mention that the 20x zoom range is very impressive.
I look forward to shooting some footage with this camera.

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The recording formats: up to 4K 50P for $6500

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The ability to output 4K via HDMI is crucial, as it may allow for external recording with better quality than the native XAVC compression.

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The left side has all the controls.

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Detail of the left side controls

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The back of the camera

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The SD slot hints at the un-announced possibility of recording HD video for editing simultaneously with the 4K stream.

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The Z100 will record 4K on to XQD high-speed cards. These 64GB are rated at 180 MBytes/second.

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The HDMI output has 4K, while the SDI BNC below it is limited to 2K

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The right side of the camera has no controls

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The ability to import Log curves would be helpful.

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The screen information — not including thefilmbook

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My thanks to Alvaro Ortiz from Sony Europe for giving me a great demo of the camera.

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LINKS

Jon Fauer’s report on FDTimes

Alister Chapman’s report on XDCam-Users.com

Studio Daily’s report points out that the Z100 is priced to compete with Black Magic’s new 4K camera, which is $4K without a lens.

Newsshooter.com’s informative video report features Alistair Chapman saying future version will allow you to simultaneously record HD on SD cards, while recording 4K on the XQD

sony.co.uk: Matt Davis’ in-depthreview

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