Browsing: News

Above: Sony’s previous foray into full frame, the A900 With Canon this year failing to capitalise in my view, on their huge gains in the video market following the successful 5D Mark II, I have long wondered when one of the big 3 would get it right and give us what we need – a full frame DSLR with equal emphasis on pro video and stills. My friend Sony Alpha…

[vimeo]http://vimeo.com/47013561[/vimeo] New Blackmagic Cinema Camera footage is in the wild, and this one is downloadable in glorious high bitrate 1080p. Although it isn’t the original DNG or ProRes rushes it is the closest we’ve come to a representative video yet.

Metabones EOS E-Mount Mark II (left) and the Mark I (right) The newly updated Metabones EOS E-Mount adapter arrived at EOSHD HQ recently and it improves pretty significantly on the first generation adapter, which I’m using at the moment on the FS100 as the default lens mount.

Today I have an update from CVP in the UK regarding the Blackmagic Cinema Camera. The initial shipment is delayed 2 weeks and Blackmagic expect to deliver this to CVP in the 2nd week of August. The good news is that the camera firmware has gone gold and units are under production at the factory as of now.

[vimeo]http://vimeo.com/46540179[/vimeo] Above: Säure trailer on Vimeo by Andrew Reid Book tickets to see Säure here I was cinematographer recently on a trailer for Berlin theatre production Säure (which translates as ‘Acid’).

Please note the compression and noise is from Vimeo not the camera John Brawley has some new Blackmagic footage for us. Unfortunately Vimeo streams 1080p at something like 7Mbit and John has no download option on this clip, so watching Blackmagic footage when it is so heavily compressed rather defeats the object of such a lovely 12bit raw camera. Nevertheless dynamic range and resolution are looking pretty good.

As I recently found with my FS100 Macs really seem to hurt your AVCHD footage from Sony cameras and the Panasonic GH2… But especially the Sony FS100. It is no wonder these cameras often get a bad reputation for limited dynamic range, crushed shadows and blown highlights – when you are only seeing the middle part of the full 8bit range of luma. This Rec.709 portion of a 601 space (16-235…

Above is a lightly graded and non-sharpened 1080p ProRes frame grab provided by John Brawley from his pre-production Blackmagic Cinema Camera (this one is graded by Shian). 2.5K 12bit raw will look even more detailed. Click the image for the full sized file (note, this has been compressed to JPEG format) For DSLR users thinking of moving up to the Blackmagic Cinema Camera this is an introductory guide to the biggest differences in operation…