Jibs and sliders have been here for a while and we have seen how the the industry is adjusting from big need-3-crew tools to pocket and travel tools, and I think that the next step in this evolution will be movement tools like the C-Pan arm, tools which are double duty. We had a chat with Bo Christensen the inventor of the C-pan arm.
It’s the debate that just won’t go away. Whether photography or cinema, film vs digital is a constant source of both controversy and amusement. In this video from Cooke Optics, we hear some insights from a different perspective. Heavyweight DPs such as Phil Meheux (Casino Royale), Sean Bobbitt (12 Years a Slave), John Mathieson (X-Men: First Class) and many others offer their insights.
While some of their opinions are of a technical nature, a lot of it boils down to personal preference and workflow. Some prefer the look and character of film. Others prefer the efficiency of shooting digitally.
Stabilization gimbals are a big thing now (My guess is that they be the most commoditized item at the upcoming photokina show). I mean you can get a decent gimbal for as low as $200 for an action cam/phone or $700 for a mirrorless camera. Those used to cost thousands just 3 or four years ago.
But even the best gimbal still needs to be used correctly to get the best out of it. This DSLRguide episode has 10 tips to master your gimbal.
On a film set, the grip handles all means of camera support. Grips assist the cinematographer and gaffer in managing and sculpting the light. They also deal with safety aspects of cast and crew while working on set.
The web have been sizzling with Kaveret’s drone footage of a bride walking the aisle. It is a gorgeous cinematic footage of a wedding at Pelican hill at Newport beach, California.
The footage was taken using a Phantom 4 and it is quite different from any drone wedding video you have seen to date. We sat down with Adam Rubin, Kaveret’s CEO and drone operator to break this shot down.
Color plays an enormous part in how a movie makes us feel (or a photo for that matter). In fact, when you look back at a movie, one of the most prominent memories will be how it was colored. Maybe not on a conscious level, but the color palate ultimately gives a movie its feel.
Cinema Palettes breaks the color palate down from some poplar movies. This can serve as a great reference tool when you are seeking inspiration or wanting to set the look for a clip of your own.
Of course, the fact that a palette was a good fit for a moody or a happy film does not mean that it will be a great fit for YOUR moody or happy film, but it can help you gain insights on the connection between color and mood.
But 9.solutions really got me by surprise when they announced the C-PAN camera guide. I am not exactly sure how to categorize it in terms of movement, because it can function as a jib, slider or curve, depending on how you set it up.
Video autofocus capabilities has been getting better and better over the years, but nothing yet can beat the range of control and precision as the ability to properly use a manual focus. Unfortunately, using manual focus isn’t as easy as it may seem, especially when relying only on the live view display on the back of a camera.
Usually we see Parkour artists being shot with gimbals, I think this is the first time where we are featuring a parkour artist which IS the gimbal. Steadycam operator gimbal ninja posted a behind the scenes showing him taking a complex shot while following a cyclist getting ran over.
The Twist? The camera operator jumps through two car windows to get the shot.
2015 was definitely a year of video for everyone, especially with Sony and Canon releasing the A7RII and 5D SR which made (semi)pro video available at a pretty low price point (assuming you consider 3K low).
If you think that 3k is too high, here is some perspective for you. The other side of the production continuum has cameras where 2-3 thousand dollars can be their daily rent fee. Of course there is a reason for that, and those cameras provide superior image quality (usually at low light), dynamic range and bit depth, as well as other non-quality related features.
To get your GAS going cinematographers Tom Fletcher and Gary Adcock compiled a list of all available production cameras for 2015. Starting with the Alexa 65 which shot parts of The Revenant through the Sony F65 (shot Tomorrowland) and Red Epic Dragon (The Martian) all the way to the affordable Canon C300.