Casio has some good news for all of you who take shooting in the dark literally. They have announced an nice addition to the Exilim Outdoor Recorder family. They have created Casio EX-FR110H, a camera designed to take photos and video in extremely dark conditions.
We’ve posted about the Chronos high speed camera a couple of times before. We mentioned how it smashed through its kickstarter goal in less than 24 hours. There’s still three weeks left of the campaign, but several units have been sent out for testing and review. One of those is Ben Krasnow, of YouTube’s Applied Science channel.
In a video uploaded to the channel a few days ago, the Chronos is mounted to a DIY motion control rig that pivots around a central point. This creates for an amazing slow motion bullet time style effect.
Sigma announced that they were jumping into the world of cinema in a big way at the beginning of September. Last month, they announced pricing and availability for the first two cine lenses in the range to be released. These are the 18-35mm T2.0 and 50-150mm T2.0, both due to start shipping in just under two weeks.
To show off their capabilities, Sigma have produced the 15 minute short film “Blur”. Shot entirely with the pair of Super 35mm (APS-C) zoom lenses, on the Arri Amira, it’s a touching story. A boy’s slightly weird father, seen by his friends as the “cool dad”, is obsessed with his camera. His photographs aren’t very good, but he keeps shooting.
For those new to photography or video, lenses can seem like a scary subject. There’s so many different types, and numbers and letters that all denote different things. There’s countless different mounts and adapters. So many different features and options. Is the lens even the right one for your size of sensor? It can be hard to know where to begin.
In this video from YouTube filmmaker D4Darious, we’re talking through all of the important information you need to know about lenses. Covering everything from the basics of aperture and focal length to more advanced capabilities such as built in stabilisation and macro. Even if you’ve never held a camera or lens before, this’ll be easy for you to follow.
The megapixel race seems to have shifted from photography towards video the last couple of years. As stills camera resolutions are approaching levels that very few will ever actually need, video is the next logical step. 4K has already usurped 1080p for most new cameras coming out today, and 4K TV sales are seemingly on the rise. So, where next?
CMOSIS, the company that supplied sensors for the Leica M Typ 420, have announced a new VMC50000 48MP CMOS full frame image sensor. It supports shooting 8K at 30 frames per second, with a 4K pixel binning 60fps option. The press release did initially say that it was a medium format sensor, but the specs list says it’s full frame 35mm, and the press release has been updated to reflect this.
For anybody who shoots outside of a set or the studio, location scouting is almost a necessity. Whether you’re shooting video or stills, if you have a specific look in mind for the final result, you need to have a suitable location. Sure, you can skip the whole planning thing, and just drive around while shooting in the hopes that you’ll eventually find a spot. For some run & gun styles of shooting that might actually work, but for a lot of things, it doesn’t.
Location scouting allows you sort out shooting spots in advance. It lets you plan ahead and account for things that would otherwise be impossible to foresee had you just stumbled across it while out shooting. This free checklist from StudioBinder, helps make your location scouting life a little easier by reminding you of the things that you may need to check when at a location.
The new Panasonic Lumix GH5 will record 10Bit 4:2:2 video internally, but what exactly does that mean? how will it benefit you? Isn’t video just video? Why is this such a big deal? No, video isn’t just video, and it means quite a great deal.
Fortunately for us, Filmmaker Griffing Hammond is here to explain. In short, it offers more tone in colours with less risk of banding in gradients. It makes it easier to chroma key or green screen your footage. It also makes it easier to correct and grade your footage with minimal loss.
Since Nikon introduced video to DSLRs,the biggest complaint has been about the form factor of DSLRs. When Canon released the 5D Mark II, the demand for these cameras for video work surged. I’ve seen reports stating that as high as 40% of 5D Mark II sales were to video production companies. But, the ergonomics are just wrong. Today, there are many companies selling all kinds of cages and doohickies you can bolt onto your cameras to make them more useful.
But what if you could build your own? What if you could customise it to your own specific needs? That’s what Caleb Pike at DSLR Video Shooter wondered, and so he set out to build his own. He used about $240 worth of materials and components to build his rig, but you could probably build it for a lot less depending your needs and what bargains you find.
According to “new sources”, Fuji Rumors are reporting that Fuji are starting to take a serious interest in video. They say that Fujifilm will launch lenses with clickless apertures sometime in 2017. These lenses will be designed for users of the Fuji X system who primarily use their cameras for video.
The fast & accurate AF of the recently released Fujifilm X-T2 as well as outstanding image quality, it has fast become a favourite for some video shooters. Having native lenses and not relying on various adapters to use other system lenses will make a big difference.
There’s more to getting the “film look” with video than simply shooting your camera at 24 frames per second. It’s not just the colour grading, or the lens used, either. These are, of course, factors, but all components of a much greater whole. Issues other than the framerate are mostly variable. One issue that often gets ignored, though, is the shutter speed.
In this video from Wolfcrow, Sareesh Sudhakaran tells us how shutter speed affects our footage. It explains why we don’t always get the look we desire, and how to correct it. Breaking the 180° shutter rule (which is different to the other 180° rule) can work to great effect when used with a purpose. At other times, it just looks like a mistake. Understanding the principles behind the rule, rather than simply accepting it, helps us to know when and how to break them.