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5. April 2011 - CINEGEARBLOG.COM

Archive for April 5th, 2011


The boldest piece of Sony’s sensor narrative is about size. On the heels of the Super35mm-sized single CMOS sensor the compnay developed for the F3, Sony has announced another CMOS single-sensor milestone: Its newest CineAlta camera featuring an 8K x 2K chip. That gives the new 8K CMOS inside a total pixel count of 20.4 million pixels, far more than the roughly 8.8 million pixels of the current 4K x 2K sensors in other existing cameras on the market. The new sensor size obviously also brings with it higher color reproduction and resolution than can be captured by those other 4K sensors. But don’t confuse sensor size, pixel density and resolution with the recording format. The images are still recorded and output in 16-bit RAW 4K (16:8:8). During our demo at Sony’s Atsugi Technology Center in a suburb of Tokyo, however, those images were noticeably crisper, brighter and cleaner as a result of the extra pixels. Blacks were deep and rich, too. No shades of gray here, though if you were shooting a mountain climber against a textured, marbled slab of granite, this imager would certainly pick up every bit of uncompressed detail. I’m told the camera will shoot from 1 through 72 fps. Crank that up to a High Frame Rate mode and you can go all the way up to 120 fps.

Read more at studiodaily.com.

ARRI just released version 3.1 of its ALEXA firmware.

Key features are:

  • Full support for both the ALEXA and ALEXA Plus cameras.
  • Integrated functionality with the ARRI Wireless Remote System (WRS) lens controller. This includes both generations of the ARRI transceiver module, known as the Yellow Radio and the White Radio.
  • Communication with the new ARRI Remote Control Unit (RCU-4)
  • Lens Data System (LDS) display on the ALEXA Plus. A later SUP will also capture this information in metadata.
  • Dual SxS card recording. Both card slots can be set to capture identical files simultaneously, making backup file transfers faster.
  • ARRIRAW frame grabs. In addition to the other formats already available, frame grabs can be captured in ARRIRAW.

 

Focus offers new H.264 Recorders.

Specifically designed for video professionals, the FS-H Proxy Recorder makes it easy to integrate proxy recording into your everyday workflow. Attach the FS-H Proxy Recorder to your professional camcorder and record proxies while you’re recording high-res video. When your recording is complete, your proxies are ready to share instantly. With a wide range of proxy recording formats available, proxies can be instantly edited, streamed, and uploaded to video sharing websites or viewed on portable devices.

Read more at focusinfo.c0m

Woodkid – Iron

Cool video by Yoann Lemoine for Woodkid’s track Iron.

WOODKID – IRON – Video directed by Yoann Lemoine
Cinematography by Mathieu Plainfosse
Featuring Agyness Deyn
Produced by Mourad Belkeddar
Styling by Ellen Af Geijerstam
Post Production by OneMore Prod
3d Artist : Jonathan Benabed
Flame Artist : Herve Thouement
Label & Video commissioner Pierre Le Ny
P & C 2011 GREEN UNITED MUSIC
CAVIAR / HSI / ONEMORE PRODUCTION

In this article Andrew Lesnie reveals The Hobbit 3D cinematography set up.  As we posted some days ago, the production of the Hobbit had started on on March 20 in Wellington’s Stone Street Studios and on location in New Zealand.

First, the short facts:

The Hobbit is:

  • being shot on 30 RED EPIC cameras;
  • using Zeiss Ultra Primes, Master Primes and Optimo zoom lenses;
  • shooting at 47.96 frames per second;
  • using 3ality Digital rigs.

Also Jim Jannard of RED has previously revealed that the production would use its new, smaller EPIC digital cameras, which can shoot at 5K resolution and up to 120 frames per second.

Read more at if.com.au.

This commercial ad by Touchwood for the SH-80C cell phone was made with a Canon EOS 7D.

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Technicolor formed a strategic aliance with Canon USA to to leverage Technicolor’s color-science in the development of a suite of creative tools for cinematographers to facilitate greater usability and integration of Canon EOS DSLR cameras into the motion picture and television production pipeline

Read more at technicolor.com

News on Hangover 2

The most shocking thing about the recently released trailer for The Hangover Part II — beyond the fact that the MPAA allowed a monkey to pantomime fellatio in a green band trailer — was that it stuck so close to the original film’s set-up. Will the sequel to your favorite R-rated comedy from the last two years be a stale retread of worn out jokes, or was the trailer holding things back? Director Todd Phillips has an answer.

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Read more at movieline.com.

Zack-Snyder-cinegear-net-blogFaster than a speeding bullet or merely Batcycle-quick? That was the question we put to Superman: Man Of Steel’s director Zack Snyder when we collared him at Sucker Punch’s recent London junket. Credit to him, he resisted the urge to kick-off a superhero turf war, giving a diplomatic answer that involved kryptonite arrows and a slightly baffled look.The diplomacy was unsurprising considering the Dark Knight’s current custodian, Christopher Nolan, is working closely with Snyder and writer David Goyer to bring Supes back to the big screen. “Chris has been amazingly generous with me,” Snyder told us of his producer’s contributions to Superman: Man Of Steel’s storyline. “He’s making The Dark Knight Rises but he takes time if we’re knocking around ideas for the script. We’ll all sit around in a room, beat it around and try to figure it out…”

Read more at empireonline.com.

GoPro and CineForm

I know I own everyone a nice long blog entry on the recent GoPro acquisition of CineForm. Yes the team at CineForm is very pleased about this. In the meantime (with NAB so near), I there is no way can do better than this quote from John Hewat over on DVInfo.net:”CineForm and GoPro make what I consider the two easiest, smoothest products that I ever get to use. I’m very pleased that they’re