Cinematography, GearComments Off on Panavision Announces New Millennium DXL2 8K Camera with the RED Monstro 8K VV Sensor
The new Panavision Millenium DXL2 builds on the success of the original Millennium DXL. Both models operate in an ecosystem (or should I say marriage) between three top-class companies in the moving picture industry: Panavision, Light Iron and RED. However, this time the development of the camera has gone even further by incorporating Panavision with the RED MONSTRO 8K VV sensor, and Light Iron color2 science.
As stated by Michael Cioni, senior VP of Innovation at Panavision and Light Iron: “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.”
Watch the video below which demonstrates the DXL2 in action.
GearComments Off on Shootout: $4,990 Zeiss Otus 28mm vs $4,250 Leica Q
In the pantheon of lens focal lengths, 28mm is a bit of an outlier. Photojournalists are more apt to reach for the 35mm, while many manufacturers have settled on 24mm for primes and the wide end of their zoom lenses. But 28mm has become visually familiar to consumers because its field-of-view equivalent can be found on many smartphones like the iPhone.
Zeiss caused a ruckus when it announced its line of Otus lenses in 2013; a line designed for maximum still photography performance with a weatherproof construction made of glass, aluminum, and rubber. Maximum quality also means eye-popping prices. The 28mm f/1.4 Otus can be yours for a touch under $5,000.
GearComments Off on Panasonic GH5S Video Hands-On – Highlights of the New Camera
The wait is over. Panasonic just announced their new flagship video-orientated mirrorless photo camera, the GH5S. Watch our GH5S Video Hands-on above! (And the Mini Documentary I’ve shotwith that new camera) Promising to perform (much) better than its predecessor in low-light, the new camera was also designed to compete with Sony’s a7S series. Is it up to the task? In our opinion: YES!
Before we get started: Stay tuned to our continuous coverage of the new Panasonic GH5S. A short review and original footage is coming up today too. Tomorrow, please look out for Nino’s lowlight test/review video and on top, our exclusive interview with Yamane-san – head of Panasonic imaging division – where we ask the questions that deserve answers. Only on cinema5D.com!
TechniqueComments Off on 10 Handy Photoshop Shortcuts for Working with Layers
Adobe just released this helpful 2-minute video that shares 10 handy shortcuts you can use in Photoshop when working with layers.
Here’s a quick rundown of the 10 shortcuts (watch the video above for visual demonstrations):
1. Add layer masks to hide all
To quickly add a layer mask to hide all of a layer, just hold down the Option key on Mac (or Alt on Windows) and click on the “Add Layer Mask” button in the Layers panel.
2. Delete layer masks
Instead of dragging a layer mask into the bin, you can just right click the layer mask itself and delete it from the tooltip menu that appears.
3. Add a layer mask based on selections
Creating a layer mask of a selection you have made is a useful thing to do for Photoshop users. Clicking the “Add Layer Mask” button will reveal your selection, but if you want to hide it then you just need to hold the Option key on Mac (or Alt for Windows) while clicking.
4. Invert a layer mask
If you want to invert your layer mask, just hold Command + I on Mac (or Control + I on Windows) to quickly move between the two.
TechniqueComments Off on Twenty Helpful Tips and Tricks for Photoshop
Photoshop is a tremendously intricate and nuanced program, and you can never have enough tips and tricks to navigate all its features and options and make your workflow both more powerful and more efficient. This helpful video will show you 20 more tips and tricks you might not have seen before.
TechniqueComments Off on SmallHD Firmware OS3 Adds Auto Calibration And Custom False Color
SmallHD has released a firmware update they are calling their biggest yet. OS3 is available for all current SmallHD monitors, sporting advanced false color and waveform functionality, as well as much need auto calibration.
The above video gives you a nice little run down of SmallHD firmware update OS3.
SmallHD has focused on updating their false color and waveform exposure tools to make them much more customizable.
Customizable False Color
Previous to this update, the false color feature on SmallHD monitors was fairly standard – the image displayed was broken down into color shades that stretched a gradient from 0-100%.
Now, you can select specific IRE values (up to 10 different ranges) and assign them different colors.
How does this help? Primitive false color is one thing, but having the ability to really home in on certain IRE values is a step further in advanced exposure assistance.
You can set a certain level of IRE values that you know is good for skin tones, or set a low and/or high end cap on edge range values to ensure you don’t under or over expose.
It can be really good for greenscreen and cyc work also, as well as keeping track of exposure tones for long-term projects.
GearComments Off on FUJIFILM X-E3 Review – Sample Footage and First Impressions
The new FUJIFILM X-E3is the latest edition to the ever growing family of FUJIFILM’s X-mount line. This APS-C sensor-sized, mirrorless stills camera, can shoot high quality 4k (UHD) video and, dare I say it, is the best they have produced so far! As a reviewer, I had the chance to work with the X-PRO2, X-T2, X-T20 and the GFX 50S. While all produce nice looking images, the new X-E3 sets itself apart from the crowd by offering greater ease of use (mostly due to the added focus lever and LCD touch screen), enhanced autofocus capabilities and very pleasing video quality. Read on for my FUJIFILM X-E3 review.
FUJIFILM was kind enough to supply me with a production sample that I could use and explore for a few days; here are my findings from myFUJIFILM X-E3 review:
The first thing I noticed when taking the camera out of the box was how light-weight it is, to the point of not being sure if FUJIFILM had decided to pull my leg and send me an empty camera shell! In a world where every gram counts, particularly in relation to international travel, this is a big advantage.
Cinematography, GearComments Off on Canon XF405 Review – Sample Footage and First Impressions
With the introduction of the new Canon XF405, XF400, LEGRIA/VIXIA GX10 – as well as the whole of Sony’s new line– one can assume that the fastest growing market for news and documentary shooting is coming in the form of 4K (UHD), handheld 1” sensor-size cameras. It is not that we haven’t had them before, but they certainly have been getting better and more feature-rich with time. When it comes to affordability… well, it totally depends on who you are talking to and the model you choose.
If you are an independent filmmaker looking for an all-round shooting device that can produce a bit of a cinematic look thanks to a slightly larger sensor than those traditionally found in these type of cameras, or if you’re a broadcaster looking to equip news crews with a versatile and affordable piece of equipment, then the Canon XF405/400/LEGRIA GX10 might be the right cameras for you. Sound tempting? Then read on for my full Canon XF405 review.
Before continuing, it is important for me to make it clear that the image coming out of the camera I tested may be slightly different than that of the final product.
The wait is over: Sony has finally unveiled the first in the new generation of the A7 series. As always, the Sony a7R III comes at the vanguard of the new announcements – ahead of the A7 and S models – and this time brings a host of improvements to existing features and a few new surprises.
As expected, the newSony a7R III brings a high pixel-count sensor, with its 42.4MP of resolution once again making this the model aimed primarily at professional stills photographers. The camera’s back-illuminated Exmor R and BIONZ X processor make this model capable of capturing 10 still frames per second, for a buffer of 76 continuous compressed RAW or JPEG images. ISO is available from 100-32000, and Sony claims that noise has been reduced by up to a full stop.
All of this with the advanced autofocus capabilities we have come to expect from this line’s R model, thanks to its 399 phase-detection AF points across 68% of the image, in addition to 425 contrast-detection points. Sony also claims that the camera’s Eye AF performance has been improved when the subject is moving, backlit or looking down.
What about video?
Just like with the II, the newSony a7R III is capable of recording internal 4K in both full-frame and Super 35mm modes. As you may remember from some of our camera tests of the previous generation, the A7R II offered a better 4K image in crop mode, so it remains to be seen whether this will still be the case with the a7R III (take a look at some comparisons here, and our review here). It’s worth mentioning that the camera also supports proxy recording for easier editing of high-resolution videos, particularly useful when dealing with the relatively processor-intensive XAVC codec. Additionally, one of the biggest improvements to the video capabilities of the camera is the ability to achieve an increased resolution of 5K in Super 35mm mode thanks to an oversampling of a 15MP section of the sensor.
TechniqueComments Off on Why the Brush Tool Has a Weird Purple Line in Photoshop CC 2018
If you’ve started using Photoshop CC 2018, you may have noticed a strange purple line following your brush around as you’re using it now. That line is called a “brush leash,” and here’s a helpful 6-minute video by retoucher PratikNaik about what that purple line is and how you can use and customize it.
Basically, the purple brush leash is meant to serve as a guide for the Smoothing feature of the Brush Tool. Turning Smoothing down to 0% removes the purple line and restores the brush tool to the original version.
You can also turn off the brush leash in the Cursors panel of your Preferences.
TechniqueComments Off on How to Use the Foreground to Create Depth in Landscape Photos
Sometimes a beautiful landscape scene doesn’t look as good on camera as it did to your eye, but that’s because translating a 3-dimensional scene into a 2-dimensional space is challenging. Using strong foreground elements in your composition is one way to create depth and counter this problem, as shown in this 8-minute tutorial from Nature TTL.
There are a huge number of different rules and compositional guides you can adhere to, but one lesser-known rule is the “Rule of Odds.”
This suggests using an odd number of objects in your foreground, as the eye tends to find itself being drawn to the middle one. This means that you can use objects as stepping stones, drawing the eye into the image.
GearComments Off on PolarPro FiftyFifty Review – A New Way to Compose Your Watersport Shots
The PolarPro FiftyFifty is the latest gadget for the GoPro HERO 5: a dome for split shots over and underwater. Read on for sample footage and my impressions.
Having used GoPro gear for the last few years, I am constantly amazed by the evolution of the cameras and their accessories. I recently got my hands on the PolarPro FiftyFifty, a dome shaped-accessory that allows you to achieve shots above and below the water surface simultaneously.
Now you may ask, why would I need a dome? Couldn’t I just hold the GoPro half way over and under water? There are two reasons why this isn’t a good idea. First, the GoPro’s tiny lens makes it difficult to accurately hit that half/half position. Secondly, there’s the small detail of physics blurring your image: the surface tension of the water, in addition to the air and plastic front lens creates a contact angle with a water surface curvature, acting like an optical element. If this happens directly on your front lens, it blurs a lot of your recorded image. However, if this phenomenon happens further away – hence the dome – then it occupies only a small portion of the image, and you get a clear split shot.
GearComments Off on Looking Through the Viewfinder of a Hasselblad XPan
The XPan was the first Hasselblad camera to 35mm film and was able to shoot ultra-wide panorama negatives. Photographer Jordan Lockhart decided to mount an action camera to his XPan to capture what it’s like to frame the world and shoot with this unique camera.
“It took us a while to figure out a proper way to make this work but we eventually found out a decent solution, which I hope will give you a taste of why I love this camera so much,” writes Vincent Moschetti of OYWFO, who made the 6-minute video above showing the experiment. “We used a roll of Kodak Portra 800 which seemed like the perfect film to use on this rainy day and explore the city of Tampere in Finland.”
Vision Research has recently introduced a new Phantom VEO 4K-PL, which like its older brother Phantom Flex 4K, can shoot up to 1000fps at full 4K DCI resolution, but in a smaller and more compact body.
What is the Phantom VEO line?
They say that when you touch a Phantom camera you go straight to heaven. At least that’s how I feel. Vision Research is a company that started out with high-speed cameras for military testing and analysing car-crash impacts, only to later turn its eye to the film industry with its revolutionary tech. In 2014, Vision Research introduced the mind-blowing Phantom Flex 4K camera, capable of 1000 frames-per-second at full 4K DCI resolution, in what many would consider the best quality 4K RAW compared to RED and even ARRI. Last year, Vision Research introduced the VEO line, a more compact version of their film industry cameras that continue the trend set by the ARRI Mini and RED – that smaller is better. Less weight and a more compact design mean more possibilities, such as the use of stabilisation platforms and even UAV. In comparison, the Phantom Flex 4K body weighs an incredible 5kg without ANYTHING on it. Add a lens, follow focus, rods, viewfinder, batteries, monitor and you can easily accumulate a weight that not many gimbals can handle.
Cinematography, GearComments Off on A Look at Blackmagic’s URSA Mini Pro Mirrored SSD Recorder Add-On
URSA Mini Pro Mirrored SSD Recorder
Blackmagic Design has listened to customer requests and developed an SSD recorder for the URSA Mini Pro, which was announced earlier this year. This allows users to to get fast recordings on to larger-capacity media. It attaches to the rear of the URSA Mini Pro and enables you to mirror recordings in the same codec and format that is recorded internally.
The URSA Mini Pro Mirrored SSD Recorder connects via 2 SDI cables to the camera. However Tim tells us that it records the files as original data in the chosen format and not via an SDI stream.
For productions that require multiple sets of rushes, such as for sending to archive or a post-production facility, the new URSA Mini Pro mirrored SSD recording capability allows for a much faster workflow than needing to create copies of sometimes very large files or long video clips.
The choice of using SSDs was due to the low cost and wide availability of the medium. The SSD recorder works in the same way as the Blackmagic Design Hyperdeck, and recommends the same high-speed drives to use in the recorder. It mounts directly onto the camera, and is designed to be used exclusively with the URSA Mini Pro.
GearComments Off on The New Cmotion cPRO Wireless Hand Unit Offers Ultimate Focus Control
We took a look at the new Cmotion cPRO lens controller, a feature packed, professional hand unit for professional focus assistance with Camin integration.
We saw a very interesting and affordable low end wireless focus control solution withTilta’s new $399 Nucleus-Nyesterday. Today we’re looking at state of the art high end stuff. Here’s what Cmotion had in store during IBC 2017.
GearComments Off on Here’s the First 8K Timelapse Shot with the Nikon D850
The new Nikon D850 lets you create 8K timelapses using the 45.7-megapixel sensor and the built-in Interval Timer. If you’ve been wanting to see what 8K shot with the camera looks like, today’s your lucky day: we got our hands on the first 8K timelapse short film shot on the D850.
The 2.5-minute video above was captured by photographer and Nikon Ambassador Lucas Gilman in Iceland using a pre-production D850. If you somehow have an 8K-capable screen, be sure to select the 4320p/8K quality option in the video to watch it in its full glory.
Here’san illustration showing how much more resolution 8K has than 4K, Full HD, and SD:
Gilman says he chose to test the camera’s 8K capabilities in Iceland due to the movements that can be seen everywhere in the landscapes and due to the microclimates that provide a huge amount of visual diversity even in a short amount of time.
The project was challenging though: there’s only a single sunrise and sunset you can capture each day, and each 3-4 second sequence in the video above took hours for Gilman to plan and shoot. He was planning to shoot night scenes as well, but Iceland’s days were 20 hours long while he was in the country.