A recent video on the Abel Cine Technica Blog testing two of the new Canon Compact Cine Zoom lenses in real-world situations not only shows how capable they are, but also does a very good job of illustrating the different look you get from different focal lengths. The entire video is worth watching, but if you skip to 5:40 you’ll see the explanation and examples of the same framing using four different focal lengths.
I’ve had a few people come to me over the past months who are having problems importing AVCHD files into Final Cut Pro 7 and I did a simple test today to isolate the problem. This test was done with a Canon Vixia HF S100, so I can’t say whether these results will apply to other cameras.
First, the problem:
Final Cut Pro won’t recognize certain types of AVCHD files under certain conditions. A student will shoot with the Vixia and when she or he tries to import the footage using log and transfer in Final Cut Pro either nothing will happen (no files are added to the queue) or, if the “Private” folder was selected, the following message will appear:
“‘PRIVATE’ contains unsupported media or has an invalid directory structure. Please choose a folder whose directory structure matches supported media.”
I assembled our RED One two weeks ago for the last time:
Then I packed it up to send back to RED forever.
We’re taking advantage of RED’s Stage 3 trade-in deal to get the new RED Epic. It’s a pretty great deal and will keep us on the cutting edge of digital camera technology.
I heard last week that our camera is in perfect condition and that we’ll get the full trade-in value. That’s pretty amazing to me, considering that this camera has been out on student productions almost constantly for the past three years. Great job everybody!
Sony announced their update to the popular FS100 a couple of months ago at around $10,000, but it recently became available for pre-order at $7,999.
The significant differences between this camera and the FS100 are:
- Slow motion capability: 240 fps at full resolution—up to 960 fps at reduced resolution
- Addition of ND Filters
- Higher-resolution sensor enabling 4k output to an external recorder available in the future
- Additional Gamma options that are similar to those available in the F3
Abel Cine in New York recently ran a series of tests on the camera: low-light performance (up to ISO 16000), dynamic range (about 11.5 stops, depending on the gamma), and slow motion (it appears that camera arrays for bullet time are a thing of the past, even for the low-budget production).
You can see this great set of tests here.
NASA recently released time lapse videos of the Earth from the International Space Station that apparently were shot with a Nikon D3S. Here is a nice compilation put together by Michael Konig:
The best part about these videos, though, is that fact that NASA provides the full-resolution still photos that were used as the source for the videos. You can get them all here. I’m no lawyer, but as far as I can tell, the terms and conditions allow you to use them pretty much however you want and, since you can compile videos from the stills yourself you could keep the resolution and have up to 4k video or get closer shots in HD resolution. Installation, anyone? Composite material for a shot looking out the window in your science fiction movie?
You used to be able to turn stills into movies in Quicktime, but now that feature is only available in Quicktime Pro, which you have to pay for. Luckily, there’s a free version available here. And while you’re there, check out this guy’s other projects. Especially exciting is the Arduino-based motion activated camera.
From no-budget student productions to full-scale Hollywood movies, media production has often been a wasteful industry. This is not the way things have to be. Here are some resources to help make media production more environmentally-friendly:
The Center for Social Media published the Code of Best Practices for Sustainable Filmmaking.
The Environmental Media Association has a best practices guide for their Green Seal award.
Sony Released more details yesterday on their new 4k camera. The sensor is actually 8k, but the video it records is 4k derived from that sensor (20 megapixels in DSLR terms). While it’s clearly a professional camera meant to work in place of 35mm film cameras, the price is pretty impressive. This post at Cine Technica goes into more details. Abel Cine is selling a package this fall that includes the F65RS (RS stands for rotary shutter – eliminates “jello” problems) with a color viewfinder, digital recorder 256GB SRMemory Card and data transfer unit for $85,000. Quite a bit more than what a similar package for RED’s new Epic would cost, but quite a bit less than I would have guessed.
They also announced a new “consumer” 4k projector, price rumored to be under $20,000. Not quite what I’d consider a consumer price, but still…
2:3 Pulldown is a technique used to display video on an interlaced (60i) system that originates as 24 frames-per-second progressive. This is most familiar in the context of film-to-video transfers, but it’s becoming relevant in a new way. In this post I talked about some of the new external video recorders that are being made and many of them, like the Atomos Ninja, record whatever they’re given. Since they’re using signals from cameras that are meant to be sent to a monitor (via HDMI or SDI), they typically end up recording 60i video. So if you’re shooting 24p, 2:3 pulldown has been added and you’ll probably want to remove it to get the progressive video you intended. This post by Andy Shipsides at the Abel Cine Technica blog explains 2:3 pulldown in greater detail and shows two ways you can remove it.