BLACKMAGIC POCKET CINEMA CAMERA NIGHT TIME
By site editor Dan Chung:
Saturday, September 21, 2013
Saturday, September 14, 2013
Telestream Announces Major Wirecast 5 Release
Telestream today announced a major upgrade for its Wirecast® live
streaming production software. Wirecast 5 adds enhanced encoding and
playback options; a new, more efficient user interface; high-quality
screen capture; and more flexible input/output integrations for easier,
high-quality live streaming.
“With Wirecast 5, we’ve solidified our position as the easy to use, all-in-one, live streaming production software,” said
“With Wirecast 5, we’ve solidified our position as the easy to use, all-in-one, live streaming production software,” said
PANASONIC PRESENTS NEW ULTRA WIDE ANGLE CAMERA AT IBC ‘13
Panasonic Professional Camera Solutions announces its new Ultra Wide
Angle Camera at IBC 2013. This camera consists of a unique panoramic
video shooting system which combines four AW-HE120 cameras. The Ultra
Wide Angle Camera is capable of producing panoramic images in HD quality
making it ideal for capturing sports games and events.
Panasonic’s
Ultra Wide Angle Camera consists of four lightweight AW-HE120 HD
integrated remote cameras, assembled into a
Panasonic’s
Ultra Wide Angle Camera consists of four lightweight AW-HE120 HD
integrated remote cameras, assembled into a
Telestream Initiates Open Source x265/HEVC Project
Telestream today announced the public availability of an open source
H.265 (HEVC) encoder. The new x265 project is aimed at the creation of
the world’s most efficient, highest quality H.265 codec. Conceived by
Telestream, the x265 project was co-founded and is being managed by the
company’s development partner, MulticoreWare Inc. The H.265 initiative
is being introduced under both an open source and commercial license
model.
“Telestream and Multicoreware have had great success in
“Telestream and Multicoreware have had great success in
Sony adds 4K* consumer camcorder to its Handycam portfolio
Sony unveiled its first 4K consumer camcorder, the new Handycam®
FDR-AX1E. Now video enthusiasts can capture 4K content for expressive,
powerful imaging with incomparable levels of clarity and exquisite
colour in every scene.
Four times the detail of Full HD
The FDR-AX1E camcorder records 4K and HD movies in the XAVC S format, using MPEG-4 AVC/H.264 Long GOP for video and Linear PCM for audio compression, while saving files in an MP4 wrapper. The XAVC-S format allows longer recording times, storing almost two hours of 4K video on a 64GB XQD memory card, making 4K recording easier and more convenient. Switching to Full HD recording can store almost 3 hours of 1920×1080 50p footage on a single card. For further compatibility with existing consumer devices, AVCHD format is planned to be updated by the middle of 2014
The FDR-AX1E camcorder features a 4K image sensor that is essential to the stunning image quality it can achieve. The 1/2.3-type Exmor R™ CMOS sensor captures true 4K resolution (3840×2160) images, containing four times the picture detail of Full HD, and has the output speed required by the massive 4K 50 fps data stream. The powerful image processor, identical to those found in professional 4K camcorders, rapidly processes signals transmitted from the CMOS sensor and finalizes images in real time at 50p.
Pristine imagery is also assured by the high quality Sony G Lens™ which redefines what an aspheric lens and special low-dispersion glass combination can reproduce. The G Lens is specially tuned to capture qualities of definition and colour that put this groundbreaking Handycam® camcorder in a class of its own. In addition, the lens offers a broad zoom range from wide-angle to 20x optical (31.5-630mm 35mm equivalent); while Optical SteadyShot keeps footage crisp and stable, even at telephoto mode.
Creative controls and pro-style ergonomics
The FDR-AX1E camcorder offers several functions to
Four times the detail of Full HD
The FDR-AX1E camcorder records 4K and HD movies in the XAVC S format, using MPEG-4 AVC/H.264 Long GOP for video and Linear PCM for audio compression, while saving files in an MP4 wrapper. The XAVC-S format allows longer recording times, storing almost two hours of 4K video on a 64GB XQD memory card, making 4K recording easier and more convenient. Switching to Full HD recording can store almost 3 hours of 1920×1080 50p footage on a single card. For further compatibility with existing consumer devices, AVCHD format is planned to be updated by the middle of 2014
The FDR-AX1E camcorder features a 4K image sensor that is essential to the stunning image quality it can achieve. The 1/2.3-type Exmor R™ CMOS sensor captures true 4K resolution (3840×2160) images, containing four times the picture detail of Full HD, and has the output speed required by the massive 4K 50 fps data stream. The powerful image processor, identical to those found in professional 4K camcorders, rapidly processes signals transmitted from the CMOS sensor and finalizes images in real time at 50p.
Pristine imagery is also assured by the high quality Sony G Lens™ which redefines what an aspheric lens and special low-dispersion glass combination can reproduce. The G Lens is specially tuned to capture qualities of definition and colour that put this groundbreaking Handycam® camcorder in a class of its own. In addition, the lens offers a broad zoom range from wide-angle to 20x optical (31.5-630mm 35mm equivalent); while Optical SteadyShot keeps footage crisp and stable, even at telephoto mode.
Creative controls and pro-style ergonomics
The FDR-AX1E camcorder offers several functions to
Blackmagic Cinema Camera Vs. Pocket Camera
In the short camera test found below, production company A Couple of Night Owls compared shots from the Blackmagic Cinema Camera to those taken with the Blackmagic Pocket Cinema Camera.
They explain on their Vimeo page, "Same lens (Canon 35/1.4L) on both cameras and the Pocket Camera was mounted on top (and beside) the BMCC so any differences are really the difference in sensor size and any differences inherent to each camera."
Watch below.
They explain on their Vimeo page, "Same lens (Canon 35/1.4L) on both cameras and the Pocket Camera was mounted on top (and beside) the BMCC so any differences are really the difference in sensor size and any differences inherent to each camera."
Watch below.
Produce Your Best Ever HD-SLR Video—6 key areas to consider
Produce Your Best Ever HD-SLR
Video—6 key areas to consider
by Nikon
“The use of D-SLR cameras for professional movie and film capture has taken off like wild fire. Almost every videography professional with whom I have worked either uses an HD-SLR for filming or has tried it,” shares Skyler Proctor, an Idaho Falls, Idaho, based director of photography. “I personally like the smaller format D-SLR because the FX sensor is so large and gives a look no other ‘typical’ video camera format really can. I prefer it for short films, commercials, music videos and documentaries.”
A longtime video devotee with experience using all ranges of
traditional studio cameras, his first brush with an HD-SLR came through a
film industry peer five years ago. This peer was sharing personal
reasons for
Video Aspect Ratios from RED Digital Cinema
A video’s aspect ratio is an important creative choice that can
affect the feel of footage, but it’s also a key technical consideration
that affects how and where this footage can be displayed. This article
gives an overview of the various capture settings and applications.
HISTORY
The origin and evolution toward the
Topaz ReStyle
Topaz ReStyle: New Photoshop/Lightroom Plug-in
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