LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Your Future is NOW

CreativeCOW presents Your Future is NOW -- Cinematography Feature


Chicago Illinois USA
CreativeCOW.net. All rights reserved.


Passing into a new decade, people are constantly asking what the future holds. Everyone wants to know what new camera, product or technology will impact the future. I am one of those people who get to see the future in what lies in what is here, now. After I take a look at current cameras, lenses and related technology, I am going to close by surprising you with my pick for today's hottest technology.


SONY

While every other manufacturer has been leaving tape behind on their higher-end products, Sony bucked the trend to release the first 10-bit tape based HD camcorder, in the SRW-9000 -- basically an HDCAM SRW-1 deck with the F23's imaging system mounted directly on it. Sony will offer an optional 35mm sensor upgrade and digital recording capability for the SRW9000 camera by the end of the year, along with a 25% cut in the price of SR tape stock.

In December, Sony announced "SR 2.0," an updated recording system based around HDCAM SR that will allow for various compression levels, a solid state recording module, direct access to the "native" HDCAM SR codec in MXF wrapped MPEG-4 SStP (Simple Studio Profile), and a 220Mbps "delivery" version of the SR codec via Gigabit Ethernet.

Sony's XDCAM team has also recently updated their offerings with the shouldermount version of the venerable XDCAM EX (the PMW-350), as well as the new PDW-350 XDCAM HD camera. Just as we were headed to press, Sony also released a new solid state professional camcorder, the HXR-NX5U, which records AVCHD up to 24Mbps in 1080P/24, rather than an MP2 compressed file inside of an MP4 MXF wrapper.


Sony SRW-9000
The Sony SRW-9000


PANASONIC

Panasonic keeps hammering away at the high-end market. Of course, I originally chuckled at the Varicam 3700's limited features, yet this workhorse has, hands down, won me over. The addition of 1080 4:4:4 capture, and 1-60 fps as VFR on new E-series P2 cards or via dual link output changes everything, and allows Panasonic to do in 1080 what is a staple of the 720p workflow. The ability to record 96K audio seals the deal on the 3700's status as a mainline production camera usable in multiple shooting scenarios.

Panasonic also rocked CES 2010 by showing off a working prototype of a one-piece 3D camera that records stereoscopically to dual, interal SDHC/SD cards in camera. A vastly simplified shooting technology using a single camera to capture both streams of video, combined with a projected $21K USD price, and Panasonic once again has chosen to lead stereoscopic production, much like they have done all along in HD. I am looking forward to testing this camera for an extended review here on the Cow later this spring.


Panasonic HPX-3700
The Panasonic HPX-3700


ARRI

When the world's top manufacturer of film cameras decides to revamp its digital camera line, watch out. When the new Alexa camera system was announced last fall at IBC, you could almost feel the ground shaking on the show floor -- and I was 4 halls away! ARRI came to fight, bringing a prototype imager to the show floor with a baseline exposure at more than 800+ ASA (2x faster than the Sony F35), and an advertised latitude of more than 12 stops.

With an as-yet unannounced tapeless capture system, and ARRI's long standing reputation for unrivaled quality and meticulous construction, I cannot wait to get my hands on a model for testing.


The ARRI Alexa
The ARRI Alexa


The ARRI Alexa is set to give every other camera manufacturer a run for image quality and versatility when they release their updated RAW workflow for the camera, which is 1080/60p capable with variable frame rates, live video out, and an HD (1280x720) optical or electronic viewfinder. Here's hoping that the new EVF is usable on other camera systems, as, at first glance, I found it superior to the incredible RED EVF.

Industry watchers, note: ARRI USA has wooed HD guru Michael Bravin from his long-time association with Band Pro and Sony to head up the marketing for their new camera. Things are going to get very interesting, fast.



Comments

Re: Your Future is NOW
by gary adcock
thanks

I do not disagree, but I had to use a common point of reference for people, not necessarily the BEST example, but everyone has heard about.

It is the organic nature of of the lens that intrigued me, there are a number of spoofs on the web regarding that very issue.

The true nature of an anamorphic lens is that it allows you to actually gain resolution by using more of the sensor area and believe me that you can see the 25% increase in resolution.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

http://blogs.creativecow.net/24640

re: Lens flare in Star Trek
by Karel Bata
Interesting article Gary. Thank you for that.

But I'm not so sure that Star Trek is the best example of the kinds of lens flare that anamorphic will routinely give you. J.J.Abrams deliberately went out of his way to add flare by having someone shine a mag-light into the lens.
http://io9.com/5230278/jj-abrams-admits-star-trek-lens-flares-are-ridiculou...

Incredible, but true...


Related Articles / Tutorials:
Cinematography
Shooting RED 8K for Danny Boyle's Yesterday

Shooting RED 8K for Danny Boyle's Yesterday

The magical romantic comedy Yesterday reunites cinematographer Christopher Ross BSC with director Danny Boyle to tell the story of a singer-songwriter who wakes up to discover that he's the only one in the world who remembers The Beatles. Christopher selected the RED HELIUM S35 8K sensor (with as many as 17 cameras rolling simultaneously in a single scene!) to capture a variety of looks as the story takes viewers from East Anglia to Los Angeles. With 10-15TB of footage coming in every day, this is also a workflow story, featuring DIT Thomas Patrick and the team at Mission Digital for dailies, and Goldcrest Post for online, VFX, conform, and grade.


Adrian Pennington
Cinematography
Spider-Man Far From Home Cinematographer Matthew Lloyd

Spider-Man Far From Home Cinematographer Matthew Lloyd

Matthew Lloyd, cinematographer for Spider-Man: Far From Home, takes us behind the scenes of the film and shares techniques for lighting and shooting massive visual effects scenes. Matthew and Go Creative Show host Ben Consoli, discuss working in Marvel’s Cinematic Universe, using pre-vis to prep for shots with VFX, creating Spider-Man’s holographic world, plus Matt’s camera and lens choice, his experience with commercial and fashion filmmaking, audience questions and so much more!


Ben Consoli
Cinematography
DJI Osmo Action Camera In-Depth: Taking on GoPro

DJI Osmo Action Camera In-Depth: Taking on GoPro

The DJI Osmo Action is DJI's first GoPro-like action camera. It shoots crisp 4K video at 60 FPS, and super slow motion at 240 FPS at 1080p, also with support for HDR and terrific RockSteady image stabilization. Especially interesting: TWO LCD screens to make it easy to see what you're shooting from every angle. VFX guru and filmmaker, Surfaced Studio's Tobias G puts the Osmo Action through its paces and tells all about what he likes and doesn't, with lots of sample footage for you to judge for yourself!


Tobias G
Cinematography
Stuart Dryburgh: DP for Men In Black International

Stuart Dryburgh: DP for Men In Black International

Stuart Dryburgh, cinematographer for Men In Black International, joins Go Creative Show host, Ben Consoli, to discuss creating the look for the film. Stuart talks about the challenges of working in an established franchise, filming in NYC in the snow, why Stuart prefers Arri Alexa cameras, his lighting and lens choices for the film, shooting action scenes, and more!


Ben Consoli
Cinematography
Capturing ProRes RAW

Capturing ProRes RAW

Apple ProRes RAW has lots of buzz, and can offer some great opportunities in both shooting and post, once you know how to capture it. Director Steve Pierce and DP Igor Kropotov explain why they love it, how to capture it on set, and what tools you can use.


Adorama TV
Cinematography
Small HD FOCUS 7 4K Monitor Hands On

Small HD FOCUS 7 4K Monitor Hands On

Here's a first look at the SmallHD FOCUS 7, a 7-inch, 4K monitor that packs significant production value in a moderate price. The monitor includes Small HD’s OS3 software, which gives users access to features such as pinch-to-zoom, waveform monitors, focus pulling, 3D LUTs, and more, in a build that's lightweight, durable, and retains mobility.

Tutorial
Adorama TV
Cinematography
GoPro HERO7 First Look

GoPro HERO7 First Look

The new GoPro HERO7 can do WHAT? Join Steven John Irby, co-owner and director of Street Dreams Magazine, for a look at the most advanced GoPro yet: HyperSmooth Stabilization, TimeWarp Video, live streaming, voice control, waterproof, and much more.


Adorama TV
Cinematography
Five Cinematic Drone Shots For You To Master

Five Cinematic Drone Shots For You To Master

If you tend to put your drone up in the air and then struggle with what to do next, or if you just randomly shoot around filling up your memory card, then this tutorial is for you. Here are 5 cinematic drone shots that, with a little practice, will take your aerial cinematography to the next level.

Tutorial
Adorama TV
Cinematography
Filming In Small Spaces

Filming In Small Spaces

"Penned" is a narrative series shot on location in New York, which means working in lots of small spaces. The team not only explores how these challenges call upon their highest level of creativity in the shortest amount of time, but also lay out how these challenges give some of the most creative results. The producers, director, and DP all share their tricks and advice including connecting the corners, putting light in Z space, having the lens closer to a foreground element, and utilizing high ceilings.

Tutorial
Adorama TV
Cinematography
In-Camera Video Transition Hacks

In-Camera Video Transition Hacks

When you think about video transitions, your mind might first turn to software, but as Surfaced Studio vfx guru Tobias Gleissenberger points out, some of the cleverest, most-effective, and easiest transitions to create are ones that take place primarily in your camera. A little pre-production planning and a little timeline finesse can work magic!

Tutorial
Tobias Gleissenberger
MORE
© 2019 CreativeCOW.net All Rights Reserved
[TOP]