Really did enjoy part 1 of this 3 part series. Very insightful, motivational, and inspiring. Anyone who is, or is considering becoming a cinematographer should really have a look at it. You won’t regret watching it. Looking forward to parts 2 and 3.
Posts tagged cinematography
Cine Gear 2012
Via: www.fdtimes.com
Fstoppers Original: Will Video Kill The Photographer? Hasselblad vs Red Epic (by FStoppers)
Really interesting. Worth the watch.
Source youtube.com
yummm…Lens
Fujinon 19-90mm T/2.9 Pl zoom
Some photos of a short film I shot this weekend.
My basic set up right now.
The Cinematographer (by historycomestolife)
— if you appreciate cinema and it’s roots then watch this. If you’re a cinematographer you need to watch this. Everything that is old is new. Technology changes all around us yet our principles of photography remain constant. But knowing the rules is the only way one can effectively break them! Go out and create…BG
Source youtube.com
We like to imagine that the choices made by directors and cinematographers when lensing their features are unrestricted ones, and that the images on the screen are all the result of precisely made decisions. But, in the real world, budgetary, production and technical factors intrude, and sometimes in conflicting ways. A format that may produce an optimum image in production may cause complications in post. Or, more happily, budgeting a digital intermediate may allow for faster on-set decisions. Below, we talked to four d.p.‘s — Andrij Parekh, Tim Orr, Sean Kirby and Ellen Kuras to learn about the decisions they are in the midst of their current shoots.
Why Matteboxes are important if you want complete control of your image.
Also, how to use different filters with your mattebox.
Scarlet-X…
Shot in ARRIRAW 3K on an Arri Alexa. Master DP Harris Savides ASC took the Leica Summilux-C lenses into the Upper West Side of NYC for a test shoot.
Those familiar with Harris’s work will see his trademark style come through in this piece. This film in particular shows the absolute sharpness in the focal plane that these lenses provide, combined with the soft pleasing focus falloff. Highlight tones & flare quality is notable as well.
The quality of the bokeh (out of focus highlights) in this piece is a combination of lens & the Alexa itself. Notice as the circles travel from the edge to the center as they go from an almond shape to a circular shape. After shooting on these lenses with many cameras, this feature only showed itself on the Alexa.
Special thanks to TCS for providing the Alexa camera package and so much more. (*edit - credits incorrectly list ‘F35 Package from TCS’, the camera was an Arri Alexa).
Music is All Sewn Up by David Holmes. Available on iTunes here bit.ly/erBUGO
Source vimeo.com
18-Megapixel Full-Frame CMOS Sensor, Full HD Video Recording, 61-Point Autofocus, new and faster imaging processors, 14-bit A/D data conversion. With a week to PhotoPlus Expo,Canon announces their new EOS-1D X Digital SLR camera.
The EOS-1D X replaces the EOS-1Ds Mark III and EOS-1D Mark IV, and many 5D Mark II owners will be flocking to Canon’s exhibit in New York’s Jacob Javits Center next week.
Here’s a humbling statistic for those of us accustomed to counting motion picture cameras by several thousands. By September 2011, Canon delivered 50 million EOS SLR cameras. By the end of October, they will have built 70 million EF lenses.
Source fdtimes.com
ARRI Alexa Studio made her USA debut in Hollywood on Thursday evening. Two working Alexas were set up in the ASC clubhouse for hands-on scrutiny.
Alexa Studio is the third sister in ARRI’s latest family of 35mm digital motion picture cameras. This is the one with a spinning mirror shutter, optical finder and full frame 4:3 35mm sensor.
That is a big deal: Alexa Studio is the only digital motion picture camera (besides the Arriflex D-21) with the equivalent of a full-frame 4-perf gate and optical finder.
Alexa Studio can accommodate 2x anamorphic widescreen as seamlessly as Arricams or Panaflexes. (16:9 sensors require either 1.3x anamorphic squeeze or cropped sides.)
And sure enough, one Alexa Studio had a Panavision Anamorphic G series 75mm lens with Panavision mount. The other Studio camera had a PL mount with a Hawk Anamorphic from Clairmont Camera and Codex ARRIRAW Onboard Recorder.
There were two long lines at the ASC. The first was for a look through the Studio’s stunning optical finder at the equally stunning model Katherine Beer in a setup provided by Bill Bennett, ASC.
The other line was for a refreshing Erdlinger wheat beer or Bitburger Pils to wash down the barbeque of bratwurst, sausages, pretzels and other Bavarian fare. For this was not only an Alexa debut, it was also ARRI Oktoberfest at the ASC.
Alexa Studio’s spinning mirror shutter, groundglass, and optical viewfinder “feels” similar to an Arricam, but it’s a new design. However, many existing groundglasses and eyepiece extenders will fit.
More than 200 cinematographers and industry luminaries converged on the ASC clubhouse. Someone must have tweeted, “OMG OKT @ ASC” because it was a packed event. The lively band provided a musical tour ranging from Munich Wiesen oompah-oompah to pop to Johnny Cash. Richard Crudo, ASC opened the festivities with an introduction, followed by words from ARRI VP Bill Russell and ARRI Managing Director Franz Kraus.
Historically, anamorphic widescreen has followed every big wave of 3D. I think Alexa Studio will help history to be repeated again.
Comparison of ARRI Alexa Sensor Imaging Areas:
ARRI Alexa Studio 4:3 CMOS sensor imaging area
ARRI Alexa and Alexa Plus 16:9 CMOS Sensor imaging area.
