21 blog posts found matching keyword search for: 6K in Fairfield
by Corey Steib Kinefinity™ based in China is a new brand of professional digital cinema products including KineRAW cameras, KineMAG SSD, KineKIT accessories, KineStation transcoding software, KineGrip sidegrip, and more. The KineRAW cameras and related products are designed, developed, assembled in China by a team with passion, concentration, vision and technical background from high performance astronomy camera design.Now for the longest time, RED has been the big company to make 4K and higher cameras but now it seems that Kinefinity has announced their very own 6K cameras called KineMax along with the KineMini 4K Camera which are sure to make a lot of noise at this years NAB.
by featured blog contributor, Jeremy PinckertSometimes when I’m in the thick of pre-production on a new television advertising spot, I’m tempted to put all of my emphasis on the obvious questions: Who will be the cinematographer? What camera system will we use? What casting decisions need to be made? Who the hell can convert my scribbles into a real storyboard?There’s a step often left out of the above question process, but one that, as a Director or Producer, does have a significant effect on your picture. In fact, this step is the first point of contact between the enigma of a performance and the camera.
"Due to the bigger image circle the Compact Zoom CZ.2 15-30 has no distortion or vignetting in the corners on Super 35 sensors (Sweet Spot Effect). Due to the full frame coverage, all members of the Compact Zoom lens family cover the RED Dragon senor at 6K. There is no other competitor cine-style lens that can do the same at this point." Learn what makes this lens one of a kind, along with its show reel & more.
One of the fun things about starting off the New Year is thinking about all of the great projects just waiting for you. But what fun is it to embark on a bunch of new projects if you are still using all of that same stuff from last year? Wait! I’m not saying that you are going to throw it all out. Heaven forbid. But what I am advocating is that you can upgrade your production values without breaking the bank. Let’s take a look at some of the exciting new gear for you out there right now.
Thanks to small, high-quality digital cameras, professional and personal drones have completely transformed the production industry, letting filmmakers capture shots that were previously unattainable to non-studio filmmakers. To capture aerial footage a few years ago, you had to either book time in a helicopter containing a professional operator, remote head, and bulky HD camera, or, for lower altitudes, rent the services of a small remote helicopter and operator from a company like Flying-Cam or Coptervision. As you can probably guess, helicopters don’t come cheap.
So with another IBC in the rearview mirror and NAB NY along with AES just a few days away, you would think we could catch our collective breath. Not going to happen. With more new cameras, new sensors and new gear announcements than I can remember (outside of NAB) there is just a ton of cool stuff going on in our business. Which makes for very good news for us here at ProductionHUB. The problem is where to start? Simple. I am just going to dive right in with both feet. Not in any particular order either but here goes.
The 2018 version of Cine Gear has come and gone (insert sad face) but not before the camera and gear makers released all kinds of new and exciting announcements about their products. It was (as usual) a real toss up of where to even start, but here we go with some really interesting things to talk about from the show.
From running around as a kid with a 35mm black and white camera, to renting a camper van and driving through New Zealand for a month while I took pictures of all my surfing adventures, I have always wanted to take my love of nature, people, humanity and technology and bring them together.
"Just a little powder" or "simple and fun." Those phrases for many pro make-up and hair artists can cause the blood pressure to rise and shoulders end up somewhere around the ears. Why? Because those words are many times uttered by someone who might not understand the full scope of the job.
Damien Chazelle’s feature, First Man, about the United States’ effort to land a man on the moon, took home the Oscar last night for the Outstanding Visual Effects category. Paul Lambert, part of the team who took home the Oscar in the category for Blade Runner: 2049 shared insights into the multitude of VFX techniques to create the film's realism.