21 blog posts found matching keyword search for: Video Assist
Let’s get it straight right from the get-go. Right now there are several very good field recorders/monitors out in the field as we speak. I have had the good fortune of using and reviewing others such as Blackmagic Design Video Assist ($895) and Video Design PIX-E7 ($1695) to name two.
The rise of professional field monitors and recorders (or some combination thereof) has to be one of the most interesting and welcome product developments for filmmakers in recent memory. Pushed by demand for more features and benefits, manufacturers have answered the call. This new breed of smaller yet powerful monitor/recorders takes production capabilities to a whole new level with 4K and beyond.
Coming on the heels of a busy NAB Show, Cinemartin announced on Facebook yesterday they have a new camera called FRAN, a new 8K camera in the works. This is great news for cinematographers who are looking to get into 8K shooting but haven’t quite made the move to 8K yet.
When I got the delivery of the Blackmagic Design Micro Studio Camera 4K, I was instantly very curious. I am thinking to myself, OK, a small 4K camera, not exactly a brand new idea. So how would it stack up? What would the image quality be? There are other cameras in the small 4K space that make really nice images. So what would set the Blackmagic Design 4K Micro apart from the rest? Get ready for an interesting twist on how Blackmagic delivered with really solid, exceptional picture quality.
If you're a fan of college football, you've more than likely watched or at least heard of Auburn University. Think Cam Newton. Imagine what it's like to capture video of all of the crazy game plays and touchdown passes. And how exactly does all of the amazing footage end up on your TV screen? Weston Carter, Director of Video Services, Auburn Athletics Department, answered a few questions about the whole process.
by Bradford HillI always find it interesting to see how different cameras and their layouts will function under the many shooting conditions I am faced with on an every day basis. (So when Canon asked me if I wanted to shoot the XF205, I was fairly excited to give it a go.) Being that I am a full time Cinema EOS user, when I am given an opportunity to shoot with a “Documentary Style Camcorder”, it always tends to brings back memories of shooting on MiniDV with GL1’s & XL1’s. Things certainly have changed from those days and it is great to see how far these cameras have come. The Canon XF205 is a creative powerhouse packed with some of the most up-to-date technology in camera function & abilities. I must say, I was blown away by the extensive menu layout and finely tunable controls that don’t often get paired together.
As technology continues to progress at a rapid pace, post-production is set to change dramatically. Besides great new software features, compute (and therefore render) power continues to increase with faster processors and more powerful xPUs (GPUs, TPUs, etc.). This means real-time editing of HD, 4K, 8K, AR and VR is fast becoming a reality, ultimately shortening post-production timeframes.
Recently, I had the opportunity to sit down and talk with two of the driving forces in the drone segment: Drone Coalition co founders Scott Gentry and Jeff Foster. On this sweeping interview they provide some key insights and a few surprises in what they think is going on in the drone world right and in the future.
It is not unusual over the course of the year to get quite a few different professional camera packages to try out. They range from super high end to entry pro level. But that’s ok by me because I am always looking for the right camera for the program, not overkill. That said the JVC GY-HM200SP 4K CAM was really quite a pleasant surprise. But I’m not really sure why I was surprised. I think I might know. Normally, we only get to hang on to a camera for a few weeks at most. This time however we had a chance to stretch that review period out over a longer time which was some of the local high school football season and couldn’t have been happier with the results. Yes, and the team won some of their games too! But before I get to deep into the games lets get a snapshot of the physical make up of JVC GY-HM200SP.
As a producer/director/shooter I’m always looking for the best way to maximize the investment of time and money. When it comes to purchasing and getting new gear into the production flow you need to do your homework. Listed below is but a few of the thousands of camera support products that are out there. But hey, that's why we’re here! The trick is to choose the right gear to stay within your budget and still come out with outstanding content. Easier said than done. But here is the good news. Getting new gear doesn't have to break the bank, and if you play your cards right, new gear can even pay for itself over time. So with that said lets’ check out some of the latest camera support gear and rigs that will take your production values to the next level.