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  • Resolution Isn’t Everything: S16/35MM R.I.P. 1891 – 2012 « Wide Open Camera
    because of your resolution but because you were beautiful Mike Sutton Follow me on Twitter MNS1974 Jared Abrams Visit My Website View My Other Posts Jared Abrams is a cinematographer based in Hollywood California After many years as a professional camera assistant he switched over to still photography About two years ago a new Canon camera changed the way the world sees both motion and still photography He just happened to be in the right place at the right time Related Posts The Best HDMI To HDMI Mini Cable Ever Posted on 27 June 2011 Canon 5D3 Photos And New Date Of March 2 2012 Posted on 27 February 2012 BMPCC Quick Take EVS Online Has One Posted on 30 August 2013 Shooting in Senegal Part 2 Getting Acclimated Posted on 24 August 2011 Switronix Announces New P Tap Battery Adapter For Panasonic GH2 Camera Posted on 28 July 2011 Videomaker Magazine Shoots With A Canon 5D At NAB 2010 Posted on 03 May 2010 http www anticipatemedia com Paul I m sorry Mike but this article is way off in a number of aspects First of all it s been generally accepted that 35mm film has in pristine condition about 4K worth of resolvable resolution roughly translated to a digital format of the same resolution However all these years people have been viewing such films in the theater projected after they have undergone significant layers of generational loss Then projectors themselves added in further reductions The statement that for 100 years we have been able to screen in 4K is simply untue and by a large margin For mechanical projection SMPTE allows flutter and weave up to 0 2 which often reduces projected resolution down to 1K Well maintained mechanical projectors however can operate at 0 05 which can almost reach 2K resolution see An Introduction to Aliasing and Sharpening in Digital Motion Picture Systems SMPTE 2003 and http www etconsult com papers Technical 20Issues 20in 20Cinema 20Resolution pdf a white paper that posits that most theatrical film presentations actually topped out around DVD resolution in perceived detail Now on the surface it seems true that people can often get sharper more pristine viewing quality at home on HD sets and projectors than anything they could have seen in a film based theater This seems to make sense and is also true of 2K projectors in large theaters as at smaller screen sizes with multiple pictire heights of distance there is also more perceived resolution The bigger the screen the more resolution you need as we all know and in the home even with large screen sizes of 100 off of HD projectors you re going to see depending on how close you sit in most cases more picture detail than with a 2K projection seen at very close distances in a large theater If you re right up on the front rows 4K may help increase the resolution and make the pixels less noticable If anything home theaters can look sharper than most celluloid based projection However all of that said there s a practical limit to resolution Bringing 4K TVs into the home is utterly pointless from a perceived detail to the human eye perspective Due to limitations in the way the human eye perceives image detail with a 4K screen one would have sit approximately 4 feet away or closer from a 60 4K TV to notice any resolution difference For a 100 projected screen it s closer than 5 feet and to see any noticable improvement at all it s a more reasonable but still rather close 12 feet see http carltonbale com does 4k resolution matter This begs the question however how many people have 100 screens in their homes I do and I sit a pretty close 11 feet away For that matter how many people have 60 screens A far more common size is 45 50 At a typical seating distance of 10 feet for a living room containing a screen of that size you don t even need 1080P resolution 720P looks the same to most people So why on Earth will we need 4K and how will that make a difference especially to the average person It won t It won t make a difference to anyone without better than 20 20 vision It s a limitation of the human body not of electronics To think anything else is to be living a dream which MAY become reality when we have wall sized screens that are viewing content a few feet away much like artwork or wallpaper Until then and that s perhaps 20 years or more out No one needs it and even then I highly doubt anyone would take up their whole wall for a TV or movie presentation they may only see a portion so the furnture doesn t block the view And when that happens we re right back at human eye limitations So I m not sure what your point is about film or the need for delivering in 4k Projected film in the vast majority of cased never even came close to 2K resolution never mind 4K Just like cameras and lenses optics mechnical issues and generational loss were the demons there This rush for 4K in the home is chasing after nothing but easy cash and credit card prestiege And while 4K can have value in the theater for those in the first 3rd of the theater for most of the room no one could ever see the difference or notice 4K s value really is in reframing VFX and archival purposes when and if that digital wallpaper becomes cheap And then no one will care about what you have made anyway unless you re the next Scorcese And for those peope their production companies will rent a higher resolution camera In short for distribution 4K is and likely will forever be exciting to those selling gear and those who fawn over it

    Original URL path: http://wideopencamera.com/cameras/resolution-isnt-everything-s1635mm-r-i-p-1891-2012/ (2016-02-16)
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  • New Marshall 5.6″ Monitor Available Now. « Wide Open Camera
    Pixel function plus Marshall s industry leading PEAKING Filter now in four colors for easier focus assist make these monitors a must have appliance for serious photographers and videographers producers and directors alike This 5 6 monitor offers a high resolution 1280 x 800 panel and standard features including a wide variety of formats and markers 4 user configurable front panel function buttons RGB Check Field Field Detect RGB gain and bias control polycarbonate screen protection New features include multiple DSLR presets six User Presets Adjustable IRE Clip Guide and Backlight control just to name a few All of these new MD series monitors come equipped with an HDCP compliant HDMI input with loop through a selection of 10 available battery adapters and a choice of one Input or Output module High Resolution 1280 x 800 LED Backlit IPS panel Brightness 300 nit with Adjustable Backlight Available in three Configurations V LCD56MD No Module V LCD56MD O 3G Output Module with two 3G HDSDI outputs converted from the HDMI input HDCP Compliant V LCD56MD 3G 3G Input Module with loop through DSLR Ratio Adjustment with 4 DSLR Ratio Presets On Screen Waveform Stereo Audio Bar Display Manual Gamma Adjustment Adjustable IRE Clip Guide Zebra Filter 1 4 20 mounts on all sides Stereo Headphone Output select a L R Pair from the available channels 6 Monitor Configuration User Presets HDMI Pass Through HDCP Compliant HDMI Auto Color Space and Ratio detect New Peaking Filter Choice of four color highlights and variable sensitivity False Color Filter Four User Assigned Function Buttons with 32 possible uses Pixel to Pixel Panning Custom Pixel to Pixel Mode 15 9 16 9 4 3 Pixel to Pixel modes Input Crop with automatic scaling RGB Check Field with Monochrome Scratch Resistant Protective Screen Variety of Optional

    Original URL path: http://wideopencamera.com/cameras/new-marshall-5-6-monitor-available-now/ (2016-02-16)
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  • The Extra Mile. DSLR Video. « Wide Open Camera
    purpose of selling it It wasn t very good and chocked full of exploitation It s so bad that if you can manage to actually find a copy of it you will notice the distribution company actually cut in scenes from two other movies for more T A Just what B movie buyers wanted at the time Plenty of T A blood and guts action guns etc That was a long time ago but even then I used Steadicam a real dolly with track 50k of light negative fill great locations real actors etc You had to put the money on the screen Jump forward to today and you could say the projects I do outside of commercials are hastily put together without a real amount of effort and I do a fair amount of camera tests samples Makes me sound like a hypocrite doesn t it to a degree you would be correct The difference is where you put your heart however The heart is an exception I call Operation Origami A film I have put 6 months so far into shooting Shot in multiple locations in the US NH NYC RI MA Vegas Los Angeles etc all with a lot of pre production and preparation The average shoot day involves a day or two of gear preparation packing testing etc Usually we carry about 45 70lbs of gear to each location Most of this is in one backpack with a secondary holding a backup camera and misc support The difference between this project and any other is that I have a personal invested interest in it Its important to me and I genuinely am making it for myself Originally I was making this film as a test for a large commercial opportunity I have The second reason is I wanted to make a project with my girlfriend who is very creative I have since found myself wanting to make this for myself I don t care about what others think about it I have no intention of putting it in any film festivals etc Its just a very personal project and therefore putting in a real effort makes sense builds worth and personal value A great example of this is last weekend we packed two backpacks mine 50lbs hers 25lbs and drive an hour to climb a mountain to shoot at the summit Once we got there it was 80 degrees and we had no bug spray black flies were everywhere and biting The climb was a 27 60 degree grade and took approx 2 hours to climb About 2 2 miles up then back down Neither of us had climbed in the past few years me 5 her 13 so it was pretty rough with all the gear we had The path to the top was all rock and offered plenty of opportunities to twist ankles etc Regardless we made it all the way up 3 100 feet The view was spectacular Just as we had envisioned

    Original URL path: http://wideopencamera.com/cameras/the-extra-mile-dslr-video/ (2016-02-16)
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  • New 60 FPS SloPro App For iPhone. « Wide Open Camera
    speed frame rate A new iPhone app called SloPro claims to actually record 60 frames per second on the iPhone 4 The results looks solid but check it out for yourself The app is free but will cost you 2 to ditch the watermark Click here to get the SloPro App Follow goforjared Jared Abrams Visit My Website View My Other Posts Jared Abrams is a cinematographer based in Hollywood California After many years as a professional camera assistant he switched over to still photography About two years ago a new Canon camera changed the way the world sees both motion and still photography He just happened to be in the right place at the right time Related Posts Tall As The Baobab Tree US Premiere At San Francisco International Film Festival Posted on 01 April 2013 5K RED Scarlet Slays 15 Million Dollar Canon Cinema EOS Launch Posted on 03 November 2011 Hootenanny 2011 FCPX Film Grain Look Happy 4th Of July Posted on 04 July 2011 Quick Take Zacuto Pincher HDMI Cable Holder Posted on 20 September 2011 Canon EOS Rebel T4i Has Clean HDMI Out Almost UPDATE Posted on 21 June 2012 Cine Gear 2011 Tom Howie

    Original URL path: http://wideopencamera.com/cameras/new-60-fps-slopro-app-for-iphone/ (2016-02-16)
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  • Sony Announces NEX F3 Camera. $600 With 18-55mm Lens. « Wide Open Camera
    sensor 18 55mm lens 180 degree tilting screen pop up flash in the body and 1080p 24 video recording The camera is designed to replace the NEC C3 which will reportedly be phased out in the near future It s not as fast as the NEX 5N but otherwise has a similar feature set with a 1 4000 shutter speed and a max ISO of 16 000 A word of warning though there s no external charger and you have to send power to the camera over microUSB A full charge apparently takes around five hours Product Highlights 16 1Mp Exmor APS HD CMOS Sensor Tilting 3 0 LCD Display BIONZ Image Processor Full 1080 60i 24p HD Video Capture Up to 5 5 FPS Continuous Shooting 3D Sweep Panorama viewable on 3DTVs Optical SteadyShot Image Stabilization Auto HDR and Dynamic Range Optimizer Accepts Sony E Mount Lenses Adaptor Accepts Sony A Mount Lenses Source Slash Gear BH Photo Jared Abrams Visit My Website View My Other Posts Jared Abrams is a cinematographer based in Hollywood California After many years as a professional camera assistant he switched over to still photography About two years ago a new Canon camera changed the way the world sees both motion and still photography He just happened to be in the right place at the right time Related Posts MicroGAFFER Pocket size gaffer tape for the Modern Production Posted on 28 May 2013 NAB 2011 Eric Kessler Kessler Crane Posted on 13 April 2011 Go Pro HD Hero LCD BacPac Monitor Quick Take Video Posted on 04 February 2011 GoPro Announces Hero3 Black Edition With 4K Resolution Posted on 17 October 2012 Zeiss Servo Controller For Compact Zoom Lenses NAB 2014 First Look Posted on 09 April 2014 Philip Bloom Hiding Place Blackmagic Pocket

    Original URL path: http://wideopencamera.com/cameras/sony-announces-nex-f3-camera-600-with-18-55mm-lens/ (2016-02-16)
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  • High-Speed & Time-Lapse. « Wide Open Camera
    from much lower resolutions to achieve these speeds This works much like the Casio cameras but at a better quality level Weiscam HS2 Phantom Flex Miro Gold 65 etc and Fastec cameras all use their native resolutions throughout their frame rates and do not use line skipping and doubling to achieve their frame rates This means there is no interpolation or artifact and they maintain the details in the image One thing that the FS700 does have over them is that it is a day to day use camera which these are not All these cameras have their pros and cons and I am glad that there is high speed for every budget I will not get into if high speed is overused or will become tired etc as the audience will judge what is done with these cameras I suspect there will be hundreds of face slapping videos coming out when the F700 is released to the public but have a feeling that will go away quickly and cool content will follow Time lapse I got into time lapse at the beginning of this year when everyone said it was done to death I had all the gear the motion control etc to make a great time lapse but was stuck in 24fps and high speed doing commercial work marketing videos etc I missed out on what some say was a trend and overdone etc Me not caring decided I would learn time lapse while others focused on high speed In my early 20 s I had done a few stop go claymations shot on a Bolex and with super 8 cameras like the Canon 814 Braun Nizo s etc I had always loved animation and the idea of capturing a subject at 1 or 2fps instead of 24 or 30 had always been appealing You can make the most ordinary subject come to life when shot at one frame at a time over an expanded period I have always loved photography so time lapse and stop motion always felt natural Having had a 5DMKII since it was available I am amazed I had not tried it before Its a lot of work but well worth the reward in the end I think because it is tedious that many avoid it or dislike it Spending 15 minutes to a full day to capture a 30 second event requires major dedication and most of all patience Mid last year I had seen a few videos from experts like Tom Lowe of www Timescapes org Shawn Reeder Preston Kanak Philip Bloom Eric Hines Steve Bumgardner and Tyler Ginter to name a few so I decided to use the equipment I already owned and finally just do it I did a simple test but decided if I was going to shoot time lapse I might as well go big or go home so I hatched a plan to shoot a project that would require several months and seasons to complete This is

    Original URL path: http://wideopencamera.com/cameras/high-speed-time-lapse/ (2016-02-16)
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  • Camera Movement Then And Now. « Wide Open Camera
    Operator with a rig and their assistant This was expensive I know as I am a Steadicam Operator for over 15 years After the Steadicam patent ran out it opened the doors to other companies to make rigs Glidecam XCS MK V GPI Movcam etc started making rigs and opened up the offerings At the same time cameras started to become more compact the quality improved and they became lighter This allowed Steadicam and other stabilizer rigs to become lighter easier to use and much more affordable to the masses A Steadicam rig back in 1997 was 60 000 A Steadicam now a days is as little as 599 It was only the past four years that cameras like the 5D MKII allowed for very light weight rigs like the Glidecam 1000 4000HD series to become viable options for smooth run and gun shooting Shoulder Mount Rigs for mobile semi stabilization Cameras film and video had a much different form factor of the cameras of today Cameras like the Aaton XTR Prod Arri SR2 and others had magazines that extended that balanced out the weight of a lens and matte box on the front of the camera Due to that fact a shoulder mount rig really wasn t needed Cameras also had Arri Rosettes so you could attach handles to the camera body Cameras these days lack these features and tend to be front heavy and lack ergonomics for shoulder mounting Now a days there are over 20 shoulder mount systems and more being manufactured everyday to make up for the lack of rig ability form factor and balance Zacuto Red Rock Mico Shape and Letus being the major stand outs in this group Almost every shooting including myself use a combination of a few different companies to make the best solution for their style of shooting and accessory rigging needs Cranes and Jibs booming up down side to side Cranes and jibs were beasts till about 15 years ago Camera cranes were clunky huge heavy and required a crane operator in most cases They were meant to hold much heavier cameras and in many cases a camera operator w AC or robotic head Crane shots were almost unheard of in independent films unless you built one yourself or knew someone Jibs were also fairly heavy duty and were far and few between There were only a few companies that made them and there were expensive Now we have Kessler Crane Glidecam Libec Matthews etc making affordable solutions for today s cameras Jibs and cranes also are now made with space and storage confinements as considerations in mind They fold up pack tight and can fit in most passenger cars Robotic Heads pan tilt and sometimes roll Robotic heads were rare on low budget commercials and features There were only a few options and they had to be rented out of LA NYC Miami or Chicago No one I knew owned a Power pod or Libra head or anything close

    Original URL path: http://wideopencamera.com/cameras/camera-movement-then-and-now/ (2016-02-16)
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  • Wide Open Camera Cold Shoe Adapter For Sony NEX 5N Cameras. « Wide Open Camera
    WOC Sony NEX 5N cold shoe adapter is 35 00 US with free shipping for US customers only Jared Abrams Visit My Website View My Other Posts Jared Abrams is a cinematographer based in Hollywood California After many years as a professional camera assistant he switched over to still photography About two years ago a new Canon camera changed the way the world sees both motion and still photography He just happened to be in the right place at the right time Related Posts Industry Tape Zero Residue Gaff and Camera Tape Posted on 30 September 2011 Quicktake Mini Cardellini to 1 4 20 Ballmount Adapter Posted on 30 May 2011 New 60 FPS SloPro App For iPhone Posted on 21 May 2012 7 Tips On Double Bookings And Client Etiquette Posted on 03 February 2012 Half Inch Rails Zip Tie Lens Gears For Ten Bucks Posted on 08 February 2011 JVC Still Has No Idea What Video Professionals Want Posted on 13 June 2013 Daleleckiejr Does this work for the nex7 Tonyisawesome3 can you video Sponsors Projects New Product Recent Posts Four Foot Soft Light Wand By Michael Sutton DIY Under 70 Red Announces Red Raven A Sub 6K

    Original URL path: http://wideopencamera.com/cameras/wide-open-camera-cold-shoe-adapter-for-sony-nex-5n-cameras/ (2016-02-16)
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