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  • Nikon Announces New D4 HDSLR. Do We Really Care? « Wide Open Camera
    implement MORE FEATURES and IMPROVEMENTS to upcoming HDSLRs as we ve all been requesting since SO LONG AGO We posted a List of FEATURES IMPROVEMENTS that we collected from lot of users feedback and our own experience through many years The article was titled CANON EOS 1D X Needs Firmware Update Do a Google search in case the link doesn t appear This would help not only EOS 1D X but also the upcoming 5D Mark III 7D Mark II which are will be sold to a much larger market segment Of course there are lot more possible features that could be implemented via Firmware using the existing hardware But many of the requested features are even basic ESSENTIAL for a multi thousand dollars camera like clean HDMI Full HD output 1080p50 60 Crop Video Mode Hot Pixel Remapping Focusing Aids etc etc http www hdcamteam com HD Cam Team Comment Part 2 The community of Canon customers should REQUEST to Canon the needed and wanted improvements because Canon CAN do that These cameras will have HUGE potential inside two Digic 5 processors in the case of 1D X etc We do not want the NEED to HACK them again to exploit the full potential The hardware is there it s only a matter of firmware and willingness This applies not only to Canon and Nikon but also to Panasonic Sony etc Canon has even called the 1D X as The film maker s DSLR on their press release but even so they didn t give 1080p60 just only 720p60 so far let s hope they change their mind Neither Nikon D4 What is that Such a coincidence Slow motion is now being used more than ever it is essential for many film makers Canon Sometimes it looks like manufacturers have secret agreements With such powerful engines they can perfectly do it it s not a hardware limitation Even some cheap home camcorders under 700 offer 1080p60 We want the 5D Mark 3 released soon but also with features that take REAL and FULL advantage of its hardware We do not want to wait another 3 4 years to get what can be given RIGHT NOW We do NOT want crippled cameras again Vik I will read this with the same grain of salt as when you first wrote that the NEX 5n was simply a toy Anyone thinking of buying an AF100 or even FS100 can look at this as a much more viable option 36x24mm sensor with Nikon s legendary metering now taken to the absolute extreme 91 000 pixel RGB Everyone knows Nikon s sensors are superior to Canon in low light and the noise produced if any is similar to that of film grain making this camera an absolute delight for film makers 2 7x crop brings about true 1080p not Canon s skipped line moire plagued motion images Headphone monitor 4 2 2 out through HDMI and XqD card compatible and it still is only as good as the 1D mkIV to you The only hope is that someone will produce a Nikon F mount to PL Mount adapter Steve While this clearly isn t a review I think I does feel a bit like you may have overlooked some key features the camera has that may prove to be huge improvements over the other players currently on the field Of course until we get our hands on the camera it will be tough to determine if these features were implemented well enough to make this camera a strong competitor If they have I think we are looking at the single most capable and efficient still AND motion capture camera ever made Here are some things that I think may set this camera apart from other cameras capable both still AND motion capture Some can be found on other current and future cameras but I m unaware of any other that has most of the following features in one package Better output while it seems that the internal codec may in fact be a step in the right direction itself judging by the cleanliness of the release film WHY on Vimeo likely the uncompressed 422 out from the hdmi port will be a large step for motion acquisition on a dslr platform As for the concern about 1080i I believe all hdmi output from cameras such as the F3 and FS100 begin as interlaced and it is the job of the recorder to pull the 24p out of the signal Correct me if I m wrong here Better sound the camera features full manual control that can be monitored and adjusted while recording with and without HEADPHONES This is something that many of us forget or have never experienced but can prove vital to acquiring usable sound on camera Multiple frame rates on a full frame sensor no longer do we need to switch over to our 7d to shoot slow motion and go as wide as possible Now we can shoot all of our frame rates on the same full frame body and presumably reap the benefits in terms of focal length and Iso performance Huge time saver and quality bump Crop modes if well implimented my 24 70 that was used a lot of the time could be even more capable effectively becoming a 24 190mm That could be insane There has been talk that these crop modes will actually look better do to the fact that they decrease the line skipping involved and thus avoid many of the issues associated with the process While the DX crop will likely be in that sweet spot of a 35mm lens the 2 7x crop may be pushing some glass in terms of sharpness Well see Longer record time many will find themselves in certain situations where 10 12 min of nonstop record time isnt sufficient The D4 boasts a 30 min record time which I imagine should satisfy the majority of users Focus confirmation

    Original URL path: http://wideopencamera.com/cameras/nikon-announces-new-d4-hdslr-do-we-really-care/ (2016-02-16)
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  • Quick Take Video Test Of The New LCW Digi Pro HD Fader ND Filter. « Wide Open Camera
    rotation stick that can easily be removed for use with a matte box I put it up against the older MK II and a Tiffen ND 6 filter to check for loss of sharpness and any possible color shift Both LCW filters held up fairly well while the Tiffen ND 6 softened the image slightly The new LCW Digi Pro HD Fader is available in various round sizes from 52mm through 82mm and will retail for around three hundred smackers Click here to check it out 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 Veydra Mini Prime Lenses For MFT Cameras Quick Take Video Posted on 26 November 2014 ITU Approves H 265 4K Streaming On The Way Soon Posted on 27 January 2013 Cine Gear Expo June 3 4 2011 Posted on 31 May 2011 Filters The New iPhone App From Formatt Hitech Posted on 23 February 2013 Cine Gear 2011 Shane Hurlbut ASC of Hurlbut Visuals Posted on 06 June 2011 Shooting in Senegal Part 1 Talent Comes First Posted on 14 July 2011 Unique1588 Whats the difference between the mkii and this new one bessides the matte finish and handle does it actually have noticable better image and sharpness qualities I dont mind paying more but would like to know what exactly im paying more for Hoya just came out with a fader nd as well Have you herd any reviews yet Sponsors Projects New Product Recent Posts Four

    Original URL path: http://wideopencamera.com/cameras/quick-take-video-test-of-the-new-lcw-digi-pro-hd-fader-nd-filter/ (2016-02-16)
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  • HOW TO MAKE MONEY FROM MOVING IMAGE: EDITING « Wide Open Camera
    media management the server room and if you can some broadcast onlining skills Delivering stuff for broadcast QC sorts the men from the boys It s highly stressful highly pressured and when the buck really stops with you it makes you focus When you re ready to go freelance make sure you take the time build contacts in the industry you specialise in If you re good you won t have any difficulty finding repeat work But whatever you do don t get stuck working for one company all the time It s bad news They will start fleecing you They don t mean to do it but they will Where you were originally being given four days to do a job now suddenly you re only being given three because you re quick and fast You ll be told it s a client tightening the purse strings but guess who s pocketing the additional day s editing fee Yup Mr Producer I m not saying you shouldn t do repeat work but don t let any company get too comfortable with you As producers we feel like father Christmas dishing out work to freelancers because they re all desperate Don t be desperate spread the work around and make sure the producer knows you re in demand You ll get better jobs and they ll work harder to keep you happy Agencies I highly recommend trying to pick up representation with an agency It s bloody hard work contacting production companies the whole time and agencies will vet production companies hard to make sure they re not going to end up unable to pay you If you re good you ll quickly find yourself rising to the most wanted list where you ll be a top pick for the agency to valued clients This means better day rates and better jobs I was on this list with my agency Blueberry creative consultants and my rate was about 5 10 better than it had been before I was on it You give up your agency percentage of course but that s okay a good one will earn that no problem For half of 2010 and half of 2011 I only did agency work and that was more than sufficient to keep the rent paid and new camera equipment rolling in It can be a bit of a rollercoaster but it s very workable However agency work is a double edged sword It s nice to get lots of different clients but it s always the same story You walk in and they think you re a moron and know nothing Rightly so Most freelance FCP editors are not very good After a couple of days they start to understand what you re capable of then the job s over On longer jobs this isn t so much of a problem but one of the reasons I stopped freelance editing was just this constant education job to clients to show them

    Original URL path: http://wideopencamera.com/cameras/how-to-make-money-from-moving-image-editing/ (2016-02-16)
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  • HOW TO MAKE MONEY FROM MOVING IMAGE: DIRECTING « Wide Open Camera
    very clear that ultimately you d like to direct and then take every opportunity you can to learn as much as you can TV is good fun it tends to be lightweight and throwaway but you can get some great credits relatively quickly if you re prepared to work hard Documentary The tools we now have at our disposal mean documentaries can really look fantastic on tiny little budgets and it s just a great time to be in documentaries Feature docs have enjoyed a revival in recent years and there s a real hunger for those top notch stories Most TV channels program hour long documentary strands and often offer entry level commissions to first time directors But to get there you need to do some short form first Again with the new digital tools these can be both beautiful and discreet productions and cameras like the FS100 would make perfect doc tools If you pick the right subject then a crowdfunding campaign is another great way to get your project funded and make sure you don t go broke in the process Documentaries work better than other projects as they naturally speak to invested communities Communities become audiences and audiences are powerful tools to speak to commissioners and of course make money from your film Access is key and subject development remains the biggest impediment and challenge after the lengthy shooting process of course Music video I cut my teeth in extreme sports before hitting music videos and have directed around 37 commissioned videos I e ones that someone else paid for Yes you can make a decent looking music video for peanuts these days but no that doesn t mean you ll make any money from them In my 37 videos I barely earned a single penny Everything went into the production There is no form of production that is more abusive ill paid undervalued exploitative and disloyal On the flipside it s in music videos that you can really build a powerful reel I miss all the crazy challenges and I miss the production environment where it s balls to the metal for 16 20 hours You will NOT make money directing music videos so stop deluding yourself that you will or that you can Most MV directors are poor as shit and work in bars I was always too busy doing other production work to give music videos the kind of all out obsessive attention they require The commissioning process is corrupt unfair and heavily stacked against you You will write hundreds and hundreds of treatments and direct maybe 2 of them never the ones you wanted to make Go into it with your eyes open knowing exactly why you re there to build a reel and you ll be fine But expect to work very hard and be disappointed more often than not The best way to win the jobs with any kind of budget is to get representation from a production company There are almost no music video only production companies anymore with companies having to arm themselves with TV commercial and corporate arms in order to survive Shoot some test videos that show real creativity and ingenuity and you ll be in with a shot Alternatively approach those production companies offering to shoot B Roll and EPKs for them and before long you ll find yourself asked if you d like to pitch on a trash can budget videos The record labels know that someone somewhere is desperate enough and will happily throw a 800 budget at you The production company will make no money on it but they might be prepared to hand a pm their first producing credit handling a young director It s a long old road Learning to write treatments properly is a must and watching lots of videos also Know your genres know the conventions and work accordingly Make friends with a production designer and a DoP you like and never ever let them go Those two will be the difference between a great career and a decidedly mediocre one BUILD THAT REEL I wrote a series about music videos which you can find here Commercials Commercials are where you can genuinely make a living as a director You have to have a decent reel but if you ve done your time in music videos a company will generally help you out shooting some test ads off spec scripts that never got produced Those kinds of relationships with production companies are vitally important so nurture them Budgets have come down sharply on commercials but the money is still out there and it is still being spent Large scale corporate jobs for the web or iPad are increasingly rapidly and young directors can see plenty of opportunities if they re prepared to cut their own work and make life easy for the production company This is where you want to be if you want to earn money properly from directing It might be months between jobs but the jobs pay well enough that it doesn t matter Ultra competitive and people tend to want you to specialise Look at all my money Drama Yes you can earn money from directing drama But it s going to take a while You need a really strong reel and some festival wins before anyone will really look at you There are so many young directors shooting drama now that the producers are spoiled for choice The unfortunate thing is that most people in positions of power within funding organisations that could help you seem to be far from expert in their given field Which is a shame Be ambitious with short projects force yourself to dig deeper fight harder work longer hours in pursuit of that all important reel There is so much crap drama around you wonder how on earth people can delude themselves that it s good The answer is that lots of people think it s easy It

    Original URL path: http://wideopencamera.com/cameras/how-to-make-money-from-moving-image-directing/ (2016-02-16)
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  • Tascam iM2 Microphone For iPhone 4s Quick Take Audio Test. « Wide Open Camera
    The second is that all files must be uploaded to Soundcloud before they can be imported into FCP or another editing suite This is a major pain in the ass It took multiple attempts to get the files uploaded and they were all less than one minute I could also not get the on board speakers to play back a take without unplugging the iM2 microphone Not the best solution even as a backup plan I cannot recommend the Tascam iM2 stereo microphone in it s present state If they fix the PCM Recorder App then it might be worth a second look The PCM Recorder App is free Check that out first If you are cool with it then the Tascam iM2 stereo microphone might be worth looking into 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 Canon Announces Firmware 2 0 X Update For 7D Includes Manual Audio Controls Posted on 28 June 2012 Vimeo Nikon Party At SXSW 2011 Eclectic Method Posted on 17 March 2011 Industry Tape Zero Residue Gaff and Camera Tape Posted on 30 September 2011 Sony Announces New Camera Sensors With HDR Movie Function Video Demo Posted on 23 January 2012 Black Magic Design Cinema Camera Cage From Wooden Camera Quick Take Video Posted on 23 August 2012 Quick Take Shot With Apple iPhone 4 Arri MMF 1 Mini Follow Focus Posted on 06 July 2010 Jimmyjam5 Files are transferred via iTunes You might want

    Original URL path: http://wideopencamera.com/cameras/tascam-im2-microphone-for-iphone-4s-quick-take-audio-test/ (2016-02-16)
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  • No Budget Porsche Spec Ad BTS « Wide Open Camera
    Thanks to Stephen Villela for providing the monitor We found a secluded location and shot numerous angles of the car using a Tokina 11 16 on my Canon 7D with a Lightcraft 8 stop ND fader and a Pola Keeping the Tokina on the extreme end of the wide minimized any rolling shutter problems we would have had with the car moving at speed Shot using the Cinema Picture profile I edited the spot natively using Avid Media Composer 6 Once that was complete I sent each shot individually to After Effects using Automatic Duck Now it is possible to send an entire sequence to After Effects however I had already placed a couple film fades into the timeline and those would not have been honored had I sent the whole sequence On top of that the hard cuts with out the fades would not contain enough information to go back and put the fades back in I had to manually extend the fades out grade those then cut them back into their original length and re apply the fades I graded using Magic Bullet Colorista II and I applied Warp Stabilizer to each of the moving shots You can definitely see it to a degree but I think it did an absolutely amazing job of taking out the jib s lateral movements I applied subtle power windows on the the headlights to really make them standout If you want to do any sort of tracking work you ll have to apply it in a pre comp to the Warp stabilizer To take the shots back to Avid for sound and final output I exported the shots from After Effects using the new Avid DNxHD444 With all that said have a look at the finished spec ad and then have a look at the behind the scenes video shot and edited by Phillip James swatdojo He does some killer stuff so check out his vimeo here Vimeo BTS photos by my bro Nick Walker 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 New versions of Cinema Profile for DSLRs from CinePlus video comparison with CineStyle Posted on 06 September 2012 5DtoRGB Update v1 53 Posted on 22 August 2011 WHAT CAMERA SHOULD YOU BUY NEXT STICK OR TWIST Posted on 27 July 2011 Canon C500 with Ki Pro Quad Posted on 05 July 2013 Canon Announces Firmware 2 0 X Update For 7D Includes Manual Audio Controls Posted on 28 June 2012 How to use Adobe s extra DSLR color info in Avid MC5 FCP Posted on 08 May 2011 http www facebook com profile php id 865090642 Holly Chadwick Ha You

    Original URL path: http://wideopencamera.com/cameras/no-budget-porsche-spec-ad-bts-2/ (2016-02-16)
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  • Boris Continuum 8 sharpening/film grain & Sorenson x264 for DSLR « Wide Open Camera
    is a selection of footage taken around Berekely CA and San Antonio TX Shot on the Canon 7D with a Tamron 17 50mm f2 8 and a Helios 50mm f1 8 The exteriors have a very old ND 9 4 4 Shot using the great Cinema picture profile I edited the media natively in Avid MC6 applied a Boris fine film grain then gave each shot a light grade I then applied a Boris fine sharpening filter globally transcoded to DNxHD 175x and sent the sequence to Sorenson Squeeze for encode I modified the youtube 1080 x264 preset to use a 2 pass constant bit rate at 10mb s and selected the film grain option to protect against the compression washing out the look I had applied X264 won t shift the gamma of the resulting video and has always produced the best results at super low file sizes in my experience 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 Letus Announces Anamorphic Adapter For GoPro Hero 3 Camera 199US Posted on 04 January 2014 Cinematography Is A Frame Of Mind Not A Specific Camera Posted on 06 March 2012 Dave Hatton Shot With Hot Rod Cameras PL 7D Cooke S4 Primes Posted on 24 September 2010 DJI Inspire 1 Quadcopter With 4K Camera and 3 Axis Gimbal 2900 US Posted on 15 November 2014 Tweet To Win DSLR Cinema By Kurt Lancaster Posted on 28 June 2011 Big Ass Light Test

    Original URL path: http://wideopencamera.com/cameras/boris-continuum-8-sharpeningfilm-grain-sorenson-x264-for-dslr/ (2016-02-16)
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  • Avid Media Composer 6 to After Effects CS5.5 w/ Automatic Duck « Wide Open Camera
    had was my iPhone on me at the time 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 Warp Stabilizer VFX All New Features for Your Favorite Post Stabilization Tool Posted on 19 May 2013 Boris Continuum 8 sharpening film grain Sorenson x264 for DSLR Posted on 21 December 2011 Avid Media Composer 6 0 1 UPDATE important for software only editors Posted on 07 February 2012 Premiere Pro gets Lumetri Deep Color Engine and a boost from Speedgrade Posted on 28 May 2013 AVID Media Composer 6 Preview Part 1 Posted on 03 November 2011 Adobe Releases Major Update to Premiere CC Posted on 10 July 2013 JPM Hi Alex very nice post Earlier versions of After Effects used to be able to import AAF s and OMF s from Avid without any problems But that feature was removed in CS5 I believe Is good that with Automatic Duck we re able to send our Avid sequences to After Effects back again By the way if I understood you correctly since you activated the AAF Edit Protocol on your export I assume that you re grading your 5D shots in After Effects on its native format h264 Quicktime files Does After Effects give you better results on the grading process if you use the original files rather than a high quality intermediate like DNxHD ProRes or Cineform Either way which project settings would you recommend for grading DSLR footage in After Effects

    Original URL path: http://wideopencamera.com/cameras/avid-media-composer-6-to-after-effects-cs5-5-w-automatic-duck/ (2016-02-16)
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