Scarlet Full Frame 5k Enabled

This story is currently developing, but it appears that the newest firmware (v3.3.3) allow the Scarlet to shoot with full frame lookaround. This means the full 5K sensor is being utilized. This means that your crop factor is now 1.3, just like the EPIC. The original post from the Reduser.net thread:

SDI out feeds full sensor FOV when look around is enabled.

Samurai is now recording full sensor FOV to 1080p ProRes…not as good as 5k of course, but it definitely makes the Atomos even more useful…..stwooooooooops!

My TV clients are going to love this.

-Dane

 

Long story short, the ability to use the full sensor at 24fps is limited to HDMI/SDI output. This means you can only record 4:2:2 at 1080p, but it’s 1080p full-debayer downsampled from 5k!! This means you can attach an Atomos Samurai to the camera, and you’re ready to rock and roll, with more manageable file sizes. Seems pretty tempting especially if you’re shooting for web delivery.

The comments continue: Read more

RED sues Wooden Camera for copyright infringement

Wooden Camera is being sued by RED

 

 

Well, it looks like we have a stand-off. It’s no secret that third party camera accessories tend to be cheaper than the manufacturer versions, but this is the first time I’ve seen a manufacturer go after a third party vendor. RED appears to be suing Wooden Camera for copyright infringement.

Wooden Camera became a go-to resource for third party accessories for the Scarlet and Epic cameras, making it easy to use 3rd party batteries for those who found the sidehandle and redvolts underwhelming.

Today, it appears that the lawsuit is over the design of the V-Mount, Tactical Ribcage, the Universal Mounts (both the 15mm and 19mm) and the Swat Rail.

Here’s the full press release via Cinescopophilia:
RED is suing Wooden Camera in the U.S. District Court for Read more

Music Video Roundup – SXSW

The SXSW fest offers a launching pad for up and coming artists to get their presence known. The same goes for the accompanying film, music video, and interactive work. There are quite a few filmmakers who I’ve discovered through SXSW over the years, and I continue to follow their work today. People like Jason Koxvold, and his video for ‘Citizens Here and Abroad’:

That was almost 5 years ago, and since then the music video scene has exploded, with the advent of accessible quality through new cameras and sharing culture. With that in mind, these are a few of the stand-out music videos from this years festival: Read more

KineRAW S8 Footage with breakdowns

I’ve posted about the KineRAW cameras in the past, and have noted the analog qualities of this RawDNG camera. A new post showcasing some of the footage shot with vintage lenses and elmoscope anamorphic adapters has surfaced in the form of a short (test) film. The short itself is laughably bad, presumably on purpose, but it does showcase a few different shooting setups. Even if it’s not your cup of tea, it’s still worth sticking around towards the end to see the ungraded plates reference.

Check it out:

MVPA Submissions Due

Music Video Production Association

Music Video Production Association

The MVPA Awards are due at the end of the month, so if you’ve made any videos over the last year – you might want to consider submitting. The categories run the gamut from ‘Best Of’ genres, to specific disciplines. Keep in mind, submitting will cost $65 per video, as well as an additional $75 to join the MVPA as a director. This, their website states, will give you access to all related galas and parties that they hold.

With Music Videos changing in both budget and scope, it will be interesting to see what sort of competition will be lurking in the “Best Video Produced for Under $25,000″ category.

Full category listing: Read more

REDCINE-X Pro Release

REDCINE Beta Release

The new beta release

If any of you were in the same boat as me when it came to using REDCINE, you were in for a world of hurt. Mainly, due to stability issues, the software would auto select and hold different sliders at random, and crash. It seems these problems have been fixed in the latest beta release, and I couldn’t be happier. From their change log:

REDCINE-X Professional Build 12 Beta

CHANGES SINCE LAST BETA RELEASE (BUILD 11)

  • Added: Support for slugs when importing FCP7 XML files.
  • Fixed: Issue where clips in bins would sometimes not appear.
  • Fixed: Issue where REDCINE-X PRO would crash on Mac OS X 10.5.×.
  • Fixed: Issue where incorrect FCP7 XML files would be generated if
    handles were enabled.
  • Fixed: FCP-X XML import issues.
  • Fixed: Issue with “Clip” output resolution not working in all cases.
  • Fixed: Miscellaneous stability issues.

If you haven’t checked it out yet, grab it here.

De-Mystifying ‘Crop Factor’

The crop factor conundrum 5d,scarlet,epic,arri

The Crop Factor Conundrum

There has been quite a bit of discussion lately on the crop factor of cameras like the Scarlet. There is a recurring phrase that I’m seeing which goes something along the lines of, “You will need to shoot at 30mm because the lens will become a 48mm.”. Yes, that’s true – the lens will have a 1.6x magnification factor, and 30 multiplied by 1.6 is, in fact, 48 – but guess what? That 30mm will still behave like a 30mm, regardless of if your field of view changes or not. However, let’s take a step back for a second, because we’re getting ahead of ourselves.

Back when I first began making films there was a de-facto camera for indie filmmakers – the DVX100. A plastic fixed zoom lens gave you plenty of framing options, allowing the camera to shoot anywhere you wanted to in glorious 24p. Jump forward to a couple years ago, and we had the 5DMKII, a camera which changed the indie landscape and gave people the added bonus of using custom glass. Here’s the snag, a lot of people that have shot on the full-frame 5D are now moving on to shooting with other cameras and becoming flustered when their 50mm is now an 80mm equivalent in terms of Field of View (FOV). This is nothing new, in fact many cameras have an ASP-C crop sensor, oftentimes Read more

Canon 5DMKIII Specs Leaked

5DMKIII 5D Mark III 5 D MARK 3, 5DM3

The New 5DMKIII

The 5DMKII was a camera that changed independent filmmaking overnight. The ability to use any lens in natural light with beautiful results with a stills camera created a flash market of video hungry shooters, and created a HDSLR market overnight. Canon had created a monster, by mistake. The video mode was just a happy accident as far as they were concerned.

Ever since the 5DMKII became popular, there has been discussion on what its next iteration, the 5DMKIII, would bring. Many have speculated about reduced moire, rolling shutter fixes as well as higher light sensitivity. According to a leak released today, the facts back up some of these claims.

Canon Rumors posted the specs for the new 5DMKII, which is supposed to be officially announced on March 2. From their post:
Read more

Pulling Focus Remotely with the Redmote

RED Epic, Red Scarlet-X, redmote, sidehandle, pulling focus

How to Pull Focus with the REDMote

A recent post from Sean Brown shows the method of using a REDMote to pull focus. I’m on the fence about how much time this would save, as well as options for using glass – since it would require your lenses be either electronic, or servo-synched to the camera. In addition, for my Scarlet-X setup, I find things like the REDMote and Sidehandle to be superfluous and unnecessary. However, if you already own one, in addition to some electronic glass – then by all means this could be a handy trick to achieving critical focus quickly without doing a 1:1 zoom or using a tape measure. Check out the video below: Read more

FILM INDEPENDENT : Fast Track Grant

Film Independent competition fast track

Film Independent's Fast Track Film Market

This is a great opportunity for any of you who have a feature film in the hopper. The Film Independent Fast Track program is a financing market geared towards filmmakers with feature film projects in development. The only stipulation states that you are currently in pre-production with a finished script, not a pitch or concept. The submission deadline is tomorrow, and requires you to upload your script, fill out details about the project, and give them a link to your prior directing work. Their description from their site:

 

Fast Track is a film financing market that takes place during the Los Angeles Film Festival designed to help narrative and documentary filmmakers move their current projects forward. During three days of intensive meetings, Fast Track connects filmmakers with financiers, production companies, and other industry professionals. This highly selective program is open to established as well as up-and-coming filmmakers with exceptional projects still seeking funding.
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