Archive for the ‘ news ’ Category

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 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.



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

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:

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 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 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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How to Unlock Adobe Premiere’s exclusive CUDA acceleration for any NVIDIA card

How to Unlock Premiere CS5.5 and use your NVIDIA video card with CUDA acceleration

Although my beloved NLE Vegas has been using R3D native for years now, there have been some incredible leaps made by Adobe as of late. CUDA acceleration within Premiere CS 5.5 allows the software to utilize the GPU processing power from your video card. This means editing 4k/5k material is faster than ever, and doing things like adding effects and grading is applied in realtime – without a hitch. The only thing standing in between you and taking advantage of the acceleration? Adobe has essentially “short-listed” a few higher powered video cards that will take advantage of CUDA GPU. If you don’t own one of them, then you will have to run CUDA in software mode only, which means you will have to take a serious performance hit.

Until now.

Read on for a step by step how to for “hacking” or “unlocking” Premiere, and get the most use out of your video card. Before you decide to Unlock Premiere for CUDA acceleration – a few caveats to be aware of:

  • Will only work for NVIDIA cards
  • Your card should have at least 1GB memory
  • Also must have DDR3 or DDR5 memory (DDR2 clashes with the Mercury Engine)
  • Works better on Intel chipsets
  • You will need to repeat this process each time Adobe patches Premiere


There are a ton of video cards out there, these are most of the recent offerings from Nvidia. If you are on the fence about trying to run CUDA acceleration with your current card, check out the list below for some extra insight – created by the guys at Studio One Productions.
Read more

RED Studios Hollywood Open House – Wednesday February 29th

RED Studios in Hollywood

Those of you who live here in Los Angeles should make note of the ‘RED Open House’ this coming Wednesday night. They’re planning various screenings on their proprietary 4K Red Ray home theater setup, as well as other goodies. From the press release:

RED OPEN HOUSE is a rare and not to be missed event hosted by RED Digital Cinema at RED Studios Hollywood .The night will be filled with opportunities for attendees to view new RED centric products, learn RED best practices, hear latest buzz in filmmaking and hang out with other industry professionals. Special presentations to the community will be made by insiders at RED, as well as a screening of new trailers and footage in 4K and 3D.

Wednesday February 29th, 5-10pm
RED Studios Hollywood
846 North Cahuenga Blvd
Los Angeles, CA 90038

Register here

I am planning on going, so if you decide to drop by make sure you say hello.

Shoot It. Share It. Panasonic’s AF100 Competition

The AF100 competition from Panasonic, dubbed Shoot it Share It

The AF100 competition from Panasonic, dubbed Shoot it Share It

This is a good opportunity for anybody who’s shot something on the AF100 within the last year – the Shoot It Share It competition is in full swing with prizes ranging from matte boxes to monitors up for grabs. I grew up idolizing cameras like the DVX100, which was essentially the de facto camera for shooting 24 frames per second on mini-DV tape. The AF100 is just a tool, but it’s a camera that comes from a long lineage of ‘game changing’ cameras that really set the pace of what we have come to expect from the pro-sumer market.  So, if you’ve shot any completed projects with the AF100 in the last year, you should submit now. The catch – the deadline is March 7th, so submit now.