Archive for the ‘ film science ’ 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 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

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

KineRAW aka the Chinese RED

The $8,000 S35 RAW digital cinema camera

The $8,000 S35 RAW digital cinema camera

There have been posts circulating on DVXuser for a while talking about alternatives to the ALEXA and RED cameras. There seem to be two names that keep cropping up – Ikonoskop and KineRaw. Today we talk about the latter. It’s a camera that shoots RAW Cineform to non-proprietary 2.5 inch SSDs, or direct to HDD. That is a winner for me, as a Scarlet-X owner, I find it frustrating to be forced to use overpriced proprietary media. Yes, I’m looking at you RED.

Here’s a quick primer, from their site:

KineRAW-S35 is a Super35mm sized CMOS sensor camera with outstanding low light performance for HD use as well as for making DCP for projection in modern digital movie theatres where signal to noise ratio under difficult lighting conditions is very important. The useful EI/ISO range is quite wide rangefor normal noise levels and higher for somewhat higher noise levels. The sensor gives a wide dynamic range allowing shooting of contrast ratios that previous video cameras in its price range could have had real difficulty holding onto with its level of finished image quality.

A bullet point run-down of the details on the KineRAW S35:

  • Super 35mm sized CMOS sensor
  • Dual raw recording, uncompressed 12bit linear cinemaDNG (800Mbps) or 10bit log90GoPro¬†Cineform RAW (100Mbps), uses regular 2.5 inch SSD or HDD (shoot and dump)
  • DCI 2K 1-24fps, 1080p 1-30fps, 720p 1-60fps. (Not yet finalised)
  • Interchangeable lens mount, supports PL (standard), Canon EF, Nikon F, OCT-19

The footage I’ve seen looks very filmic/analog to my eye, it could be a winner. Check it out: Read more

Cinestyle Testing (5DMKII)

Screengrab from 5DMKII color profile cinestyle testIt’s often a question of fighting the native codec when it comes to the 5D. The issue isn’t that the camera doesn’t produce visual images (it does, and I use it all the time) but that the camera mangles the footage right before the files are written to CF cards. Maintaining what little data you can in an H264 is something of an art, and there have been various color curve settings in camera that help to save the image, if only a little. My personal favorite is the technicolor Cinestyle profile¬† and it just so happens that this test features the Cinestyle profile. The tests were shot by Mike Kobal, one with cinestyle ungraded and one with a grade applied after. Without further ado, feast your eyeballs: Read more

Canon publishes 4K patent – with intent to develop

Canon released 4K patent filing

What will Canon's new 4K camera be?

A document released recently sheds light on Canon’s patent filing for a 4k compressed raw output camera. Specifically it appears that the main aspects of the patent are as follows: Read more

Eye Tracking Video – How Audiences View Films

Oftentimes you hear people discussing what defines good cinematography in technical terms, however what the audience is actually paying attention to depending on the action in the scene and what’s lit or in focus can be hard to decipher. Until now. This is an eye tracking test that was performed on a scene from There Will Be Blood, showing what audiences paid closest attention to.

There Will Be Blood with gaze locations of 11 viewers from TheDIEMProject on Vimeo.

When the dots grow, it means the watcher has kept their eyes fixed on that point of the frame for a longer period of time. I find it incredibly interesting, but would love to see this same method applied to a larger (hundreds) sample size.