Archive for February, 2013
You know the old mantra of artsy filmmakers, “it’s not about the camera”. Deep down you know it’s absolutely true. We all geek out about new cameras and the latest and greatest, but the truth is that a bad story doesn’t become a tad better because it’s shot beautifully. I wrote about this fact in a lengthy blog post called “It’s not about the gear” a while back.
If you didn’t believe this by now, hold on tight for this story: The documentary “Searching for Sugar Man” – winner of the Best Documentary Academy Award 2013, was partly shot on an iPhone.
The future has only just begun
As the film industry is moving forward quickly, cinema5D is adapting and changing its approach as a source of online information for filmmaking. Aside from providing the latest industry news it will be transformed into the prime destination for real world reviews of digital cinematography cameras, HDSLRs and accessories.
Real stories, real films
People don’t want to see filmed charts, they want to see real films with real stories – because there’s one fact that most reviews are missing: how does a camera or a piece of gear actually work on a real job?
Therefore, we try to make our reviews “real jobs” in as many cases as we can – in real shooting situations with real time constraints, where it’s suddenly not about the camera anymore, but about how it performs in a real life situation.
To understand what we are talking about, watch some of our past camera test films like this one, this one or that one.
Joining forces ...
For the past years cinema5D has established the biggest forum on all things video DSLR, large sensor filmmaking and digital cinema cameras. ...
Like others, I was excited finally getting my BMCC and immediately put it for a “documentary shooting style” test.
In this test I wanted to see how easy it was to work with the camera (operating and ergonomicaly wise).
I chose shooting in ProRes with colour “backed in”. I also decided to shoot in relatively harsh conditions and throughout the day as you can see with the changing lighting conditions.
Let me start from the end…
The BMCC is to my opinion a “niche” camera and has a very specific usage. It will never serve as my main camera.
For documentary shooting style, RAW is not an option. ProRes is great but the way the BMCC is built, functions and handled, makes it very hard to operate. At the end of the day the main reason to buy this camera is its price tag/recording formats. If you are whiling to compromise on a camera with a small sensor and functionality limitations (hope most can be fixed in a future firmware update), then it is the camera for you. ...
I’ve been working with the Sony FS700 for several weeks before shooting this corporate film in September.
The Sony FS700 brings one unique and very exciting feature, the slow-motion mode that allows you to grab 240 frames worth of HD images per second. At this pricepoint slow motion has never been accessible, it’s wonderful to be able to experiment with this new tool.
But there are limitations too: This might not be visible on Vimeo, but the already very weak AVCHD codec of the FS700 (lots of artifacts generally) doesn’t get any better during slow-motion. Also the controls and any external SDI monitoring is disabled in slow-motion mode, so if you’re not connected via hdmi then all you have is the tiny screen on the back of the camera and no technical information at all. It still works somehow though, you’ve got to check after recording. ...
All the camera manufacturers try to take a chunk in the cinema camera market. We’ve seen a lot of new big sensor, 6K and other stunning developments over the past year, but now it’s Arris turn again.
When you look at how popular the Alexa is among cinematographers at the moment even though it has been around for several years and still “only” shoots HD / 2K you’ve got to realize Arri is doing something right. That’s also true for their newest version of the Alexa, the Alexa XT even though it uses the same old sensor. Read on to see why. ...
Canon finally released an official fix to the colour fringing problem. So far affected cameras had to be sent in for service.
Canon’s large sensor video cameras including HDSLR’s were never perfect from the start, but eventually Canon always fixed something. You might remember that time when the Canon 5D mark II had no manual mode and we had to cope and lock down the automatic mode somehow (Good old times…). We observe that eventually Canon delivered manual mode. ...
[UPDATE: We just realized this seems to be Europe only. Sorry US residents.]
Sony wants your (up to 5 minute long) shorts and gives out 4 NEX-FS700 camcorders and the grand winner of the so called PROduction awards will receives one of the first “4K kits” which includes the accessories needed to makes the Sony FS700 4K capable.
Granted the teaser video for this contest has a tad of last century weird, but that could probably give you a feeling of having even better chances to win. Another incentive: It’s free to submit your work and it can be uploaded easily, so no troublesome process to get started. ...
Latest Video Reviews
- Video Review: Pentax K-3 – at the orchid exhibition Camera manufacturer Pentax (now Ricoh Imaging) has been rather quiet in terms of video functionality ...
- Review Part 2: Blackmagic Production Camera 4K in the field Important notes concerning the video above: • After some concerns with our Blackmagic Production Camera 4K ...
- Review Part 1: Blackmagic Production Camera 4K vs. Canon 1DC Well, the Blackmagic Production Camera 4K is finally here. And we've put it through a ...
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