Today we have a small reason to celebrate, as we are finally able to realise one of our business ideas. We are officially launching our cinema5D Japanese site today, which you can access via cinema5d.jp, or by choosing the Japanese option when clicking on the little globe on the right hand side of our navigation bar. This is our attempt to break the language barrier when it comes to news, lab tests and quality reviews from our ever-evolving industry, and bring them to those who would consume our valuable content in their native language. A lot of time and effort has gone into this initiative, and we hope to get the support of the community by helping us spread the word among your Japanese friends and colleagues. I would like to introduce Kiyoshi Inoue-san, our partner for this initiative and cinema5D Japan office manager. For the last few months, we’ve spent a considerable amount of time together in order to bring us to where we are now with the new site. Inoue-san is an active professional who is familiar with the ins and outs of our industry, and he will be the one to coordinate our local activities and make sure everything with our cinema5D Japan site functions well and at the right place. Besides catering for our Japanese audience with relevant and fresh content, one other benefit of opening a Japanese branch is the opportunity to produce additional, up-to-date original content from the country that manufactures much of the gear we all use, and bring that information straight to our international audience. Last but not least, we welcome our Japanese audience of filmmakers, and we look forward to having a fruitful engagement with them. Our multi-language journey has begun, in the hopes of providing more and better content than ever before! cinema5DというWebサイトをご覧になったことがあるでしょうか？ cinema5Dはその名称から連想されるように、シネマカメラを中心とした撮影機材を紹介するサイトです。 シネマカメラと言いましても、大作映画を撮る大きくて高価なカメラと言うよりは、放送用映像制作やプロモーションビデオ、あるいはCMや自主制作映画、そしてハイアマチュアも含めた映像制作用機材を中心に紹介しています。 今やこれらの映像は、業務用カメラはもちろんですが、DSLR（一眼レフカメラ）やミラーレスカメラでも多くが撮影されています。Cinema5Dでもこれらのカメラを積極的に取り上げ、紹介しています。 Cinema5Dはオーストリアのウィーンに本拠を置く会社で、2008年に開設以来アクセス数を増やし、現在では1日に約15,000人（ユニークユーザー数）が訪れるサイトに成長しました。 単なるプレス発表や試用レポートではなく、プロの映像制作者が実際に使用し、意見を交えて書く記事や、ラボテストによる数値的な評価は、実際に購入を考え、機材を比較するうえで、深く読んでいただく読者層に支えられています。 このようにして、現在では欧米を中心にメジャーとなったサイトですが、残念ながら日本には言葉の壁があり、ほとんど知られていないのが現状でした。 そこでこの度、記事を翻訳し、日本の読者にも読んでいただけるよう、cinema5D Japanを開設する運びとなりました。 全ての記事を日本語化するにはもう少し時間がかかりますが、毎日発信されるニュースや特集記事を日本語にしてお届けします。 もちろん、日本発の記事も、英語に翻訳し世界で読まれます。 皆様のお役に立てる記事を心がける所存ですので、今後ともご支援のほど、よろしくお願いいたします。 Cinema5D Japan マネージャー 井上 清Read more
As part of our aim to strengthen the connection between us and our readers, we decided to give our talented audience out there a stage to express themselves and share their success stories in our new weekly TALENT FEATURE. We hope that with time, these guest posts will become a source of inspiration to our colleagues wherever they are. If you are interested in participating, please upload your video to our VIDEOLOG and follow the rest of the submission process by reading the information here. (Intro by Johnnie Behiri) I am a Vancouver-based documentary-style filmmaker, specializing in cinematic short-form videos. My wife is also a photographer and a filmmaker. Together we run our own business with a focus on weddings, which occupy most of my weekends. During the week, I find myself all over the Greater Vancouver area filming documentary shorts which feature the artisans and business owners who make this city so vibrant. I also have the opportunity to travel abroad to work on a variety of projects, and my experiences living abroad allow me to bring a unique angle to my stories. Name? Aaron Nathanson Age? 29 Currently based in: Vancouver, Canada Language(s) spoken? English, Japanese, Spanish Occupation? Filmmaker / Photographer How did you get started in our industry? I often feel like I sort of “fell” into this line of work, like it chose me or something. But looking back, it makes a lot of sense. I found my dad’s old Panasonic PV-950 camcorder under the bed when I was a child, and would often run around the house with it, focusing on different things, experimenting with camera movement, zooming, etc. It started as child’s play, but I didn’t realize that in fact it was practice. I lived in Japan for three years. It was my dream from a very young age. When I was there, I found that video helped me to connect with the world, especially the people around me. I found that I was more passionate about video than anything I’d ever done before, and I jumped at every opportunity to film, whether it was the cherry blossoms in full bloom, or a master artisan in deep concentration at her craft. For me, using a camera for video is like a form of meditation: holding my breath, moving my feet, pulling focus… it all really brings me into the moment. I currently run a production company, Koyo Photography, here in Vancouver with my wife, Lindsay. I’m also head of production for a Sydney-based production company that specializes in short films for businesses. I always find myself at some new and interesting place filming during the week, and weekends are occupied by weddings. I go back to Japan for work about twice per year. What is your dream assignment / job in our industry and what are you really passionate about? My style has always been driven by natural light, and I favour handheld movements with a documentarian feel. I’ve been watching Chef’s Table Season 2 on Netflix, and I know I’m not alone when I say this, but I absolutely love the style, and the way it’s both raw yet refined. There are so many shots that are risky in terms of nailing the focus or exposure; the timing, the setting, the fact that it all comes together the way it does really leaves me with a sense of awe. Being a camera operator on a project like that would definitely be my dream job. Of course, it’s also my dream to return to Japan on a permanent basis, but it’s hard to get residency there, especially as a filmmaker. In the work that you are presenting us, now that it is done, what would you have done differently throughout the production? I really wish I would have gotten a great video portrait of our narrator, Mr. Kubota, outside in the garden. I only had an hour with the master brewer indoors as it was freezing outside, and I did not have a lighting crew with me. Any shots under the fluorescent lighting in the office of the sake brewery would not be usable. So, I decided to focus on getting some great soundbites which I would use to craft the story later. What current camera, lenses and sound equipment do you use? I currently shoot with Sony mirrorless bodies, the A7SII, A7S, and A6000. I have an assortment of Canon L glass, with some Sigma Art lenses thrown in the mix, and I adapt them with a Metabones IV adapter. I roll as light as possible, preferring to go handheld most of the time, but my go-to support is the Manfrotto 561BHDV monopod for a wide variety of movements. What’s is your favorite lighting equipment, and why did you choose that kit over other solutions? I like the Aladdin Bi-flex lights. They’re super easy to travel with, are nice and soft, and are just really reasonable overall. I’ve used a simple three-piece setup for interviews and they work a treat! Do you use drones/gimbals in your productions? If so, what is the most effective way you’ve found in deploying then? I absolutely love that stabilized look, and I’m really amazed at how fast motorized gimbals are progressing. For now, I tend to just stick to my trusty Manfrotto Video Monopod for most of my tracking shots, and I’ve learned that good form and a little post-processing magic can create the effects I want without adding to my physical setup. What editing systems do you use? I use FCPX. It’s the most intuitive NLE for me. How much of your work do you shoot in Log and what is your preferred way of colour correcting? For me it is important to keep things as simple as possible, and that extends to the grading process. I rarely use S-LOG, and instead shoot a flat cine gamma, usually Cine 2 or Cine 4 whether I’m indoors or outdoors. For the grade, I find that a combination of Filmconvert and a secondary LUT, such as James Miller’s or VisionTek, tend to get me to the right jumping-off point. For colour correcting, I mostly find that the built-in FCPX tools do the trick. How frequently do you travel, and do you have any tips when it comes to packing your gear? I am travelling around the Pacific Northwest regularly for jobs, and I am in Japan about twice per year for work. I also used to live in Hong Kong, so sometimes I am back there for work as well. When it comes to packing gear, I always make sure I’ve done my checklist and packed my Think Tank Streetwalker Hard Drive bag. I’ve tried a multitude of bags from various manufacturers, but this is the best-designed bag I’ve found by far. They key is to have a capacious bag that doesn’t draw any attention at the airport. Plus, it’s really comfortable, which seems like a monumental achievement given how much gear I can cram into it. If you want to learn more about Aaron creative’s work, head over to his homepage. Participate in our initiative: share your talent and creative work by following these steps.Read more
Japanese manufacturers suffered the closure of sensor and electronics manufacturing sites in Japan after the Kumamoto earthquake and aftershocks. The Kumamoto site, Sony’s predominant factory for producing Sony’s CMOS sensors, security cameras and micro-display devices for a number of electronics manufacturers, had stopped its production line in order weeks ago to assess the damage following the earthquake and subsequent aftershocks. Other Sony Technology Centres across the south of Japan were also affected, with the Nagasaki plant that produces smart phone sensors (including those for the Apple iPhone) resuming production soon after the quake. Sony’s Kumamoto site saw the worst of the damage. This sensor production line caters to a multitude of camera manufacturers from Nikon to Leica and many more, so this has affected the supply chains of many digital imaging products across the globe. Readers and dealers everywhere are reporting massive shortages in Sony camera products, with many backorders delayed. Among many other products, the new FS5 is affected. There is no current time frame for when operations will be back to normal, as aftershocks continue to occur in the region. However, Sony has confirmed in an updated release that the testing operations (back-end process) was up and running as of the 9th of May, with assembly expected to restart as of the 17th of May. Another part of the production line, sensor wafer processing, will hopefully resume sequentially on the 21st of May. A number of other third-party suppliers have also been affected in the Kumamoto region, but Sony have confirmed that adjustments in inventory and a time frame for replenishing supply levels means that ‘no material impact is anticipated on Sony’s business operations’. Nikon has subsequently delayed the release of their KeyMission 360 degree action camera from this spring to October, as well as a number of compact cameras. In a release from Nikon, they mention the supplier parts needed for interchangeable lens cameras, lenses and compact cameras have become unavailable due to the quake, with an investigation taking place and more details being released soon. There is no information as to whether Canon’s production line has been affected, but many companies will not divulge information as to where they source their components or sensors. Panasonic also have a semiconductor facility in the Kumamoto region, but there is no information as to whether they have been affected also. Apple have made no comment either. This means that customers eagerly awaiting their new cameras, whether it be Sony, Nikon, Canon or many others, may be in for a delay in receiving their products while manufacturers get the production lines up and running again. Photographers awaiting the DL line of cameras from Nikon will need to be patient until Nikon are able to resolve the ‘serious issues with the integrated circuit for image processing’. As the damage is repaired, and production lines are slowly started again, we should hear more from manufacturers as to when manufacturing has resumed to normal, but for now, things are slow. Even after resuming operation, it will take months for products to find their way to customers through all their distribution channels again. Here at Cinema5D, we are thinking of the 49 citizens who lost their lives after the 7.3 magnitude quake, as well as the many thousands of people, homes and businesses who have been affected by the disaster.Read more
Not quite, but it has a nice ring doesn’t it? Japanese broadcasters NHK are further pushing notions for 8k broadcast streams by 2016. Broadcast Engineering have published an article highlighting an 8K camera by Astro Design, presented at NHK’s Open House. The camera features a 2.5in, 33-megapixel CMOS sensor. Producing 8k output and 4K monitoring. Another product at the Open House also unveiled development of the world’s first HEVC/H.265 real-time encoder for 8K Ultra HD.Read more
This is not a videolog pick and usually I don’t post soemthing that’s not vimeo or YouTube (Sorry on this one iPhone people), but it’s something I find so worth posting that I decided to disregard these guidelines. The above clip is a short 15 minute documentary about former Shooto heavyweight champion Enson Inoue’s efforts to help Japenese people in the aftermath of the catastrophy. It’s also a very good example of a documentary shot on DSLR and how these cameras can level up a production like this. Eventually I would also like to point out how this is a good example of how well made movies are amazing powerful tools that can not only entertain us, but also do good in this world: This one helps spread the word about things we humans are fond of locking away in our hearts, but Enson found it. He talks about the fire in his heart and how he spends his last savings on helping these people but still, in return he gets something that’s worth much much more. The filmmaker behind the camera is sports videographer Daniel Herbertson. If people would like to contribute to the work Enson is doing, then he does accept money donated via PayPal and promises that 100% of the funds donated will go straight to those in need. Enson Inoue’s PayPal address is: firstname.lastname@example.orgRead more
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