Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes! In the 23rd episode of ON THE COUCH, I was lucky enough to sit with fellow bloggers and shooters Dan Chung, Clinton Harn from newsshooter.com and Emmanuel Pampuri from pampuri.net. Do we really need raw video? I started off by stating an observation: These days it’s almost as if smaller cameras (like Blackmagic cameras) mean more and higher data rates, often raw – while more advanced camera systems feature more advanced codecs (e.g. XAVC I in the FS7/F5/F55). Dan pointed out that Panasonic is the manufacturer who addressed file size more than any other, because they come more from a broadcast perspective. People start to realize that RAW is not the holy grail for much work, and actually it slows you down – so now the future really is in efficient codecs, the right codec for the right job. Emmanuel mentioned that people need to think about the workflow – the camera is just the first step of a longer workflow and people often neglect to look at the whole pipeline when thinking about what camera to shoot on. Clinton talked about how he shot his first feature film recently, and they decided to shoot RED. He found working with it quite easy and loved the fact that you have different compression ratios of raw, which you can choose depending on how much post production goes into each particular scene or shot. Dan said how it’s not practical for him as a news shooter in any circumstance to shoot raw – he shoots compressed formats like XAVC, MXF and so on … only in very difficult situations where for example he knows he has the time and budget to work on a shot with a blown out window, it makes sense for him to shoot raw to get those highlights back, for example. Backup workflows on set Regarding backup workflow we talked about how everyone processes the massive amounts of news footage he is gathering and backing up. Much like me, Dan makes back-ups on set using small 2.5” drives, and makes three copies. One of those copies should be kept away from the other two for safety purposes. Emmanuel takes the G-Dock with the G-Drives ev for the shoots on the day, the third one is a larger drive at the hotel which is backed up to after the shooting. One of the G-Drives ev goes back to the studio via mail every day in the evening. I mentioned how dual slot recording for instant backup takes a little bit of pressure away from backing up on set, because you end up with an instant copy of the whole card on another card. However not all cameras support this yet, the C300 and the FS7 do though. Clinton mentioned how it makes a lot of sense to use only smaller cards in cameras – just in case something happens, you simply lose less footage. Common sense that should be applied by anyone – however it gets harder with cameras like the Sony A7s which takes 64GB SDXC cards (that take around 2.5 hours of footage) as a minimum size. Dan summed the topic of storage up concisely by saying, “have a storage plan and stick to it – because when you don’t and when you vary the plan, that’s when things get lost or missing.” In the next part of this episode we talk about permanent backup strategies for data – how can your data survive over decades? Check back in a few days for part 2 of this episode of ON THE COUCH. Please visit our sponsors’ websites to keep new episodes of ON THE COUCH coming! Thanks to G-Technology, Røde Microphones, Movidiam, FilmConvert & F&V.Read more
IBC 2013, the second-largest show for filmmaking and broadcasting technology in the world, is drawing to a close. Like at NAB, Teradek streamed a lot of great insightful interviews with industry people about various topics on their website, and they are putting them up online afterwards for anyone to see.Read more
We reported about the new Sony EA50, the camera that has the news shooter form factor, a large sensor and most importantly an electronic zoom lens (yay!). Dan Chung from dslr news shooter had some time with the camera at BIRTV show in Beijing. The $4000 Sony EA50 is available for pre-order here: via dslr news shooterRead more
by Jared Abrams | 6th April 2011
Here is a little promo done by BBC cameraman Johnnie Behiri. He is able to get a ton of gear in this new travel case by Kata. I am partial to hard cases like Pelican and Storm Cases myself, however this looks like a great solution for news shooters like Johnnie. Here is a rip from the post. Click here to check it out. “There is no perfect bag and every assignment may require a different carrying solution. That’s the reason I’ve decided to explore different options, from a full load of equipment to a camera-only bag solution. I felt the video deserved a bit of an extra footage to make it a bit more entertaining and I was lucky enough to meet grand master Chen Shi Hong and his Viennese Kung-Fu class. Their beautiful movements were captured with a Canon 7D in 720/50p and I later manipulated the footage in Twixtor Pro within Adobe Premiere to achieve “super slow motion” effect. I kept the shutter at 1600 to avoid blurring images. The second Canon 7D used for capturing my piece to camera was operated by the talented Stefan Nutz.” Equipment used: Tripod: Sachtler DV 8 SB Rig: Vocas EVF: Cineroid Lenses: Canon 17-55mm f2.8 Tokina 11-16mm f2.8 Samyang 8mm f3.5 Samyang 85mm f1.4 Audio: Tascam DR-100 Sennheiser EW100 G2 Sanken COS 11D wireless microphoneRead more
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