Director’s Viewfinder on the iPhone!

Artemis is a digital directors viewfinder for the iPhone. Designed with both cinematographers and directors in mind, Artemis works in much the same way as a traditional directors viewfinder, though much more accurately and much more coveniently.

After selecting a camera format, aspect ratio and lens type, Artemis uses the camera in the iPhone to simulate the lens views you can expect when you come to shoot. You can either compare all the lenses (as above) or hit zoom and the camera will zoom in to fill the viewfinder with the equivalent view of the lens you’ve chosen.

How wide does it go?

Due to the limitations of the iPhone’s lens, field coverage is currently limited to the field of view of the iphone camera. Whist wide, it’s not super wide; it’s more or less the equivalent of 27mm in Super 35mm. We are currently exploring the use of a supplementary wide angle lens to extend the coverage to include at least 18mm and perhaps as much as the 14mm.

What cameras are covered?

Artemis has been field tested and tweaked with every camera in our database to make sure that the field of view is correct. With digital film cameras we found that relying on the information from camera manufacturers was not always wise.

The following formats are covered so far:

Standard and Super 16mm
Super 16mm Anamorphic
Standard and Super 35mm
35mm Anamorphic
65mm
35mm Digital (D-21, RED, F35, Genesis)
2/3 ” Digital (F23, Viper)
1/2″ Digital
1/3″ Digital

If you find a format that’s important to you is missing let us know and we’ll do our best to add in in the next update.

Can we save out the images?

Not in the current version. It is something we’re working on and should be out very soon. Of course, it will be a free upgrade. In the meantime you can take screen grabs but holding down the on button and the home button together. It’s a kluge, but it kind of works.

Why is it only os 3.1?

Yes, sorry about that. To make Artemis we need to have access to the iphone camera and customize it a bit and this is only legally available in the 3.1 sdk. So unfortunately we have no choice. We do understand that there are some people who are reluctant to upgrade but it’s just not possible in 3.0.

Source: ChemicalWedding

DSLR 2.0 Hybrid Support Rigs

One video DSLR support system for all your shooting styles

The award-winning DSLR 2.0 hybrid support rigs reocgnize that video DSLRs change the game when it comes to shooting styles and situations. No longer encumbered by large heavy cameras, DSLR cinema can shoot anytime, any place, discreetly and without drawing attention. Switching between motion and still photography is a snap, and your support rig needs to quickly adapt to the various shooting styles enabled by these small cameras. The Redrock DSLR 2.0 hybrid support rigs meet the need by providing cinema-quality

Ultra lightweight and ultra portable for discreet shooting

The Redrock DSLR 2.0 hybrid rigs are a new level of portability and lightweight for still and cinema-style shooting rigs. At the heart of this system is the unique patent-pending DSLR baseplate: a lightweight connector to connect the DSLR to 15mm rails as the backbone of any setup. The DSLR baseplate has set screws to eliminate camera rotation for using accessories such as the microFollowFocus. As a result, full size accessories are avoided, minimizing weight without sacrificing features.

Carbon Fiber Rods New as of September 2009 – all DSLR bundles now ship with carbon fiber rods. Redrock’s unique process results in precision, incredibly strong rods that are 66% lighter than comparable stainless steel rods.

Complete Rigs, or Roll Your Own

Whatever your shooting style, the DSLR 2.0 rigs can meet your need. We’ve created some of the most popular configurations as one-stop packaged solutions. If you want something a little different you can purchase individual components and build your own unique rig.

Future-proof accessories

All DSLR 2.0 rigs are based on cinema standards wherever possible, including the important specs such as 15mm rails, film pitch gearing, and standard filter sizes. Virtually all components can also be used with video cameras, Red cameras (such as Scarlet) and other DSLRs. This keeps your Redrock gear working for you now and into the future.

 

Revolutionary Pricing

In keeping with Redrock’s philosophy of affordable ownership, DSLR 2.0 hybrid support rigs can be purchased for hundreds, not thousands, of dollars. YOu can also add components as your needs grow to adapt your equipment to your evolving shooting style and equipment.

Source and More: Redrockmicro

6.5″ Lightweight High Resolution Super Transflective Portable Field / Camera-Top Monitor

The V-LCD651ST-HDMI is the newest addition to Marshall’s line of Super Transflective Outdoor Monitors. This 6.5″ portable field / camera-top monitor is designed specifically for outdoor applications with high ambient light. Our technology minimizes surface reflection of both outdoor and indoor light, while featuring a much wider color reproduction range than typical transflective/reflective LCDs or even those with increased backlight performance. Marshall’s outdoor super-transmissive LCDs provide improved visibility by producing high-contrast images and a wider viewing angle, even under diverse and challenging lighting environments. This innovative technology dramatically boosts the efficiency of the LCD backlight’s light utilization, while maintaining extended temperature ratings and low power consumption for outdoor operation.

The V-LCD651ST-HDMI introduces a new durable and lightweight design, weighing in at only 1.3 pounds. It also features our completely digital TFT-MegaPixel high resolution LCD screen with 2.4 million pixels, 4-pin XLR power jack, and optical-grade polycarbonate screen protection. Analog signals are digitized using advanced 10-bit processing with 4x oversampling and adaptive 5-line comb filter. This model comes in 2 other major module configurations: 3GSDI (Composite, YPbPr and 3G/HD/SDI) and HDA (Composite, YPbPr). A variety of battery adapters are available for each configuration.*

Source: Marshall

Lexar announces new 600x Compact Flash cards

by Dave Freeman

Lexar announced their new 600x compact flash cards today. It’s not unexpected that the faster speed memory cards are coming out, given the UDMA requirements of cameras like the Canon 7D.

The new Lexar cards have a amazing 90MB/s transfer rate when used in a device that supports the new UDMA 6 protocol. This is particularly important for the generation of cameras that shoot video, since the write speed is critical when you are shooting in HD.

The new cards are available in 8GB, 16GB, and 32GB sizes. The 8GB and 16GB cards are available now, the 32GB should be available in November. The 8GB version sells for $149, the 16GB version sells for $249. There isn’t any pricing available for 32GB version, but you can safely assume it will not be cheap.

Source: Crunch Gear

New Processor Will Feature 100 Cores

By: Priya Ganapati

Imagine what this can do to the production industry, we could render in less tha a second a full HD proyect!

Forget dual-core and quad-core processors: A semiconductor company promises to pack 100 cores into a processor that can be used in applications that require hefty computing punch, like video conferencing, wireless base stations and networking. By comparison, Intel’s latest chips are expected to have just eight cores.

“This is a general-purpose chip that can run off-the-shelf programs almost unmodified,” says Anant Agarwal, chief technical officer of Tilera, the company that is making the 100-core chip. “And we can do that while offering at least four times the compute performance of an Intel Nehalem-Ex, while burning a third of the power as a Nehalem.”

The 100-core processor, fabricated using 40-nanometer technology, is expected to be available early next year.

In a bid to beat Moore’s law (which states number of transistors on a chip doubles every two years), chip makers are trying to either increase clock speed or add more cores to a processor. But cranking up the clock speed has its limitations, says Will Strauss, principal analyst with research and consulting firm Forward Concepts.

“You can’t just keep increasing the clock speed so the only way to expand processor power is to increase the number of cores, which is what everyone is trying to do now,” he says. “It’s the direction of the future.”

In fact, Intel’s research labs are already working on a similar idea. Last year, Intel showed a prototype of a 80-core processor. The company has promised to bring that to consumers in about five years.

Tilera, a start-up that was spun out of the Massachusetts Institute of Technology, started in 2007. It says its product will be available in the next few months, which means the company, if successful, will have gone from zero to shipping a powerful chip in just about three years — a very fast time frame in the semiconductor world. That’s because it has created a chip architecture that removes the challenges present in Intel’s x86 design.

As the number of cores on a chip multiplies, a major challenge is how to connect the chip to memory without choking up the processor. That’s why Agarwal says Tilera has used a mesh network architecture. It eliminates the “on-chip bus interconnect,” a central intersection found in most multi-core CPUs through which information must flow through to get between the cores of a chip. That central interconnect presents bandwidth issues of its own, and also forces engineers to limit the number of cores on a chip to avoid information gridlock.

Instead, Tilera places a communication switch on each processor and arranges them in grid-like fashion on the chip. Because the overall bandwidth is greater than that of a central bus, and because the distance between individual cores is smaller, Tilera says it can cram in as many as 100 cores on a processor without running into bus-bandwidth congestion.

Each core has a full-featured, general-purpose processor that includes L1 and L2 caches, and a distributed L3 cache. The cores are overlaid with the mesh network, which provides extremely low-latency, high-bandwidth communications between the cores, memory and the processor’s input and output.

“If you need huge computing power, say for instance to encode and decode multiple video streams, our processor can do it at much more efficiency than Intel chip or a digital signal processor,” Agarwal says.

And unlike GPU-based computing systems, programmers can recompile and run applications and programs designed for Intel’s x86 architecture on Tilera’s processor.

“Tilera has put forth a novel approach to massively parallel programming,” Strauss says. “The 100-core processor is closer to a generic processor than anything else we have seen before.”

Don’t expect it to run Windows 7 on it though. For that, consumers will have to wait for Intel’s version in a few years.

Source: Wired

Led Eye lashes!

Probably we will see this eye lashes in the next sci-fi movie or in a really futuristic music video:

 

1Ds Mark IV [CR1 & CR2]?

When?
The 1Ds Mark IV is probable for Photokina 2010 at the present. I have also heard springtime.

Specs
32mp Full Frame (I have also heard 38mp)
Dual DIGIC IV (no one is making a peep about DIGIC V)
New Video Features (Natural evolution)
ISO Range 100-6400 (no word on boost)
5fps
Same AF System as 1D4
Same body as 1D4

Nothing extraordinary here. Although, the sensor spec of 32mp comes from a pretty reliable source.

Source: Canonrumors

Lensbaby Fisheye and Soft Focus Lenses

By: Charlie Sorrel

Lensbaby is turning its range of selective focus blurry-cam lenses into a full-on budget FX system for SLRs. Today the company announced a new fisheye and a soft-focus plugin for the Lensbaby Composer or Muse, which both work by replacing the optical part with a new one.

One slotted in, the Fisheye gives a 12mm bulge-o-rama with a 160º field of view (yes, your toes will be in every shot). The Soft-Focus Optic works by simply putting a metal plate with holes in it in front of a 50mm lens, and both new lenses work with Lensbaby’s aperture disks, which let you change the opening size by swapping in different sized disks.

Neither lens twists to give the movable clear spot and blurred outline that is the Lensbaby trademark, but then, just how much destruction can a single image take? Available now: Fisheye $150, Soft-Focus $90.

Product Page: Lensbaby Source: Wired

Artemis, Director view finder for the iPhone

Artemis is a digital directors viewfinder for the iPhone. Designed with both cinematographers and directors in mind, Artemis works in much the same way as a traditional directors viewfinder, though much more accurately and much more coveniently.

After selecting a camera format, aspect ratio and lens type, Artemis uses the camera in the iPhone to simulate the lens views you can expect when you come to shoot. You can either compare all the lenses (as above) or hit zoom and the camera will zoom in to fill the viewfinder with the equivalent view of the lens you’ve chosen.

How wide does it go?

Due to the limitations of the iPhone’s lens, field coverage is currently limited to the field of view of the iphone camera. Whist wide, it’s not super wide; it’s more or less the equivalent of 27mm in Super 35mm. We are currently exploring the use of a supplementary wide angle lens to extend the coverage to include at least 18mm and perhaps as much as the 14mm. If you let us know if you’re interested, we’ll let you know when one becomes available.

What cameras are covered?

Artemis has been field tested and tweaked with every camera in our database to make sure that the field of view is correct. With digital film cameras we found that relying on the information from camera manufacturers was not always wise.

The following formats are covered so far:

Standard and Super 16mm
Super 16mm Anamorphic
Standard and Super 35mm
35mm Anamorphic
65mm
35mm Digital (D-21, RED, F35, Genesis)
2/3 ” Digital (F23, Viper)
1/2″ Digital
1/3″ Digital

If you find a format that’s important to you is missing let us know and we’ll do our best to add in in the next update.

Can we save out the images?

Not in the current version. It is something we’re working on and should be out very soon. Of course, it will be a free upgrade. In the meantime you can take screen grabs but holding down the on button and the home button together. It’s a kluge, but it kind of works.

Why is it only os 3.1?

Yes, sorry about that. To make Artemis we need to have access to the iphone camera and customize it a bit and this is only legally available in the 3.1 sdk. So unfortunately we have no choice. We do understand that there are some people who are reluctant to upgrade but it’s just not possible in 3.0.

Source: Chemical Wedding

CoreMelt Releases: Lock & Load – The Worlds Fastest Stabilizer for FCP!

By: Ty Lowell

CoreMelt announced the release of their latest video editing plugin for Final Cut Pro; Lock & Load. Lock & Load has been benchmarked as the worlds fastest stabilizer for Final Cut Pro, running at 6 times the speed of Apple’s inbuilt stabilizer, Smoothcam. With plenty of features and an intuitive interface, Lock & Load makes video stabilization a breeze. Lock and load is capable of intelligently ignoring foreground motion even on busy scenes or with dark backgrounds.

Byron Bay, NSW/Australia – CoreMelt today announced the release of Lock & Load, the worlds fastest video stabilizer for Final Cut Pro. Lock and Load takes shaky footage and makes it usable. Just select the clip, analyze it 6 times faster than Smoothcam, and playback the smoothed clip. That’s it, instant gratification, even on clips with complex rotation motion or camera zooms. Lock and load is capable of intelligently ignoring foreground motion even on busy scenes or with dark backgrounds.

Lock & Load’s advanced features:

* No need to choose tracking points, Lock & Load intelligently analyzes the entire clip for you, just select the clip and go.

* With intelligent adaptive zoom, Lock & Load will automatically compensate for differing levels of movement and zoom in to remove edges.

* Removes or smooths rotation and zoom changes as well as X and Y movement.

* Analyses only the portion of the clip you select, no need to export and re-import long clips.

* Works with all kinds of footage, no “too much movement” errors.

* Gives smoother and more fluid results on all types of footage from landscapes to city scenes.

* Intelligently ignores foreground motion.

* Multithreaded motion analysis uses all processors on your system.

* Realtime preview of the smoothed clip without rendering.

* No learning curve, instant intuitive user interface, works directly on the FCP timeline.

Product Comparisons:

Speed compared to Smoothcam*:
Lock & Load: 6x
Apple Smoothcam: 1x
Magic Bullet Steady: 1x
Boris Optical Stabilize: 3x

Smoothes Rotation and Zoom:
Lock & Load: Yes
Apple Smoothcam: Yes
Magic Bullet Steady: No
Boris Optical Stabilize: Yes

Fast Preview/Render:
Lock & Load: Yes
Apple Smoothcam: No
Magic Bullet Steady: Yes
Boris Optical Stabilize: No

Analyses in/out only:
Lock & Load: Yes
Apple Smoothcam: No
Magic Bullet Steady: Yes
Boris Optical Stabilize: No

Smart Adaptive Zoom:
Lock & Load: Yes
Apple Smoothcam: No
Magic Bullet Steady: No
Boris Optical Stabilize: No

Fully Keyframable:
Lock & Load: Yes
Apple Smoothcam: No
Magic Bullet Steady: No
Boris Optical Stabilize: No

Price:
Lock & Load: Normally $149
Apple Smoothcam: NA
Magic Bullet Steady: $199
Boris Optical Stabilize: $99

Minimum Requirements:
* Mac OS X Version 10.5.4 Leopard or higher
* Final Cut Pro 6 or later.
* Universal Binary for PowerPC and Intel
* G5 Processor, 1GHz or faster
* Dedicated 128MB or higher Graphics memory required (256MB required for HD rendering)
* 100 MB Hard Drive space for CoreMelt Complete

Pricing and Availability:
Lock & Load normally retails for $149 (USD). Until 8 September the Special Introductory price is $129. If you already own CoreMelt Complete V2, you can buy Lock & Load for only $99!

CoreMelt [304]
Lock & Load [417]
Lock & Load Demo Video [127]
Purchase Lock & Load [129]
Download Lock & Load [300]

CoreMelt are designers of cutting edge, GPU accelerated plugins for Motion Graphics Artists and Video Editors using Final Cut Pro, Final Cut Express, Apple Motion, and After Effects CS3/CS4. With over 15 years of combined industry experience, we know what effects artists need and want. Copyright 2009 CoreMelt. All Rights Reserved. Apple Final Cut Studio and Apple Motion, are registered trademarks of Apple Computer in the U.S. and/or other countries.

Source: PVC

Online Panasonic/LUMIX Award Photo Competition (2009/2010)

This year’s contest seeks images that explore the theme of music

Panasonic Marketing Europe is pleased to announce a call for entries for the eighth annual online LUMIX Award digital photo competition which takes place from October 26, 2009 until April 30, 2010. Under the theme of “Visualise Music,” digital photographers are invited to submit each month one digital image that best captures the moment when music, whether through the sound of an instrument or every day life, impacts our visual senses.

“We hope that the LUMIX Award will encourage digital photographers to use their creativity and show us through their photos how an invisible condition such as music can be visualized,” explains Sven Dabelstein, Senior Manager Product Marketing, Optical Products, Panasonic Marketing Europe.

The digital photography competition is open for six months from November 2009 until April 2010. Each month, a winner will be chosen and awarded a LUMIX DMC-ZX1the latest digital compact camera from Panasonic. The overall winner of the LUMIX Award competition – for the single best digital photo – will win a LUMIX DMC-GF1, the worlds smallest and lightest interchangeable lens system camera from Panasonic along with tickets to see the Blue Man Group. Two runner-ups will each receive a LUMIX DMC-FZ38 digital camera. All submitted digital photographs will be reviewed and judged by an independent panel of professional photographers and creative directors.

Established in 2002, the LUMIX Award is a European-wide online competition aimed at promoting creativity in digital photography and establishing an interactive platform for digital photographers to share their work. Each year’s competition centres on a different creative theme.

For further information on the LUMIX Award competition or to see the submitted images, please visit: www.lumixaward.com

Award-winning training company delivers professional instruction for industry’s specialized digital visual effects software Genarts Sapphire

By: Ty Lowell

Class on Demand®, a provider of professional educational products for creative markets, announced the availability of the highly anticipated “Complete Training for GenArts Sapphire™”. Recognized by top studios and post-production houses for its image quality, organic look, speed and intuitive controls, Sapphire provides more than 200 state-of-the-art image processing and synthesis effects plug-ins. The video-based curriculum follows the award-winning Class on Demand training methodology; offering expert instruction on Sapphire effects workflows for Adobe® After Effects® and Apple® Final Cut Pro® applications in a highly engaging, modern on-demand delivery format. GenArts’ first authorized training program, “Complete Training for GenArts Sapphire” is hosted by GenArts’ own Todd Prives, a well-known international conference speaker and Sapphire expert.

“GenArts Sapphire has established itself as the must-have tool in the arsenal of the world’s best visual effects artists and editors”, says Steve Bannerman, CMO of GenArts. “Tight production deadlines often make it difficult for users to explore the depth and breadth of what Sapphire can do. We’re excited about Complete Training for GenArts Sapphire because it offers users of all experience levels an excellent way to significantly enhance both their creativity and productivity without sacrificing their schedules.”

“With many of our existing clients working in Final Cut and After Effects, ‘Complete Training for GenArts Sapphire’ is a tremendous value add for our audience and training catalog,” says Paul Holtz, CEO and founder, Class on Demand. “With almost a decade of industry experience, Todd’s hands-on training resonates with any artist or editor looking to examine and master Sapphire’s full potential. Complete Training for GenArts Sapphire is a perfect match for the avant-garde GenArts artist.”

“Complete Training for GenArts Sapphire” helps new users quickly acclimate to the sophisticated workspace whilst providing skilled users with more advanced instruction leading to application mastery. The training is broken down into 7 logical segments. The non-linear approach enables novice and experienced users to focus on chapters best suited for their individual learning needs. Complete project files for both After Effects and Final Cut Pro are included in the comprehensive training; providing an ideal experience for maximum information retention.

For a comprehensive sampling of Class on Demand’s “Complete Training for GenArts Sapphire,” including Product Overview, FilmEffect Plug-in and WarpVortex Plug-in, please visit:http://www.classondemand.net/ClassOnDemand/GenArts-training/sapphire.aspx.

Pricing and Availability
The new Class on Demand training for GenArts Sapphire is priced at $129.00 USD and is available to purchase as a DVD or digital download from Class on Demand (http://www.classondemand.com) or ToolFarm (http://toolfarm.stores.yahoo.net/clondecotrfo15.html).

Source: PVC

Canon7D Vs. Nikon D300s ISO Test

By: Eric, from Photography Bay

A couple of years ago, after Canon announced the 40D, Nikon dropped a bomb with the D300 and D3 combo.  I remember the cover of Popular Photography read in bold print “Nikon Strikes Back.”  That was a very fitting description in the face of what many thought was a rather mild upgrade to the Canon 30D, which was in turn a mild upgrade to the 20D.   A year later, Canon failed to really “wow” us with the 50D; however, I found the 50D to be an excellent performer.

Fast forward to Summer 2009 and the stage is set for both Nikon and Canon to take another turn at “wowing” us.  TheD300s is mostly a rehash of the D300, along with video capture.  Canon, however, stepped out with the feature-packed 7D, which also featured video, but added a spec-list that made it look like a 5D Mark II Jr.

Since the introduction of the D300 was Nikon’s turn to “Strike Back,” will the Canon 7D, in response to the D300s, be “Return of the Jedi Canon”?  Keep on reading this first round of comparisons, which takes a side-by-side look at the ISO performance of these two prosumer cameras.

About the Cameras

If you aren’t familiar with the specifications of these two cameras, let’s take a very brief look at some of the key features of the 7D and D300s.

The cameras are close in price, with the 7D retailing at $1700 and the D300s retailing at $1800.  Looking at max resolution though, the 7D offers 18-megapixels, while the D300s features 12.3-megapixels.  Both are CMOS sensors.  Nikon has been using this sensor (or a version of it) for several different cameras now.  Both cameras offer a high speed frame rate, with the 7D at 8 fps and the D300s at 7 fps.

The 7D offers native sensitivity settings of ISO 100-6400 and is expandable to ISO 12800 equivalent.  The D300s offers native settings of ISO 200-3200 and has both low and high expansions to cover the equivalent of ISO 100 and ISO 6400.

Testing Details

All images were captured in Large/Fine JPEG format.

Long exposure noise reduction was turned OFF.

High ISO noise reduction was set to Standard/Normal.

On the 7D, Highlight tone priority was disabled and Auto Lighting Optimizer was set to Standard.  On the D300s, Active D-Lighting was set to Normal.

Picture Style/Control was set to Standard.

Lenses used were the Canon EF 50mm f/1.4 and Nikon AF-S 50mm f/1.4G.

Custom white balance was set using the Expodisc white balance tool.

All images were shot at f/8 and the following shutter speeds at the respective ISOs:

• ISO 100 @ 13s
• ISO 200 @ 6s
• ISO 400 @ 3.2s (3s on the D300s due to setting limitations)
• ISO 800 @ 1.6s
• ISO 1600 @ .6s (.625s on the D300s)
• ISO 3200 @ .4s
• ISO 6400 @ 1/6s
• ISO 12800 @ 1/10s (D300s shot at ISO 6400, then pushed +1EV in post-processing)

Sample Images

Here is the complete image shown at ISO 200.  Below are 100% crop samples taken from the focus point of each image.  No post processing was performed on any of these images other than the crops shown below.

Nikon D300s vs. Canon 7D ISO 100

Nikon D300s vs. Canon 7D ISO 200

Nikon D300s vs. Canon 7D ISO 400

Nikon D300s vs. Canon 7D ISO 800

Nikon D300s vs. Canon 7D ISO 1600

Nikon D300s vs. Canon 7D ISO 3200

Nikon D300s vs. Canon 7D ISO 6400

Nikon D300s vs. Canon 7D ISO 12800

Conclusion

I was really surprised when I looked at some of these images at higher ISOs on the computer monitor.  I think the Canon 7D really starts to set itself apart at ISO 1600 and above.  It looks like Nikon’s noise reduction may be a little to aggressive.  ISO 6400 was so bad compared to the Canon 7D that I actually went back and re-shot is several more times; however, the D300s just didn’t get any better at ISO 6400.

I’m really amazed at how good plain old JPEG images look like at ISO 6400 and 12800 from the Canon 7D.  While there’s a lot more to a camera aside from high ISO performance, the Canon 7D is looking pretty sharp at this point.

To see the whole article with coments and full resolution pictures go to :

PHOTOGRAPHY BAY

According to These Photographs, Superheroes Exist

Mark got some light art photographs before, but the new ones in this gallery are so spectacular that they look like frames from a sleekspanky superhero movie. Except that, instead of using computer effects, these are done in real time.

Like Picasso’s light drawings, the photos by Lapp-Pro are created using a camera with an open shutter. But instead of just using a simple light, these people use a variety of lighting sources that make their photos look from another world. Another world where dorks fight with actual balls of plasma instead of just pretending to do it while making whishwhoosh sounds with their mouths. [Lapp-pro.de via Daily Mail]

Where is the 5D? Contest!!

I found this trully interesting, Shane Hurlbut, ASC, (Terminator Salvation (T4), We are marshall, into the blue), Is doing a contest to find out who gets what format is and where.

Watch closely and see if you can tell the difference between film and the two HD cameras. Then, try to notice the subtle changes of the 10 Bit HD with the Sony 950 and 8 Bit color space with the Canon 5D!, Please post your responses on Shane Hurlbut blog and he will let you know the winner! Be as specific as possible in your responses.  To make it more fun, the person who gets it right will receive a prize from Hurlbut Visuals as a thank-you for taking the time to watch and give us your input. The deadline is November 1,  so have fun and watch closely!

(press the picture, and reload until you are in the contest site)

In this Mio footage from our current Navy SEAL film project, he used two HD cameras the Canon 5D Mark II and the Sony 950. He also shot some of it with the Arri 235.

Read more: Vincent Laforet Blog (He says that he has seen it in a 50 foot screen and it’s hard to tell)