184K Plays / 2,458 Likes / 90 Comments
In the most scientific camera comparison to date, "The Great Camera Shootout 2011: a documentary of the Single Chip Camera Evaluation (SCCE)" premieres with Episode 1: ''The Tipping Point." The first episode of the 3-part web series examines three SCCE Tests: The Dynamic Range Test, The Under Exposure Test and The Over Exposure Test. Robert Primes, ASC, designed and administered the full series of tests. "That's right," says Web Series Director Steve Weiss,"We didn't want people to think that these tests were biased in any way. So Bob created the SCCE as an independent organization to conduct the testing." Additionally, Bob Primes designed the tests with his own technicians and selected the cameras to be tested. For more information on "The Great Camera Shootout 2011, go to http://www.zacuto.com/the-great-camera-shootout-2011. To watch previous episodes of The Great Camera Shootout 2010" visit http://www.zacuto.com/shootout+ More details
341K Plays / 924 Likes / 32 Comments
Many wikipedia articles have coordinates. Many have references to historic events. Me (@godawful) and Tom Martin (@heychinaski) cross referenced the two to create a dynamic visualization of Wikipedia's view of world history. Watch as empires fall, wars break out and continents are discovered. This won "Best Visualization" at Matt Patterson's History Hackday in January, 2011. To make it, we parsed an xml dump of all wikipedia articles (30Gb) and pulled out 424,000 articles with coordinates and 35,000 references to events. Cross referencing these produced 15,500 events with locations. Then we mapped them over time. More information and datasets: http://www.ragtag.info/2011/feb/2/history-world-100-seconds/+ More details
9,902 Plays / 237 Likes / 68 Comments
This Premiere Pro tutorial shows you how to recover clipped highlights when shot in the default 16-255 mode on the GH4. This only addresses highlights that were not clipped on the sensor itself but by the YUV to RGB conversion. This methods also works for any other camera that uses superwhites, and there's a lot of them out there... IF YOU SET THE GH4 TO 0-255 or 16-235 THERE IS NO PROBLEM! Most footage from the GH4 contains so called superwhite data that clamps to detail-less white when not treated correctly. This is because by ITU.709 regulations a YUV decoder expects white to be set at 235 (which will map to 255 RGB), but the GH4's white is standard set to 255 to have more room to play in grading. If you don't bring those values down everything over 235 will be bluntly cut off when playing directly or uploading it to Vimeo resulting in harshly clipped highlights. The GH4 is also capable of shooting in 0-255 YUV, in that case not only the white output level should be set to 235 but the black output level should also be set to 16. Note: not all color correction tools can handle the YUV superwhites/superblacks, I only know for certain that the Fast Color Corrector can.+ More details
58.6K Plays / 212 Likes / 62 Comments
This is a short test comparing a Canon 7d with an ARRI Alexa. The purpose of the test being to test the ability of each camera's images to be manipulated after exposure. I have graded each output to try to get it back to neutral using Gamma and density's chart. As you can see the Alexa responds very well where as the 7d footage fails in highlight exposure detail and its codec compromises its ability to be pulled up in the darker regions. It's interesting and telling and goes part way to explaining the more than substantial price difference. Many have questioned why I have made such a test. I plan, at some stage, on having to intercut the two cameras in stunt or quick insert situations (the 7D) and wanted to know what I am up for. I also was interested in seeing what you get for your money. The Alexa is a known quantity and is known as one of the best digital cinema cameras currently on the market. Why not use a known quantity to compare the two. I plan to embrace either camera should either be the right tool for the job.+ More details
3,867 Plays / 79 Likes / 15 Comments
FS7 sLog footage graded with cineplus VistaLUT (White Balance +4 and +5) VistaLUT is a 3D LUT by cineplus that recreates the film look and emulates the 70mm creamy lightness and latitude. More infos at www.cineplus.ch Ungraded footage: https://vimeo.com/110498281 Planet5D review: http://blog.planet5d.com/2014/12/vistalut-by-cineplus-lifts-the-gloom-makes-skin-tones-lighter-brighter/+ More details
18.2K Plays / 79 Likes / 19 Comments
A quick and dirty test of the new VisionColor Picture Style under natural lighting / documentary conditions. (please excuse the wobbly-ness of the video as this is merely a test of how the picture style reacts to light. a proper test in a more cinematic context will follow in a few days!) For more examples and information on the VisionColor Picture Style visit: www.vision-color.com Shot with an early version of VisionColor by beta testers Roy Neary & Jonas Doff. Additional footage by John Hensley. Music from the Tears of the Sun OST (2003) - H. Zimmer & K. Badelt+ More details
4,885 Plays / 60 Likes / 20 Comments
The only concern I have about replacing a Blackmagic Cinema Camera with a 4k Production camera is low light. I need to work fast using whatever is available. I often shoot on a monopod because a tripod is too slow. However, I also want a super 35 sensor, which means more stable images; and global shutter, as it means what movement there is gains some elegance - and it also means stabilising without jello. And 4k. But can the Production Camera handle the exquisitely subtle and deathly goth pallor of British light? Or will the S35 global shutter 28mm IS dream die in the dimness? (There is a reason lens whacking is a particularly British pass time. There is so little sun we have to invent it.) Music: Poupee Valsante (Waltzing Doll) by Maude Powell http://freemusicarchive.org/music/Maude_Powell/Antique_Phonograph_Music_Program_082509/Poupee_Valsante_Waltzing_Doll+ More details
20.3K Plays / 59 Likes / 25 Comments
Detailed post on workflow and setup on cinema5D: http://www.cinema5d.com/?p=20902 Shot & edited by Nino Leitner Talent / Assistant: Nicola von Leffern+ More details
Latitude, ISO, comparativos, picture profile, Slog 2, lentes , cartoes, camera lenta e muito mais. Para mais informações veja na pagina http://filmmaker.com.br/2014/07/26/a7s-a-re-evolucao-chegou/ Camera na mão Sony A7s lente Tamron 24-70mm Adaptador metabones locado na HDVloc ( hdvloc.com.br/ )+ More details
10.4K Plays / 56 Likes / 0 Comments
In Part 01 of this 03 part series Ryan uncovers the differences between the dynamic range & latitude of the new Red Dragon sensor and the MX sensor to see if all of the hype is real. Comment? Questions? Download Footage? Visit: http://indiecinemaacademy.com/red-epic-dragon-vs-red-epic-mx-hype-real-part-01-video/+ More details
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