Magnifi - Home YouTube - The Contour HD: Product Reviews: Adorama Photography TV GoPro vs Contour | Discover Which Action Camera is Right for You Canon EOS-1D Mark IV Digital Camera - Full Review - The Imaging Resource! Imaging Resource rating: 5.0 out of 5.0 Canon EOS-1D Mark IV Overview Reviewed by Mike Tomkins, Shawn Barnett, Andrew Alexander and Zig Weidelich Review Date: 10/25/2010 The Canon EOS-1D Mark IV is a direct replacement for the company's previous 1D Mark III model, and supplements that camera's functionality with improvements in a number of areas. Perhaps most significant are the use of a new 16.1-megapixel CMOS sensor, and the use of dual DIGIC 4 image processors, which together allow both an increase in image resolution, and allow a huge step up in the camera's ISO sensitivity range while maintaining the 1D's 10 frames per second framerate. The Canon 1D Mark IV also gains a significantly upgraded autofocus system, a higher-resolution LCD display with improved reflection / glare resistance, and this year's must-have feature: high definition video capability. Pricing for the new Canon 1D Mark IV is set at US$4,999.00, with a ship date of late December 2009. Canon EOS-1D Mark IV Preview ALO.
Canon Eos 1D Mark IV Perspective Mar 22, 2010 12:00 PM, By Barry Braverman HDSLRs won't replace videocameras, but they are powerful tools. Encoder and flash memory issues The Mark IV's encoder is necessarily limited by a processor that's optimized for still images. Like most HDSLR models, the Mark IV records heavily compressed H.264 video. The popular MPEG-4 variant promulgated by Apple is efficient for web streaming at low bit rates, but it is far less effective at high-bit and high-compression rates like those encountered in the HDSLR. So, if computational prowess is the limiting factor for high-quality HD acquisition, why not simply beef up the processing and use a more appropriate video codec in the HDSLR? The problem is, there are compromises to consider. In conclusion With so many choices in HD cameras, it has become something of the shooter's mantra to seek the best tool for the job. Continue the discussion on Crosstalk the Millimeter Forum. © 2014 NewBay Media, LLC.
CrumplePop Blog The corporate video sector doesn’t exactly have a reputation for being wildly exciting. It’s often associated with dreary talking heads, tedious soundtracks and uninspiring camera work. At Tech TV we’re all about staying far away from that image. About a year ago, the company decided to make the switch to FCP X. I joined Tech TV in January, just after the big switch. Our workflow really couldn’t be easier. “The great thing about FCP X is that it lets us start editing really quickly” says our Head of Production Matt Smith, “Some of the best ideas come in the edit, video is visual and FCP X is great at is visualizing how the shots are going to work together.” I think the biggest test of speed was using FCP X for very tight deadlines like event wraps. We do all our grading in FCP X using the in-built colour controls and make use of a few plugins for quick skin tone or white balance fixing. “I use the colour correction tool all the time” our Editor and Producer Tash Jones says.
The ultimate Cinema version of a Canon DSLR? A modified 1DMkiV by FGV-Schmidle Whilst acting as DSLR DP for the re-shoots for Lucasfilm’s Red Tails for the Prague sectionsI used the Schmidle modified 7D. It was very impressive. The workmanship and conversion were incredible and it included impressive features like a 3-pin Fischer socket where the viewfinder was to remote start the camera using a LCS or RS-4 and the removal of the mirror and the new PL mount are incredible well done and their base plate and rods offer the proper offset for cine-gear. Using the Arri remote follow focus we could start and stop recording and activate live view mode without touching the camera so my first AC could do all that for me. Here are some photos by Sebastian Wiegärtner from the Red Tails set of that 7D that I was using…. The only downside is it was done to the 7D. FGV-Schmidle, who modified the 7D we used and also supplied just about all our gear for the Prague shoot. The 1Dmkiv in Germany costs around €4300…the modified one by FGV Schmidle is €8850. This from FGV-SCHMIDLE…
Quantum Cinema ProVideo Coalition.com: FRESHDV by Matthew Jeppsen & Kendal Miller I got a question on Twitter recently regarding the pros and cons of purchasing a Red Scarlet camera. After responding, I decided to expand my replies into this blog post in hopes that someone else may find it useful. Some of this stuff seems elementary, and I apologize if that's the case for you. But I do think that there are many out there who will benefit from this discussion about new camera purchasing in general. Let's start with the question I got from @justintrapp: "have a friend looking to buy a red. After determining that it was a Scarlet camera his friend was interested in buying, here is my response, in five tweets thanks to the 140 character limitation on Twitter: @justintrapp 1. That was my response in short, but I'd like to expand on each point a bit. #1: Do you really need Feature X? And don't forget that oftentimes the client's interests and yours as an artist can be very, very different. Finally, the cost of the camera is just the tip of the iceberg. Happy shooting!
Some more Blackmagic Cinema Camera Footage | johnbrawley This is from a short film project I’ve been working on with the super talented writer / director / actor Ian Meadows. This was a simple story about how a couple meet at the beginning of their relationship. This is MY edit of the rushes and it doesn’t necessarily make story sense. It’s been shot ProRes in FILM mode. It was shot with just myself and a sound recordist plus I had a focus puller, Ella Gibbons helping me out again. I did a very quick, mostly single node grade in Resolve after doing an edit in FCPx. Lenses were again, the lovely Zeiss Compact Primes. This time I also had the chance to put the camera onto a Steadicam Pilot. I also did a fair bit of handheld. The one exception was the 2 steadicam shots which were shot at T16 @ 28mm. I was very happy with the way the camera handled the contrast. Now for those looking for Moire and aliasing, pay attention to Ella’s cardigan. Enjoy ! (by the way, there’s no sound) Like this: Like Loading...