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- CANON CINE CAMERA EOS C300
- More than just a camera, the C300* and C300 PL* cameras mark the beginning of a whole new system for the motion picture industry. Form factor, ergonomics, image processing and lenses - re-imagined to tailor the experience of shooting to the needs of professional cinematography crews.
RED Unveils 5K Still/4K Motion Scarlet-X ،
San Francisco, California/Tokyo, Japan, January 24, 2011 — Intel provided a technological preview of the Grass Valley EDIUS 6 nonlinear editing (NLE) software, at the Intel Forum 2011 held in Japan, on January 18, 2011. At the Tokyo press conference, Intel highlighted its newly announced 2nd Generation Intel Core processor, embedded with Intel Quick Sync Video technology.
Grass Valley presented a technology preview of a forthcoming update to EDIUS 6, which has been fully optimized for the new Intel processor for hardware encoding support for H.264 videos, allowing for “faster than realtime” encoding of full HD (1920x1080) H.264 videos on a broad range of computers from notebook PCs to desktop PCs, using the new 2nd Generation Core Processor. More than 500 laptop and desktop PC platform designs are expected from all major computer manufacturers worldwide based on this new processor family. The EDIUS 6 update allows users to export to Blu-ray, or to the AVCHD format, faster than real-time directly from the EDIUS timeline.
"With our second generation Core processors, video editors using Grass Valley's EDIUS 6 will be able to complete their work faster than ever," said Fumihisa Shimono, Director of Software Marketing of Intel. "We know that in video, editing is all about performance and speed, and the combination of our second generation Core processors and EDIUS 6 deliver just that."
“Working closely with Intel, we have fine-tuned EDIUS 6 to deliver the best and fastest post-production solutions to the market," said Jeff Rosica, Executive Vice President of Grass Valley. "With H.264 and AVCHD becoming a key format for distribution, providing a faster solution is exactly what video editors need."
Grass Valley plans to release an update for EDIUS 6 and EDIUS Neo 3, both with support for Intel’s new processor, at the end of Q1 2011.
The Challenge: To film and light for a 360 degree shot that was set at night and had to be shot in the bright sunlight of the daytime!
I always cringe a little when a Producer says ‘We have this shoot that needs to be set at night, what do you think about shooting Day For Night?’
My first thought is similar to when I get asked to shoot a commercial in ‘one single shot’ or ‘the suicide method’ as a Director friend of mine calls it – ‘oh bugger’!
I always think, why don’t we just shoot it at night..? I like lighting at night it gives you a chance to create something special… However, shooting at night is not aways practical especially when your scene takes place in the middle of the Arabian Desert.
On this occasion the Day for Night approach was probably the right idea.
Source : Digital Cinematography
XPression is a high quality 3D character generator and broadcast production graphics platform incorporating over 20 years of live broadcast graphics experience. It offers a very powerful tool set - yet with an intuitive user interface. XPression was born from a realization of the possibilities presented by combining modern PC technologies, advancements in 3D rendering and a clear understanding of the broadcast and production workflow environments. The result is a powerful tool for design and playout of sophisticated motion graphics that will unleash the creativity of your graphics designer to create compelling graphics that will make your productions shine.
2D has not been forgotten
Many available 3D packages neglect the 2D workflow you got accustomed to, not so XPression. In fact, one of the primary design goals has been never to bother the designer or operator with 3D aspects when in need of 2D features and vice versa. This resulted in a very intuitive, balanced and flexible to use 2D and 3D authoring system, the best of both worlds.
Live, Live, Live!
XPression has been built for live, on demand graphics from the ground up. Edit scenes in the editor while playing them out in the background. Modify every aspect of an object while its animation is running, adjust roll pages while currently active on one of the outputs. Virtually anything you can think of, you can do it live!
Automatic White Balance
It's very tempting to set the white balance control on your DSLR or prosumer video camera to automatic. And there are some excellent excuses for doing so; you keep shooting when the lighting changes, aren’t likely to mistakenly balance on a white card aimed at a secondary light source, and forgetting to balance won't leave you stuck with blue faces or orange-tinted indoor scenes.
Our previous discussions of white balance have all been centered on a simple concept; video cameras need to be told what color light they’re working with. Sunlight has more blue than tungsten. A cloudy day has more blue than sunlight. Shooting in the shade often introduces a greenish component to the light, and so on.
The human brain contains its own white-balancing circuit, automatically giving a consistent “look” to whatever the eye sees. The camera doesn’t. This shortcoming is overcome by pointing the camera at a white wall, car, or piece of paper and pressing a button which tells the camera “Memorize this. This is white.” And everything is fine until the light changes and you have to do the white balance drill again or risk shooting an off-color scene.
Activating an automatic white circuit is somewhat akin to walking around with your finger constantly on the white balance button. The only difference is that when you're shooting a scene you're filling the frame with action, not a white card. And here’s the rub; the auto-white circuit is continuously making the assumption that the brightest portion of the scene is white.
And while that’s often the case, sometimes it's not. So the camera makes a pink shirt white and everything else in the scene shifts blue. Or maybe it's a yellow car passing in and out of frame that causes a transitory color shift. Or a backlit beige window shade that’s far and away the brightest part of the frame. Get the picture?
When it comes to color accuracy, it all boils down to a few simple questions. Do you care that different shots in a sequence might have slightly different color casts, or that the principal subject’s skin tone might shift when a light-colored car drives through the shot? Does the uncontrolled action you are capturing move from indoors to sunlight in the same shot? Will you have time to “fix it in post”? In other words; Is close enough good enough?
Automatic White Balance ،
127Hours: Big Pictures in Small Spaces|How HD Camera Rentals Outfitted Danny Boyle By Bryant Frazer October 19, 2010: Film &Video The team behind 127 Hours contacted HD Camera Rentals in Los Angeles not long after the company figured out how to strap a Silicon Imaging SI-2K POV camera — and a CineDeck recorder — onto an Olympic skier performing a 120-meter jump in an AT&T Winter Olympics 2010 spot. HD Camera Rentals kept aerodynamics and weight in mind as it selected gear for that shoot, which was executed by production company Smuggler. “Our company is called for those impossible shots you can’t pull off,” explains Michael Mansouri, a cinematographer and DIT who founded the company in 2005. “We’ve figured out the best ways to integrate this system into digital cinema without losing its true spirit. It does things film can’t. It’s small, it’s fast, and it’s for immediate gratification. We don’t try to turn our cameras into Panavisions.”