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Found 12 results

  1. We are often asked this loaded question. Being hard core pros, we would like to suggest an Arri 435. Or an Arri Alexa LF. Unfortunately when someone asks this question, what they mostly mean is 'I want an affordable light weight camera that will shoot cool video'.. That makes the question clearer. What should be look for in a camera that shoots cool video. Do you want to shoot fiction or non-fiction. If non-fiction, then we mostly suggest a camcorder. Why? Compact form factor with built in good lens zoom range, autofocus (very very important for documentary and sports), built in excellent sound recording, robust quality etc. So here is a list of great camcorders we recommend.
  2. New Panasonic AU-EVA1 Compact 5.7K Super 35mm Camera Basic Specifications 5.7K Super 35 Sensor EF Lens Mount 4K 60p / 2K up to 240p Dual Native ISO 10-bit 4:2:2 internal recording Dual SD Card Recording Up to 400 Mbps Recording V-Log / V-Gamut 5.7K Raw Output [Future update] No EVF Built in ND filters- 2,4,6 Electronic Image Stabilization [EIS] Varicam Colorimetry
  3. Sony FS7 is an awesome 4k S35mm size sensor camcorder from Sony. Main things we like about this camera: - Super 35mm Size sensor - 4k Video - 10-bit 4:2:2 imagery at just 50 Mbps - 50FPS at 4k and higher upto 180 at lower resolutions However, some things about the camera re tricky and the main being the complicated menu, and not knowing in a hurry what to set the camera at. Here's my recommended basic settings: - ISO : 2000 (Default ISO for the camera) - PAL 25 FPS (this should be obvious for India) - 4k (3840 x 2160), to best enjoy the PL Mount lenses. - Shooting Mode 'Cine EI' or 'SLog3' for best colour space gathering while shooting - Codec for recording : XAVCI - Monitor LUT IS SET TO 709. I like it this way because 709 LUT is very contrasty. You know the camera is recording more information than this and can take risks. - The S&Q (Slow and Quick) Motion Button on the top left hand side of the camera can quickly let you shoot preassigned 50FPS and back. You have to set this FPS in the settings. - Higher frame rates are only possible with lower resolutions. - Colour Temperature is what you are shooting. - In the Shutter setting, select Angle instead of time. Its just the way I like to shoot from the film days. Its less messy too when you change frame rates. - Peaking : I set to RED. he default is monochrome, but RED is just more visible and handy for those difficult focus times. After the shoot, use DivergentMedia's EditReady for batch transcoding the footage from the cameras MXF to ProRes.
  4. This post will continuously be edited. Black Shading and why it is so important: Many of you may have come across intense noise from your Red camera footage. Perhaps someone didn't black-shade the camera before shooting (considering all other aspects of shooting were normal). Black shading maximizes image quality by ensuring that pixel sensitivity remains consistent throughout an image. The technique has been used for a variety of high-end applications in digital capture over the years. In this article, we’ll discuss when this is beneficial and how it is applied. Black shading works by measuring the pattern of fixed noise, storing it in memory, and then subtracting it out of all subsequent frames—leaving only random noise behind. The pattern stored in memory is called a Calibration Map in the RED menus, and is effectively a map of the black level for every pixel—hence the name black shading. Full details here. Lens Coverage on Red Dragon: Before you shoot on Red Dragon, be warned that at 6k, certain lenses will vignette. On the Ultra Primes Set, anything starting from 16mm to wider will vignette when shooting at 6k. See this wonderful chart from here. Zeiss Master Primes will vignette at 18mm and wider. See the full lens support chart here.
  5. ARRI’s new ALEXA SXT (Super Xtended Technology) cameras represent the next exciting step in the continuing evolution of the ALEXA family. Retaining the rock-solid foundation on which ALEXA is built, ALEXA SXT cameras additionally offer ProRes 4K recording, improved image quality, powerful color management and three fully independent HD-SDI outputs. With in-camera recording of ProRes 4K UHD (3840 x 2160 pixels) and ProRes 4K Cine (4096 x 2637 pixels), ALEXA SXT cameras are the ideal choice for productions that need 4K UHD TV or 4K DCI cinema deliverables, so filmmakers can continue using the ARRI ALEXA platform they know and love. ALEXA SXT cameras keep the acclaimed 3.4K ALEV III sensor of previous ALEXAs and add the state-of-the-art electronics of ARRI's groundbreaking ALEXA 65 camera. These high-performance electronics combine the latest generation of FPGA processors with a lightning-fast internal backplane and form the basis of a completely overhauled image processing chain, advanced pixel correction and optional noise reduction. This results in a further improvement in overall image quality. Like their XT predecessors, ALEXA SXT cameras retain the unique and popular Open Gate, 4:3 and 16:9 sensor modes, which can be recorded in ARRIRAW or ProRes. The creation of new, powerful and unique looks has been made possible by utilizing the advanced color management engine originally developed for the ARRI AMIRA camera. Taking advantage of the extremely wide native color gamut of the ALEXA sensor, this new engine allows unprecedented control, which in the end means greater creative freedom for the filmmaker. A new type of look file, the ALF-2 (ARRI Look File 2), contains an ASC CDL (Color Decision List) as well as a 3D LUT (Look-Up Table). The new color management engine can easily match the look of current ALEXA cameras, but also provides the basis for radically different looks. In addition, previewing of looks on set is improved, including the option to use the wide color gamut of Rec 2020 gamma, while dailies creation is made more efficient and final grading made faster. ALF-2 files and the tools that create them are compatible between ALEXA SXT, ALEXA Mini and AMIRA. To further streamline on-set workflows and deliver what has been asked for by crews all over the globe, ALEXA SXT cameras include three fully independent HD-SDI outputs. This allows, for instance, a Log C image to be used to show the director a pristine image with live grading, a clean Rec 709 image to be fed to video village, and a Rec 709 image with status information overlays to be displayed on the camera's on-board monitor. ALEXA SXT cameras are designed to keep up with the growing needs of changing production methods: their powerful electronics offer significant potential for future hardware and software upgrades, illustrating ARRI’s continuing commitment to the future-proof technology concept behind the ALEXA system. The first ALEXA SXT cameras are planned for release around mid-2015; the full range will comprise ALEXA SXT EV, SXT Plus and SXT Studio models, replacing current ALEXA XT cameras (though the ALEXA Classic EV model will remain in the line-up). ALEXA XT cameras (except ALEXA XT M cameras) shipped between 1st Jan. 2015 and the first shipment of SXT cameras will be eligible for a full SXT upgrade, free of charge. Concurrent with the ALEXA SXT release ARRI will offer an SXR (Super Xtended Recording) Module upgrade to owners of existing ALEXA XT, XT Plus and XT Studio cameras. The SXR Module upgrade delivers all the features of the SXT cameras, although it might not offer all the future upgrade potential. The fundamental advantage of the ARRI ALEXA system is its unique combination of the highest overall image quality with the most efficient workflows on set and in post. Based on extensive market feedback, the ALEXA SXT line of cameras further improves upon those qualities, raising the widely-accepted gold standard set by ALEXA still higher. Visit the ALEXA SXT product page: www.arri.com/camera/alexa/cameras/camera_details/alexa-sxt
  6. ARRI announces the new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world. Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously -- a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.
  7. Canon Company invites you for their digital cinematography workshop of their EOS C-500 4K at Whistling Woods on 21st Sept, 2013 - 11am to 7pm.
  8. Vision Research, a leading manufacturer of digital high-speed imaging systems, officially launches the Phantom® Flex4K, the next evolution in its award-winning digital cinema product line at the 2013 International Broadcasting Convention, September 13-17, 2013 in Amsterdam. The Phantom Flex4K offers exceptional image quality, new workflow options, a user-friendly camera control interface, and outstanding performance at both ultra high-speed and standard frame rates.
  9. AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation. AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions. More here..
  10. Black Magic Cinema Camera ( Latest ) Sony FS700 ( Latest ) Canon 5D Mark III Body Canon 5D Mark II PL Mount Canon 5D Mark II Canon XF305 Canon C300 Body Canon 1Dc ( Latest ) Canon 1Dx Canon C500 Body ( Latest ) Sony F3 Body with S-Log + samrurai recorder Canon 7D Body Sony HDV Z7 Go PRO HD1 + Lcd Go PRO HD 2 + Lcd Go PRO HD 3 + Lcd Sony HD Handycam Sony Ex 3 Sony Ex 1 --------------------------------------------------------------------------------------------------- Carl Ziess 15mm Carl Ziess 25mm Carl Ziess 35mm Carl Ziess 50mm Carl Ziess 85mm : DISATAGON T 2.8/15 MM ZE LATEST TO OUR LIST Carl Ziess 135mm : DISATAGON T 2/25 MM ZE LATEST TO OUR LIST Canon 8-15mm : DISATAGON T 1.4/35 MM ZE LATEST TO OUR LIST Canon 10-22mm : DISATAGON T 1.4/50 MM ZE LATEST TO OUR LIST Canon 16-35mm L-Series : PLANAR T 1.4/85 MM ZE LATEST TO OUR LIST Canon 18-200mm : APO SONNAR T 2/135 MM ZE LATEST TO OUR LIST Canon 24-70mm L-Series Canon 24-105mm L-Series Canon 70-200mm L-Series IS Canon 100-400mm L-Series Canon Block 14mm L-Series T 2.8 Canon Block 20mm Canon Block 24mm L-Series T 1.4 Canon Block 24mm Tilt & Shift L-Series Canon Block 28mm Canon Block 35mm L-Series T 1.4 Canon Block 40mm Macro Canon Block 50mm L-Series T 1.2 Canon Block 50mm Canon Block 50mm Macro Canon Block 85mm L-Series T 1.2 Canon Block 90mm Tilt & Shift L-Series Canon Block 100mm Micro Canon 100mm Micro L-Series IS Sigma 185mm Macro Canon 300mm T2.8 L-Series Compact Prime EF or PL Mount Carl Ziess ZE Lens Ultra Prime Lens Angineux Hr Zoom --------------------------------------------------------------------------------------------------- Tilta Rig Flexi Track Trolly Gyro 4Ft Slider ( varavon ) 3Ft Slider ( konova ) Slider With Scater 4 Feet Slider Dslr Rig D.O.P Kit Single Shoulder Mount Pistol Grip Eagle Rig Skater Go Pro 3D Rig Mono Pod Base, Rail & Follow Focus Glidecam V8 Steady Cam 5 Feet Jib Arm Rig 8 Feet Jib Arm Rig 13 Feet Jib Arm Rig 20 Feet Track Trolly Full Patla Set up Extra Tripod Big Suction Mount --------------------------------------------------------------------------------------------------- Tilta Rig : Incl. follow focus, matt box, shoulder pad etc. Flexi Track Trolly : Incl. follow focus, matt box, shoulder pad etc. Gyro : Incl. Battery & Charger etc. 4Ft Slider ( varavon ): Incl. 4Ft Slider with Head. 3Ft Slider ( konova ) Slider With Scater 4 Feet Slider Dslr Rig D.O.P Kit Single Shoulder Mount Pistol Grip Eagle Rig Skater Go Pro 3D Rig Mono Pod Base, Rail & Follow Focus Glidecam V8 Steady Cam 5 Feet Jib Arm Rig 8 Feet Jib Arm Rig 13 Feet Jib Arm Rig 20 Feet Track Trolly Full Patla Set up Extra Tripod Big Suction Mount --------------------------------------------------------------------------------------------------- Softee Light 1K Big Led Light "7"" Led Light" Ring Led Light LED Spot Light 1500 Bulb Led Light 4 Bank Day Light 4 Bank Tungsten Light Porta Kit Tungsten 150 Spot light 2in1 Reflector 4in1 Reflector --------------------------------------------------------------------------------------------------- On Board Monitor HDMI to SDI ( Latest ) "7"" Monitor" "9"" Monitor" "14"" Monitor" "17"" HD Monitor" Canon Dslr View Finder Samurai Monitor ( Latest ) "7"" Small HD monitor" HDV 700 ( Clam shell ) --------------------------------------------------------------------------------------------------- Zoom H4N G2 Lapp Boom 416 Mixer 5d Senhizer Mick Rode Mick --------------------------------------------------------------------------------------------------- Digi Beta Sony M35 Sony M25 Sony Dsr45 Samurai Monitor ( Latest ) --------------------------------------------------------------------------------------------------- 4X4 Filter 6X6 Filter Hot Mirror 6x6 IR 6x6 Circular Nd Fadder Poloriser Fadder --------------------------------------------------------------------------------------------------- Mac Book Sony / Asus / Samsung "27"" Imac " Apple Desktop
  11. Here's an ad for a home movie camera from July 1977 (The National Geographic Magazine). Contrary to popular opinion, personal movie making equipment has be around for a long time.
  12. Hosted by Marco Solorio of OneRiver Media, this video compares the Blackmagic Design Cinema Camera and the Canon 5D Mark III in several tests. This includes dynamic range, sharpness, pushing levels, banding, artifacts, rolling shutter, chromakeying, wide/telephoto lengths, DOF (depth of field), low light, macro blocking, contrast, and more. Going a step closer with the Cinema Camera, Marco Solorio of OneRiver Media focuses on how 12-bit RAW compares in relation to 8-bit alternatives, including many camera solutions costing much more. The difference between “perceived dynamic range” and “available dynamic range” is explored in detail. Also covered is day-for-night, detail versus sharpness, and much more. Some questions have arisen as to why a LOG curve wasn't used (or if it would help) for the 8-bit source (amongst others),OneRiverMedia created a blog post on the topic to answer any questions that might be regarding.
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