Everyone has an idea for their great passion project, but it takes a certain level of commitment to turn that idea into reality. For director and DP Alexander Hankoff, his short film Yellow was something he knew he wanted to make and it was his (along with his team’s) creativity that made it possible. That’s not to say that he and his co-director didn’t have to call in favors or that his team had an unlimited budget, but the key on this production was flexibility and being able to “roll with the punches” while still maintaining the film’s artistic vision. Alexander was generous enough to answer some questions about the project – see the rest of his answers below and make sure to check out Yellow‘s official trailer at the top of the post.
…continue reading Production Challenges Are No Match for Alexander Hankoff & YELLOW
The C300 Mark II‘s dual-pixel technology provides reliable and predictable autofocus. We now have the ability to dedicate autofocus to skin tones only, subjects coming in and out of frame, or multiple subjects in the same frame. The C300 Mark II also gives users lots of options for autofocus. As of firmware version v 22.214.171.124.00, we now have autofocus with the Canon 17-120 servo zoom. A free firmware update for the 17-120 lens is required to use autofocus with the C300 Mark II. This update can be done at a Canon service center or at AbelCine’s New York or Burbank locations.
…continue reading At the Bench: Autofocus Updates for Canon C300 Mark II & 17-120
Fujifilm today launched two exciting new cinema zoom lenses: the FUJINON MK18-55mm T2.9 and MK50-135mm T2.9. The two lenses are the first of the new MK series and look to be a great fit for emerging shooters and DPs who need coverage of the most useful focal length ranges for Sony E-mount Super35-sized sensor cameras (similar to the APS-C sensor size in the DSLR world). Both lenses will also be available later in Fuji’s X-mount, used in their popular mirrorless bodies. For a detailed look at the new 18-55mm lens, be sure to check out the video above which features real-world test footage towards the end. You can read Fujifilm’s official press release for more details on both lenses.
This week Panasonic released firmware Version 7.0 for the VariCam 35 and HS, and Version 5.0 for the VariCam LT. These updates feature expanded ProRes recording, including higher bit rate Apple ProRes codecs and VFR to allow for more internal recording options to support your production’s needs.
…continue reading VariCam Firmware Updates
The Panasonic VariCam LT offers a legendary look in a compact digital cinema camera. Combining the VariCam LT with the Convergent Design Odyssey 7Q+ recorder opens up the ability to capture Raw files. In this blog, I explore how to set up both the VariCam and the Odyssey in order to capture in Raw. The VariCam outputs Raw files in either 12 bit or 10 bit, requiring single and dual-link SDI connections, so I step through both of these scenarios. After setting up the camera, I went out and shot some test footage in both 10 and 12 bit. I then took the footage into DaVinci Resolve for finishing. Check out the video above to learn more.
Choosing the make of the lenses you use on a project is one of many ways to create a look. The quality and characteristics of a lens add to the flavor of the image, and is one of the many ways to impart your look as a DP. It’s one of my favorite choices a DP can make on a project: which make of lenses will I use for this specific project?
One of the elements that adds to the characteristics of this choice is the contrast and color rendition in a lens, so I wanted to take a deeper look at ARRI/ZEISS primes. Both Master Primes and Ultra Primes have been a staple in our industry for a long time and complement each other extremely well. While there are differences between them that I’ll discuss, the lenses can in fact be interwoven.
…continue reading A Closer Look: ARRI/ZEISS Master Primes and Ultra Primes
The Phantom VEO from Vision Research brings many of the features and tools from their Flex cameras into a compact and rugged form factor. Using the same 2.5K global sensor as the Flex and Miro, the VEO 640S is capable of recording up to 1400 frames at full resolution (2560×1600) or over 2800 frames at HD resolution. The VEO uses readily-available CFast2.0 media and includes a bevy of integrated control IO ports, while the body maintains a small footprint at 5″x5″x5″.
…continue reading At the Bench: Introducing the Phantom VEO