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
As the year officially draws to a close, it’s time for our annual round-up of the most popular CineTechnica blog posts over the last 12 months. It’s been a busy 2016, and as usual a wide range of topics was represented – including new product announcements, comparison charts, workflow how-tos, custom scene files, and more.
Our Top 15 blogs are listed below in no particular order. Make sure to check them out, and let us know in the comments what you’d like to see us cover in 2017!
…continue reading Top Blogs of 2016
Panasonic’s VariCam cameras are capable of capturing a wide dynamic range. In order to do this, Panasonic has their own Log recording codec, V-Log. V-Log is a gamma response designed to capture the full dynamic range off the sensor. If you are familiar with Log, you know that what you see in Log is not like anything you see in the finished product. Therefore, we need tools in the camera to expose Log properly. Thankfully, Panasonic has included several ways to evaluate exposure in the VariCam. In this blog, I will show you the tools to get great results from the VariCam.
Canon’s newest firmware update (188.8.131.52.00) for their C300 Mark II camera contains a number of nice improvements to the camera’s features and functionality. One of the updates that caught our eye is the inclusion of a new logarithmic gamma curve, Canon Log 3, available from the Custom Picture menu. From what we know, this new log curve aims to “split the difference” between the legacy Canon Log curve (aka Canon Log 1) and the newer Canon Log 2 curve that’s been a part of the C300 Mark II since its introduction last year. We’ve had a chance to take a closer look at this new curve on a C300 Mark II running the new firmware.
Canon Log 3 looks like it could be the “GoldiLog,” in other words, a “just right” Log gamma setting for shooters who are used to the unique characteristics of Canon Log 1 but who want more dynamic range than classic Canon Log 1 can provide.
…continue reading Canon Log 3: Is It the “GoldiLog”?
At Cine Gear 2016, I was able to stop by the DSC Labs booth and catch up with DP Art Adams, who recently designed their latest color chart. In this video, Art explains his inspiration and method for developing the new DSC Labs OneShot Color Chart. This color chart was specifically designed for digital cinematography to assist with color grading and ensure consistency. In addition to white, black, and middle grey, the OneShot chart incorporates flesh tones, as well as primary and secondary colors that match your vectorscope. DaVinci has also integrated the chart into Resolve’s Color Match feature, which can be utilized to automatically achieve a base grade between multiple cameras, angles, or shots.
Want to learn more about color grading and working with color in DaVinci Resolve? Check out our upcoming Color Training Workshops in all locations!
After using Zacuto’s Gratical EVF on a few shoots recently, I wanted to take a more in-depth look at the exposure tools and LUT functions that can be extremely valuable on set. I already knew I liked the versatility of the viewfinder and the user-friendly interface, but I wanted to see how these advanced tools could benefit my image and my set. In my first video, I use the Zacuto Gratical HD with a Sony FS7, connected via HD-SDI, and then to a TVLogic 5.6″ monitor. I show how to calibrate the viewfinder and how to best use the waveform and vectorscope tools. I also demonstrate to use the false color and zebra overlays to ensure a properly exposed image whether sending a Log or Rec. 709 signal. In addition, I explain how to set up user buttons to maximize the use of these exposure tools in order to judge exposure based on a post-LUT and Log image.
…continue reading Zacuto Gratical: A Closer Look at Exposure Tools & LUTs
With the ever-growing list of new cameras, there is always something to add to our popular Field of View comparison tool. This tool allows you to compare different camera sensors to each other at various focal lengths. It’s also a great way to compute the “crop factor” between sensor types, and to see what lens you’ll need on one camera to match another. We recently added the Phantom Flex4K, RED Dragon 6K, Blackmagic Production Camera 4K, Blackmagic Production Cinema Camera, and the Sony F5/F55’s 2K Center Scan Mode.
Are there any other cameras you’d like to see us add to our FoV Comparator? Let us know in the comments!