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Cinematography

Cinematographers Embrace High-End Digital Cinema

SonyIt would be naïve to think that all of the hype about 4K and Ultra HD cameras at every media trade show wouldn’t have an impact on expectations, especially at the high end of the digital production food chain. “This year, many clients are asking for 4K, some because it’s popular, but others do want shelf life,” says Bobby Holbrook, a cinematographer and co-owner of Holbrook Multimedia. “But, if they don’t really need 4K, I’ll suggest 2K or even 1080p, because the data load is so much easier to manage.” But for clients who do need 4K, Holbrook is ready to deliver: “We’ve been shooting a lot of projects in 4K this year with the [RED] EPIC, the [Sony] F65 and F55.”

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Sony's F5 and F55 CineAlta Cameras

f5-and-f55_smSony recently launched PMW F5 and F55 CineAlta cameras, which both record full-4K resolution and lower-resolution formats. Ubiquitous throughout NAB 2013, both models are in demand by the camera-support industry as the latest and greatest cameras to accessorize for commercials, TV production, indie features and other projects. While the F5 and F55 have been heavily marketed as twins with distinct personalities, when push comes to shove, Sony is keen to accent the superior capabilities of the F55.

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Convergent Design's Solution for Cinematographers

odyssey7__smConvergent Design introduced a solution for those cinematographers struggling to record a viable image while untangling the cables that link recorders, monitors and microphones to the camera. The new Odyssey 7 is a 7.7-inch OLED monitor that can eliminate one set of cables as it doubles as a 4K capable recorder — pretty remarkable for a package that barely weighs more than an 8-inch flatscreen field monitor. While there have certainly been high-end data recorders with built-in monitors, the Odyssey 7 has been designed with 1280 and 800 resolution; a wide RGB color range with true blacks and minimal motion blur; and an impressive contrast ratio of 3400:1. It also includes Waveform, Focus Assist (Peaking), Vectorscope, Zebras, LUT Support, Histogram and False Color.

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Capturing Live Events

super_bowl_2013_p3 The live broadcast of a major sports event can provide plenty of technical and creative challenges. And when the event is as high profile as the Super Bowl, which combines a football game, a half-time show worthy of Broadway, and an audience of hundreds of millions, the stakes are even higher. To prepare for the Super Bowl’s expansive broadcast schedule and telecast from New Orleans, several networks turned to broadcast equipment rental company Bexel to handle their on-site production needs and fiber infrastructure.
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Extreme Filming in the Himalayas

 

 
pad-yatra-6_smDedicated filmmakers will stop at nothing to tell their story, especially if it brings attention to topics that are of significant importance. Such is the case for Los Angeles-based Writer/Director/Producer Wendy J.N. Lee, who shines a spotlight on the environmental issues that have plagued the Himalayas. Lee has an MFA in Film Production from USC School of Cinematic Arts, and she has volunteered to assist non-profit organizations in the Himalayas, where she became aware of the rise in plastic waste. With no viable recycling or trash disposal system in the area, there was a sudden peak in polluted and poisoned water sources along the glacial melting routes, which provides fresh water for half of the world’s population.
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