Redrock Micro rig tutorials

Continuing our video tutorial series, here's Professor Paul DeNigris with three lessons about setting up the Redrock Micro DSLR rig.

Jonathan Yi: 'Canon C300 = Awesome'

Just watch this.

You're welcome.

ProLost: 'Red Scarlet, Canon C300, and the Paradox of Choice'

Late in 2011 when Canon announced its new "Cinema EOS" line of cameras with its new model, the C300, tech guru, filmmaker, and DV Rebel's Guide author Stu Maschwitz as usual cut right to the heart of the issue of what camera to buy, and when:

All filmmakers are on a journey, and that journey is going to take you through many cameras. It’s dangerously easy to get swept up in advancing technologies, and all-too tempting to think that a new camera will slingshot your filmmaking forward.

Read Stu's entire post for the run-down on the capabilities and pricing of the current crop of digital cameras, from the Red Epic M ($43,000) down to the Canon Rebel T3i ($659).

Pixiq: 'Everything About Camera Lenses'

What's the most important part of your camera? The body or the lens? Author and photographer Haje Jan Kamps argues that it's the glass, and we're inclined to agree. His article on Pixiq.com covers the fundamentals of how lenses work, and discusses apertures, depth of field, focal length, and much more. Mandatory reading for you cinematographers!

Philip Bloom: 'Canon DSLRs: some of the best picture profiles out there'

Filmmaker and DSLR aficionado Philip Bloom continues his tradition of posting the latest info on the emerging trend of the DSLR "picture profile." On cameras such as the Canon 5D Mark II, the picture profile editor can allow a user to dial in just the right set of parameters to make color grading easier and more impactful.

For all projects that I am producing, I always shoot the flattest image I can get. However, when shooting for others, if the turn around time does not allow for colour timing/correction, I will shoot less flat (typically neutral).

Now you ask, why is a flat profile important? Well, when you bake-in the color/contrast settings into an image (pre-set PP’s), you are unable to retrieve information that would be available if you had shot flat. Say your sky is blown out, but you wish you could see some of the clouds that were there on the day. With a baked-in image style, you are not able to recover it. With a flat image, you have a much better chance of recovering the clouds — OR if you under or over-expose something, you have a better chance to recover information that would otherwise be lost.

Read the rest here!

Vincent Laforet and Vimeo go 'Behind the Glass'

Filmmaker / cinematographer / DSLR guru Vincent Laforet recently collaborated with the staff at our favorite video-hosting site Vimeo to produce a stellar series of basic lessons on lenses and depth of field called "Behind the Lens." Here's the first episode, but be sure to surf over to Vincent's blog to read the accompanying article and watch episodes 2 and 3!

CAPTAIN AMERICA Action Shots Captured with Canon 5D Mark II DSLRs

From DV.com:

Canon U.S.A. has announced that the highly anticipated feature film, Captain America: The First Avenger, used Canon EOS 5D Mark II Digital SLR cameras to capture many of the movie’s action shots. Throughout the super hero action picture, the 5D Mark II was used to shoot motion sequences that were seamlessly integrated with the production’s 35mm film footage.



Read the full article here.

The best ISO settings for your Canon DSLR

DP / filmmaker Andrew Schar recently posted this informative video comparing the noise inherent to various ISO settings on Canon DSLR's in movie mode. I for one will be sticking with multiples of ISO 160 from now on!

IFP/Phoenix Offers Hands-On DSLR Filmmaking Workshop June 25th

When: Saturday, June 25, 2011
Time: 12:00pm-4:30pm
Where: IFP/PHX Classroom
1700 North 7th Avenue #250
Phoenix, AZ 85007

So... you're telling me that a little DSLR camera, one that normally takes photographs, can be used to shoot my next independent film?  YES!

In this 4-hour hands-on workshop, we'll show you the key things you need to know to be able to shoot your next film on a DSLR camera!

We will have 3 cameras on-hand for you to get your hands-on.  Canon 7D, Canon 60D, Canon T2i.  If you have your own DSLR, bring it along and we'll show you the ropes!

Topics that will be covered:
- Overview of the body, operation, and menus
- Camera "rigs", rails, follow focus, matte box, monitors
- Getting proper exposure
- Selecting and configuring custom presets
- Controlling your depth of field
- Reducing rolling shutter effects
- Recording audio for your film
- Shooting some test footage!
- Post production workflow
- Color correction for optimal results

*Tickets: $30 IFP/PHX members (use code IFPPHX - subject to verification); $50 non-members

*Indicates pre-purchase price, add $5 for walk-ins (if available)

Purchase Tickets at:
http://www.brownpapertickets.com/event/179644

HDDSLR Workshops with Gale Tattersall

HDDSLR Workshops with Gale Tattersall on Vimeo.

More information about Gale Tattersall's workshops can be found here.

Using Stills to Create Matte Painting Effects in Your Footage

Here's a cool technique, using the still-photography function of your HDSLR to gather more information and more latitude than the HD video function alone can capture. This "tutorial" is a little dry, but stick with it. This technique opens up LOTS of possibilities!

How to use stills to create simple matte painting effects for your DSLR footage from Robino Films on Vimeo.

Using Depth of Field for Storytelling

Here's a great article we picked up on the DSLR Video Shooter blog:

“To make your video look like film use shallow depth of field.” This is a line I hear a lot, especially from DSLR shooters and it could not be farther from the truth. Yes, films use shallow DOF but that does not make them films. Depth of field is a tool with which to sculpt your shots. So just because we can now shoot at F1.2 does not mean we should. I know most of us are recovering from Large Sensor Deficiency Syndrome but with a little education and therapy, we can move on.

Read the rest here!

Innovation: The Ice Book

Here's an amazing piece of film/theatre we first spotted over on Philip Bloom's excellent blog.

The Ice Book (HD) from Davy and Kristin McGuire on Vimeo.

"All we had was a 5D Mark ii, an old Macbook with After Effects, some builders lights and a green cloth that we improvised as a makeshift green-screen. Before we started we had no idea how to make pop-up books let alone how we could combine them with projections."

How to Increase Canon 5D/7D Dynamic Range

Photographer and DSLR videographer Luka has shared this video on his Vimeo page that has some great tips for getting the most of your Canon DSLR footage. He specifically talks about the 7D but these concepts all apply just as well to the 5D Mark II. A very funny and informative tutorial!

How to increase the Canon 7D dynamic range (Tutorial) from Luka on Vimeo.

DP Shane Hurlburt Explains His HDSLR Shooting Protocol

For all of you venturing into making films using the Canon 5D Mark II or 7D or similar HD-enabled DSLR cameras, this invaluable video comes courtesy of Director of Photography Shane Hurlburt (DP of Terminator Salvation among many other films).

New Short “Extraordinary Colleagues” Premieres Friday at Phoenix Art Museum

On Friday July 23rd at the Phoenix Art Museum, IFP/Phoenix will be hosting two screenings of films entered into this summer’s “Beat the Clock” 48 Hour Film Challenge - including an entry produced by the UAT Digital Video Program titled “Extraordinary Colleagues.” Written by Paul DeNigris and Steve Briscoe, the 3-minute film took the required prop - a paintbrush - as a jumping off point to tell the romantic comedy story of a comic book writer and her editor, while also telling a parallel action tale within the Sin City-esque world of the comic book they produce together.

The film will screen twice, once during the 6pm show and again during the 8pm show. The “Beat the Clock” Awards will follow at 10pm. More details can be found on IFP/Phoenix’s website. Tickets for the screenings are $15 each.

“Extraordinary Colleagues” was a co-production between the UATDV crew and Locked Horns Productions. Students Nick Wassenberg, Justin Gagen, and Mitch Faherty handled visual effects with some assistance from alumni Kalki Khaira and Ryan Whitten. Alum Ryan Luibrand handled editing duties. Students Kenny Rayl, Shawn Geary, Erica Faccone, and Kari McBride handled physical production, lead by DP Justin Gagen and directed by Professor DeNigris.

"Extraordinary Colleagues" mark's UATDV's first production using our brand new Canon 5D Mark II DSLR. Visual effects were executed in Adobe After Effects, with the comic book panels processed in Photoshop. Editing was completed in Avid Media Composer, with sound mixing and sweetening done in ProTools.

Red One, Canon 5D Mk II, and Panasonic Lumix GH1 Footage Comparison

Here's an amazing bit of footage posted by premiere Hollywood equipment rental house Birns and Sawyer on their Vimeo channel.

Red One, Canon 5D Mk II, and Panasonic Lumix GH1 Footage Comparison from Birns and Sawyer on Vimeo.

What's so amazing about it? It compares side-by-side-by side the output of three hype-worthy cameras - the 4k-capable digital cinema RED ONE camera (roughly $20k) and two DSLRs equipped with "movie" modes, the $3500 Canon 5D Mark II and the $2200 Panasonic Lumix GH1. This is the first time I've seen footage from the Panasonic, and the first time I have seen anyone cut together material from a RED with footage from a DSLR. What it shows is that the technology has definitely shifted and this new generation of DSLRs are game-changers in terms of comparing price to image quality.