The ARRI ALEXA and RED EPIC (and RED ONE M-X) are cameras that we’ll be seeing hundreds of features shot on over the next several years. What’s the difference between the two? Check out this amusing video from Inspiration Studios, whose comparison of the ALEXA and RED cameras includes a none-too-subtle suggestion about the fading utility of their DSLR rental package:
How to use stills to create simple matte painting effects for your DSLR footage from Robino Films on Vimeo.
With RED touting 120 frame-per-second shooting speeds — impressive on its own, and even more impressive given each frame is at 5K resolution — Vision Research’s claims that their new Phantom Flex camera shoots at up to 2,800 FPS (2,500 in 1080p) seems like a joke. But it’s not, and the following is proof. Tom Guilmette was hired to shoot the World Champtionships of Ping Pong, and found himself alone in his hotel room before the shoot with the Phantom Flex; here is the resulting video.
“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!
[Shooting on Digital] gives me a lot more options. It’s got more latitude, it’s got better color rendition. It’s faster. I can immediately see what I’m recording. I can time that image on set with a color-calibrated monitor…. Am I nostalgic for film? … I mean, it’s had a good run, hasn’t it?Here's a peek at the cinematography of True Grit, for which Deakins is nominated for a Best Cinematography Oscar, and which might end up being his last movie shot on film:
