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by Mary Latvis · Posted
Optimal imaging for virtual production (VP) requires certain camera functions that are not integral to all video cameras. A global shutter (or fast readout speeds), genlock capability, and timecode input are key factors to look for when selecting a camera for your VP video capture. Let’s review these specifications and highlight several cameras that incorporate these key specs.
Global Shutter Sensor
Most video cameras are designed with a “rolling” shutter that successively scans each row of photosites (the physical embodiments of pixels) on
by Zack Young · Posted
2024 was a big year for video, as professional-level tools continued to become more accessible for aspiring filmmakers and creatives. Cinema cameras that cost less than ten grand can now compete with those that go for six figures. This opening up of the camera ecosystem means consumers have an increased power and ability to pick and choose exactly which features matter most to them. Once you decide what kind of projects you want to be shooting, you can
by Jennifer Hahn · Posted
Heading out to shoot video on the run for an e-magazine, streaming site, documentary, or narrative film, and your HD camcorder doesn’t have the professional look and utility that you need? It is probably time for a professional mobile setup with cinema-quality features. Though you may imagine a bit of sticker shock, not to worry, because digital cinema cameras are much more affordable now and most offer 4K quality video with high-
by Mary Latvis · Posted
Looking to upgrade your video capture as we bid adieu to 2021? Here to brighten up a challenging year is our roundup of the top cine-style cameras introduced during 2021, perfect for creating narrative video content like an indie feature, crafting a documentary, or producing a film-look industrial piece. Each of these cine-style machines has their own feature touches so read on to see which best suits your capture needs.
What exactly makes a camera “cine-style”? Simply put, these cameras maintain the modular configuration and high resolution
by Mary Latvis · Posted
Did you just upgrade to a new cine-style camera? Now’s the time to trick it out just the way you like with some pro-style rig components from Tilta. Tilta has you covered with complete kits and individual components such as handles, battery plates, and baseplates for cameras like the Canon C300 Mk III and C500 Mk II, Panasonic BGH1, Sony’s FX3 and FX6, and the Z CAM E2C.
Canon C300 Mk III and C500 Mk II
Compatible with the Canon C300 Mk III and C500 Mk II, these Tilta cage kits are built around a versatile
by Jennifer Hahn · Posted
It’s an exciting time for compact cinema cameras as they get smaller and more modular while continuing to add better and better specs for lower-budget and mobile production. Although I’ve worked with many cameras on documentary and mobile productions, the Canon EOS C series cinema line has been one of the most versatile, and significant advantages usually come with each new model release. This year, Canon has introduced three feature-packed models to its impressive repertoire: the
by Shawn C. Steiner · Posted
Remember the Canon 5D Mark II? Feels like ages ago in the world of technology. When it was released, it boasted an at-the-time-unheard-of capability of recording full-frame Full HD video at 30 fps. Jump forward a decade and full-frame 4K video is now an expected function of DSLRs and mirrorless. Cinema cameras were fairly content with their Super 35 sensors—after all, most existing lenses were built around the format. The past couple of years have seen a substantial shift, however, as RED, ARRI, Canon, and Sony released new
by Mary Latvis · Posted
by David Adler · Posted
One of the most attractive aspects of RED cameras is modularity. The latest DSMC2 camera models are especially flexible, enabling minimalist to “everything but the kitchen sink” configurations that are only limited by your imagination. Since the RED DSMC2 platform provides a blank slate to build a camera, I inquired of my coworkers to see how they would build out their RED camera from the myriad options offered here at B&H. I’ve also included my own thoughts at the end.
Mary Latvis
For owner/operators looking to purchase a RED DIGITAL
by David Adler · Posted
Welcome back, intrepid explorers of the RED DSMC2 ecosystem! In the first part of this bisected examination of the DSMC2 ecosystem and what it has to offer, I explained the philosophy behind the DSMC2 ecosystem and went over the first three building blocks of a RED DSMC2 camera: the
by David Adler · Posted
If, for whatever reason, you’ve had your eye pressed to the viewfinder for the past several months, the news that B&H is now a reseller for RED Digital Cinema cameras and associated products may have passed you by. If that was something that you were pining for, rejoice! However, that exuberance may be slightly offset when you see just how many options are available for building RED cameras. Many cameras on the market from other manufacturers are all-inclusive;
by Steven Gladstone · Posted
I can remember the SMPTE meeting that took place in 2010. It was a defining moment in digital capture, with discussions comparing three sensor-prism cameras and single-sensor cameras, all following the news that after 88 years, a prominent film lab in New York had decided to stop processing film. Then, ARRI showed the demo footage from its newest digital camera. The subject of the footage was exactly what we all asked for, but never seemed to get to see, until then. I’d love to write that you could hear the jaws hitting the floor, or wild