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Posted
GoPro's Mission lineup aims to pack cinema camera specs into a pocket-sized action camera. Today, we're testing out the GoPro MISSION 1 PRO, and what better way than with the rides at Coney Island?
0:00 - Test Footage
0:26 - GoPro Mission 1 Pro Specs
0:55 - Sensor (Low Light, Open Gate, Frame Rates)
1:58 - LCD Screen, Battery Life, Buttons
3:04 - Internal Mics & Test
3:39 - New GoPro Wireless Mic & Test
4:11 - Photography Specs
4:23 - Patrick's Thoughts
Sponsored by
by Mary Latvis · Posted
Continuing to expand its line of popular high-performance video cameras, Kinefinity has introduced the new Vista Full-Frame 6K Digital Cinema Camera. Positioned as a more affordable option for creators, this compact camera features full-frame 6K capture at rates up to 50 FPS and up to UHD 4K at 100 fps in Super 35. Available with user-interchangeable Kinemount,
by Steven Gladstone · Posted
In this article series, we will take a look at five different production styles and come up with suggestions for camera accessories suitable for that style. This article will cover a range of different camera bodies and should provide a foundation for building out your camera package. Please note that for the purposes of this article, I will be excluding smartphones as well as action cameras, focusing instead on accessories for camcorders, DSLRs, mirrorless, and digital cinema cameras. Remember, if you go to the product page for your camera on
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 Steven Gladstone · Posted
Welcome to Part 2 of Keys to a Happy and Healthy Production Life.
Hopefully you’ve read Part 1, but if not, be sure to check it out.
Working on productions, and making films at every level can be fun, exciting, thrilling, and rewarding. The key to longevity in the business is both being easy to work with and being valuable to those who hire you. If you’re a director, you must figure out how to balance getting what
Posted
Doug discusses more advanced concepts to help deepen your understanding of frame rates. Both editors and videographers will find this video useful, since it will allow them to work in better tandem. We'll cover timecode basics, fractional frame rates (such as 29.97 fps and 23.98 fps), variable frame rates, and more.
0:00 - In This Video
0:39 - Timecode & Drop-Frames
5:36 - Variable Frame Rates
7:02 - Interlaced Video
10:34 - Telecine & Pulldown
12:47 - Mismatched Frame Rates & Refresh Rates
14:54 - Practical Tips
by Steven Gladstone · Posted
Productions tend to fall into two categories—a disorganized mass of people scurrying around to somehow get the shot off as the sun goes down, leaving crew and cast exhausted at the end of the day, or a smooth moving production that is more like a complex dance, though not as frenetic, far less exhausting, and far more efficient. If you are only going to be working on a film/video production a single time, then the maddening chaos of the first type of production will probably feel very satisfying. However, if you are looking at working in the
Posted
Frame rates are one of the most fundamental ideas to understand when it comes to technical and creative decisions for your films. It's important to know how frame rates work so you know how they'll affect the final film or broadcast. So, what frame rates are typically used? Why is 24 fps the standard for movies? Are higher frame rates better than lower ones? Join Doug for a crash course on the basics of frame rates.
0:00 - In This Series
0:46 - What Is a Frame Rate?
2:21 - Creative Uses of Different Frame Rates
3:21 - Is a Higher Frame Rate
Posted
People have been sleeping on the RED DIGITAL CINEMA V-RAPTOR XE. It's more than just a full-frame version of the KOMODO-X. Nick shares where this cine camera sits in RED's lineup and gets hands-on in for outdoor and indoor locations.
0:00 - Sizzle Reel
0:30 - Intro
1:53 - V-Raptor XE Specs
4:08 - Autofocus
5:03 - Dynamic Range & Low Light Performance
6:16 - Concurrent Pro-Res Proxy Recording
6:58 - Ergonomics
7:48 - File Sizes
9:10 - 2.2.1beta Firmware Updates
9:38 - Upgrade Program
10:04 - Takeaways
Sponsored by
by Zack Young · Posted
Canon has unveiled three unique products for the professional broadcast space, including a CINE-SERVO 40-1200mm T5.0-10.8 lens with a built-in 1.5x extender, the compact and powerful RC-1P300 PTZ controller, and the long range ultra-high-sensitivity MS-510 multipurpose camera.
The CINE-SERVO 40-1200mm T5.0-10.8 will be
by Zack Young · Posted
GoPro is taking a bold leap forward with their new MISSION 1 line of compact cameras. Billed as the world’s smallest, lightest, most rugged cinema cameras, initial offerings include the MISSION 1 PRO, capable of 8K60p and 4K240p, the MISSION 1, which supports 8K30p and 4K120p, and the MISSION 1 PRO ILS, which swaps the fixed lens for a Micro Four Thirds (MFT) lens mount. All three
by Zack Young · Posted
On-camera monitors continue to grow in popularity with filmmakers and photographers wanting a bigger, better view of their image than a flip-out LCD can provide. The Desview R5II 5.5" touchscreen monitor is, on paper, a great offering: lightweight, affordable, versatile, and bright. It even comes with useful accessories like a swivel-and-tilt shoe mount, a sunshade, a USB drive for loading LUTs, and a couple variations of HDMI
Posted
When you're shooting an indie film and are short on time, having gear that eases the video production process smoother is a lifesaver. Enter Impact’s new KeyGrip series: a lineup that innovates on the tried-and-true grip gear. Join us on set to see how we light a scene using these KeyGrip Stands.
0:00 - Today's Video Shoot
0:52 - Why Use Impact's KeyGrip Stands?
2:44 - Lighting Each Scene
5:57 - On-Set Video Monitoring
6:28 - Slider Shot
7:25 - Our Overall Thoughts
8:26 - It's Not About Talent by Doug Guerra
Sponsored by
Posted
Now that the hype surrounding Nikon’s acquisition of RED and the launch of the ZR cinema camera has settled, we’re finally putting it to the test on set. Nick combed through FAQs gathered from our YouTube comments, our website, and Reddit, and he’ll be tackling them all in this video. You'll also get his honest opinion on the best features and the quirks. This hands-on experience is truly a deep dive (especially since Nick read all 120 pages of the user guide).
0:00 - Today's Video
0:53 - Key ZR Specs
1:42 - Nick's Initial Thoughts &
by Zack Young · Posted
Tilta continues to push the possibilities of camera accessories with the new Nucleus Autofocus Adapter, a Sony E to ARRI PL-mount adapter that turns manual PL cine lenses into autofocus-capable E-mount glass that interfaces with the full focus system inside Sony cameras. That means face tracking and eye-detect Sony autofocus can now work with countless manual PL lenses for the first time. Alongside the adapter, Tilta unveiled new cages for recent Sony Alpha cameras