Sony have created a highly detailed look at the Tiffen filter system on the F55 camera
TIFFEN demonstration video presenting a comprehensive range of filters, shot with the Sony F55 camera and Panavision Primo spherical prime lenses in 4K.
Make Colors that Stand Out in Adobe After Effects: A Look at the Free Color Vibrance Plug-in
Andrew Kramer of Videocopilot takes us through his new (and free) Color Vibrance plugin for Adobe After Effects (Compatible with After Effects CS5, CS6 & CC):
Intense bright colorization can be tricky so we created a plug-in that makes it easy to achieve HOT colors instantly. We even added some helpful matte tools so you can generate alpha channels from stock footage like SHOCKWAVE and give you more compositing control.
Plug-in Features:
Add Hot Colorization with ease
Create Alpha Channels (unmultiply)
Works on Pre-Matted Clips
Eliminate the faded colors when using mask feathering
You can download the plugin here.
Sony USA compares the Sony F55 to the Arri Alexa for skin tones: This is not a camera comparison, it is a simple demonstration of the skin tones reproduction shooting LOG with the native ISO settings and applying the corresponding LUT’s provided by both manufacturers. No color grading was applied, only matching levels.
ALEXA: LOGC to Rec709 LUT
F55: SGamut3.Cine/SLog3 to LC709 TypeA LUT
Here is a quick review of one of the more extreme video rigs available for the iPad. In this video the guys at The Slanted Lens check out this one-stop rig to turn your iPad into a complete production kit: You can mount it on a tripod, attach microphones, lights, lenses, or other accessories.
Here’s a comparison of the dynamic range between the Panasonic GH4 and the Blackmagic Design Production Camera 4K, by Phil Hover:
Testing the two cameras for dynamic range and color. Left is GH4, Right BM. Both UHD, download for full res. Almost no color correction – only saturation added to the BM and one shot had exposure off and was corrected. Before I started I assumed the GH4 would be a little sharper, BM would have more dynamic range, better color, smoother tone. Both cameras were matched for exposure in camera not in post but the BMPC4k looks a little less exposed – could be lens or maybe 400iso on the BM is closer to 320iso.
Conclusion. I’m seeing more dynamic range from the GH4 specifically with cineD. I like the noise performance and look of Natural. CineV dialed down is slightly more contrasty then Natural. CineD slightly better then Natural at the cost of shadow noise. BM has more accurate color but not significantly even with 10bit 4.2.2.
Here’s another test:
Captured on 4-28-14 with the GH4 & BMPC4K for comparison. Slo-mo shots are 1080 @ 96fps and there is a clear resolution loss for those shots. Highlight rolloff seems to be better on the GH4 in the shots around 4:40. I could have under exposed the BMPC4K shots a little more to help.
GH4: CineD UHD, +2 master ped, -2 sharpness, normal curve.
BMPC: Prores 4K film.
Which camera does Phil prefer? He says:
That is a good question. If I had to choose one, the GH4 is more versatile, lighter, better low light, better battery life, great screen & EVF. CineD is fantastic. The color straight out of the camera is wonderful, significantly better then the GH3. Panasonic finally has taken the mojo from their video cams and put it into the stills side. But, I will be keeping both cams because…
The BMPC4K seems to have more detail. The global shutter makes a big difference when you watch the footage at 100%. The GH4′s rolling shutter looks bad when you see micro jitters (wind blowing on the cam in a few shots). I have also seen the rolling shutter issues with helicopter footage posted. Image stabilization might help, using a bigger rig or MOVI type devices. The BMPC4K has shallower DOF from the larger sensor and you can create a better look with the LOG footage. I feel like the BMPC4K is for more controlled shoots where you can rig up or be on sticks (very easy to shoot on support). GH4 is a camera you can grab run with in any environment assuming the rolling shutter isn’t an issue.
With LED lighting systems growing in popularity for both video and photo use, it’s inevitable some interesting variations of such setups are going to come out. Case in point: behold the RagLite, or as its creators prefer to call it, “the first-ever flexible LED light bank.”
Developed by Chad Soderholm and engineered by Sin Cohen, RagLite uses a flat, lightweight design that is both waterproof and virtually indestructible. By combining a versatile mounting setup with a heat-free design, RagLite seems to offer a much more flexible option for lighting up scenes.
Color-matched to daylight or tungsten, the RagLite should work in almost any environment.
As of this writing, the team is just short of halfway to their $25,000 goal,
It’s reported that the next evolution of Creative Cloud will be revealed during a live keynote on June 18th at 1pm Eastern time, and it promises to be a big announcement.
Adobe have already teased… “all-new desktop and mobile apps, new creative hardware, hundreds of new features and other surprises.” We are also expecting to hear more about a touch-friendly Photoshop CC version.
Save the date for the live stream: head over to the Creative Cloud website to sign up for a reminder.
It’s reported that Samsung are set pull off a huge publicity stunt in order to convince DSLR users to swap out for a mirrorless camera – they are handing them out for free!
On June 4th between the hours of 12pm and 6pm in Times Square NYC, Samsung will giving away free NX30 cameras if you’re willing to hand over any DSLR in exchange.
The stunt is part of their #DitchTheDSLR campaign. The campaign is caveated with a “while supplies last” footnote so if you want a free NX30 you’d better turn up early! Samsung has said that there will be “a sizable amount of NX30s,” present.
The 9/11 Memorial Museum opens officially this week. It is the final piece of the decade-long effort to memorialize the victims and location of the deadliest terrorist attack to ever take place in the USA.
The above time-lapse, shared by EarthCam, documents the almost ten-years of construction, from October 2004 to May 2014, of the 9/11 Memorial and Museum being built.
Good new for aerial filmmakers as U.S. aviation regulators, the FAA, said they are considering a streamlined approval process for flights of small unmanned drones for film making, utilities inspections, farming and other low-risk operations.
With the first regulation allowing commercial drone flights at least a year away, the Federal Aviation Administration is looking at ways to grant approvals for limited applications before then. While such flights aren’t yet permitted, filmmakers and production companies have already been using drones to capture aerial shots and film events.
It’s estimated that the unmanned aircraft industry will generate 100,000 jobs and $82 billion in economic impact once the FAA begins approving commercial operations. So far, the agency hasn’t granted any approvals for commercial flights in the U.S. as it weighs appropriate safety standards for construction of drones and qualifications of pilots.
It expects to propose a rule allowing commercial drones weighing less than 55 pounds (25 kilograms) by November, according to a schedule of rulemaking efforts.
Terry White takes us through 10 things that every beginner must know about Adobe Premiere Pro CC:
See how to edit a video from start to finish even if you’ve never used Premiere Pro or edited a video before.
Rich Harrington shows us how to work with RAW footage and log footage in Adobe Premiere Pro:
Rich shows you how to work with log footage by using color correction and Look Up Tables, or LUT’s.
Subscribers to Adobe’s Creative Cloud have been unable to sign in and access the company’s suit of applications since Wednesday Evening. The technical error has left many who depend on the company’s offerings in the lurch.
Adobe stopped offering standalone versions of their popular Creative Suite last year, forcing those who wished to upgrade to the newest edition to purchase it on the Creative Cloud subscription model. Many users criticized that decision, often citing potential scenarios much like this one.
Problems began to pile up for Creative Cloud beginning around 3:00 p.m. Eastern Standard Time on Wednesday, when some users found themselves unable to download applications. That was followed by an issue with modifying team accounts, failures affecting the ability to purchase new Creative Cloud subscriptions or create new Adobe IDs, and finally the sign-in problem.
Adobe has been largely silent on the subject since Wednesday evening, save for a handful of apologetic tweets and a promise to “restore as soon as possible.” The root cause appears to be a failure of the Adobe ID system, which is to Adobe’s products what the Apple ID is to Apple devices and services.
Because Creative Cloud applications require users to be online to verify their subscription, subscribers who already have the software installed may be able to work around the authentication problems by taking their computer offline before opening the applications.
Off the back of an unusually quiet NAB 2014, Canon have just announced two new lenses, the full-frame EF 16-35mm f/4L IS USM and the APS-C EF-S 10-18mm f/4.5-5.6 IS STM. While both lenses are slower than some other Canon options in this range, they both have image stabilization, and the APS-C lens is designed with the quieter STM motors that should work better with autofocus during video.
16-35mm f/4L lens:
Performance of the 16-35mm f/4:
And more on the 10-18mm:
Next up is the EF-S 10-18mm f/4.5-5.6: a lens for APS-C shooters or, more specifically, users of the Canon 70D and T5i (700D) who picked up those cameras in large part for the video capabilities. Compared to the EF-S 10-22mm f/3.5-4.5 USM wide-angle lens, the EF-S 10-18mm f/4.5-5.6 IS STM ultra wide-angle zoom lens is nearly 20% smaller and 38% lighter. The compact four-group zoom optical system provides a maximum magnification of 0.15x at the telephoto end. The wide-angle zoom range of the new EF-S 10-18mm f/4.5-5.6 IS STM is a perfect complement to the currently available EF-S 18-55mm IS and EF-S 55-250mm IS STM zoom lenses. At $300, the 10-18 is about half the price of the Canon 10-22 lens, though it is a little slower. It, too, is scheduled to arrive in June
This young photographer’s name is Fresley, and for a recent science experiment she decided to show YouTube how to turn a Pringles can into a pinhole camera in just over 8 minutes. Give it a shot!
This is a quick overview of the latest Blackmagic Studio Camera. We do not have a complete STUDIO system (ATEM, Switcher, Multiple Studio Cameras, etc.) to test all the camera functions at the moment (maybe in future we will come back with a more thorough review).
Here’s Part two, which compares the Studio Camera with the Blackmagic Pocket Camera:
This is a simple comparison between the Studio Camera with Pocket Camera.
All footage are not color corrected in any way and straight out of camera.
If you want to have a video for your director or clients without having to drag long and messy video cables then you should get a wireless video system. You can buy a system like that for a few thousand dollars or you can make your own for less than $300 dollars. In this video I show you how I built one.
Camera Zone tests the Panasonic GH4 with the Canon 5D Mark III (ALL-I) and the Blackmagic Pocket Cinema Camera (RAW):
Panasonic GH4 vs Canon 5D Mark III vs Blackmagic Pocket Cinema Camera
Since the Panasonic GH4 started shipping last week we’ve been getting an influx of videos putting it to the test against existing cameras of all shapes and sizes. Now you may think it’s slightly unfair to put a $2,000 GH4 up against a $20,000 Red Epic but the results in this video by Luke Neumann are very interesting. Watch as Luke compares the Panasonic GH4 to the RED Epic to the Canon EOS 5D Mark III with Magic Lantern RAW video.
GH4
Nikkor Ai-s 50mm f 1.2 @ f 5.6
Shutter at 180
CineLikeD: Contrast and Saturation to -5, Sharpness to -2
RED Epic
Nikkor Ai-s 50mm f 1.2 @ f 5.6
5K/FF/3:1
RedLogFilm: Contrast and white balance adjusted to match GH4 as close as possible.
Download original shots here:
www.mediafire.com/download/4896xisqqge9m9r/NF_GH4_Tests.zip
Music by Neumann FIlms from “The Drama Toolbag”
400% Epic (left) vs. GH4 (right) for those that think we may have missed focus on one.
www.mediafire.com/view/eq6xb387r8lthxf/GH4_vs._Epic_400%25.jpg
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It seems that counterfeit gear it’s just limited to the world of fashion and watches, a recent study by Canon has found that it’s also rife in the world of consumer electronics. According to the report, it’s estimated that some 18% of consumers have purchased counterfeit goods without knowing it.
Surveying 1,069 consumers who purchased electronics in 2013, Canon found out that 30% of them bought counterfeited goods, with Canon specifically noting the following statistics in their accompanying press release:
Canon hasn’t shared the full report yet, so it’s not clear how they specifically came up with that 18%. PopPhoto speculates that maybe Canon took into account the number of overall counterfeit sales and subtracted the number of consumers who knowingly purchased this third-party gear. However, that is yet to be confirmed. The best advice is to always buy from reputable dealers, using a guaranteed credit card may also help limit the risk.
(via PopPhoto)
THIS VIDEO COVERS
-How to use the Panasonic GH4
-All the important settings in the Motion Picture, Custom and Setup menus
-How to change the system frequency and activate Cinema 4K (C4K) mode (4069×2160)
-How to change the exposure mode and focus settings
-How to optimize dynamic range
-How to use Cinelike D and Cinelike V photo profiles
-How to turn on rule-of-thirds guidelines and zebra stripes
-How to adjust mic levels using the menus or the touch screen
-How to turn off the annoying eye sensor (which interferes with the LCD)
-How to turn on the level (hit DISP twice on the main screen)
The long rumored Sony A77 Mark II OR MII announced today, finally we know that its real name is Sony A77 II, the newly announced A77 II features newly developed 24.3MP APS-C Exmor CMOS Sensor with SteadyShot INSIDE sensor-shift type image stabilization, newly developed Phase Detection: 79, 15 cross-type, latest BIONZ X Image used and newly developed image decoding algorithm.
The A77 II also supports Full HD 1080i/p video recording at 60 and 24 fps frame rates, on the rear side we have 3.0″ 1,228k-Dot 3-Way Tilting LCD Screen and 0.5″ 2,359k-Dot XGA OLED Tru-Finder, the A77 II also features built in WiFi and NFC, with the help of NFC you can control the camera with your smartphone or tablet.
The SLT-A77 II will be available in June and is priced at $1199 body only and $1799 with an 16-50mm F2.8 lens.
Sony Electronics Introduces the Speedy New α77 II Interchangeable Lens Camera with Record-breaking 79-Point Autofocus System
Impressive New “Action Shooter” features 79 Phase Detection AF Points, 12 fps shooting for up to 60 frames, 24.3 MP APS-C sensor and more
SAN DIEGO, May 1, 2014 – Sony Electronics’ new α77 II camera delivers an impressive combination of speed, versatility and efficiency in a tough, weather-resistant design, making it a perfect choice for fast-action photography and videography.
Building on the heritage of Sony’s much-loved original α77 and α700 cameras, the α77 II gives advanced amateurs a string of exciting enhancements including the world’s highest number of AF points in a new phase detect autofocus system1 with 79 focal points and 15 cross points. Utilizing Sony’s unique Translucent Mirror Technology, the α77 II also has the ability to shoot at up to 12 fps for 60 total frames with continuous AF.
The speedy new camera is equipped with a high-resolution 24.3 MP image sensor and powerful BIONZ® X processor, ensuring that still images and full HD videos are captured in sharp focus and incredible detail. Image quality compared to the original α77 has been boosted, and sensitivity has increased by approximately 20% as well. There is also a variety of new pro-friendly video functions for movie makers.
“The new A77 II is yet another strong statement for Sony in the interchangeable lens camera space” said Neal Manowitz, director of the α interchangeable lens camera division at Sony. “In addition to this camera’s impressive imaging credentials and unprecedented focusing system, it reinforces our dedication to the A-mount camera lineup and shows that we are pushing the limits of innovation in all aspects of the industry.”
New-generation 79 point phase detection AF system
The advanced AF system on the new α77 II camera features 79 phase detection AF points – the most of any dedicated AF sensor in market today – and includes 15 cross points within the central area of the sensor. Additionally, metering data from all 79 focus points is processed by a brand new AF algorithm that predicts the subject’s movement. These impressive new features combined with Sony’s powerful Translucent Mirror Technology ensure that fast-moving people, animals or any other relevant object can be tracked quickly and accurately in all types of shooting conditions.
The α77 II camera also has a centrally mounted dedicated phase detect AF sensor that supports apertures up to F2.8, ensuring maximum AF precision when using large-aperture lenses. In low light, the AF system of the camera performs admirably, accurately locking on to subjects in scenes with illumination levels as low as EV-2 (ISO100), where even the human eye has trouble discerning details.
There’s a suite of sophisticated new AF functions on the α77 II model that make the most of the unique 79-point system. Expanded Flexible Spot mode maintains focus even if the selected AF point loses track of the subject, activating eight surrounding AF points that recognize the subject. Lock-on AF mode lets users select one of four AF area modes (Wide, Zone, Flexible Spot or Expanded Flexible Spot), and can recognize and track a subject’s form based on its color and its position within the frame, automatically selecting the appropriate AF point from the 79 available
For even greater control, the degree of subject-tracking duration can be fine-tuned in five steps (when shooting still images in AF-C mode). A low setting is ideal for slow-moving subjects with predictable movements, while high settings deliver more responsive focusing for shooting different subjects at different distances, such as wildlife or sports photography. AF Tracking Duration can also be selected between High, Medium and Low during Full HD movie shooting.
Other new features include an Eye AF function that precisely detects and focuses on the subject’s eyes when photographing people. There is also AF Range Control, which allows AF to be limited to a specified range, and a Balanced Emphasis mode that provides the ideal balance between focus and release timing. Users can manually select any of the various focus modes to match the shooting situation and their creative objectives.
Shoot a continuous burst of 60 full-resolution frames at up to 12 fps
Continuous shooting stamina on the α77 II camera outpaces nearly all cameras in its class as well as many professional cameras. The new model can capture a non-stop burst of up to 60 full-resolution JPEG images at a maximum continuous shooting speed of approximately 12 frames per second with continuous AF (in Continuous Advance Priority AE mode).
24.3 megapixel Exmor® CMOS image sensor with enhanced sensitivity
A showcase of Sony’s leading image sensor technologies, the new 24.3 megapixel Exmor® CMOS image sensor in the α77 II camera features the same gapless on-chip lens structure as used in the acclaimed α7R and α6000 models. Thanks to an array of latest-generation imaging innovations, the sensor now offers 20% greater sensitivity than its predecessor (α77), and ensures flawless image detail and low-noises performance across the wide sensitivity range of ISO 100 to 25600.
The high-resolution sensor is partnered by the same evolved BIONZ X image processor introduced in the α7 and α7R models. Around three times faster than Sony’s previous BIONZ engine and optimized for the α77 II camera, it employs detail reproduction, diffraction-reducing and area-specific noise reduction technologies that contribute to amazing image definition and rich colors for still images and Full HD videos.
OLED Tru-Finder™ and 3-way tilting LCD
The new camera features a crisp, bright XGA OLED Tru-Finder with 2,360,000 dot resolution. With about three times higher contrast and resolving power compared to the original α77, the EVF on the new α77 II shows the effects of all settings adjustments in real-time, accurately displaying what the final image will look like. A wide viewing angle and high eye-point are complemented by a newly-expanded choice of brightness settings, and shooters have the ability to manually adjust color temperature for comfortable, accurate composition.
As featured on the full-frame α99 camera, the α77 II model also features a detail-packed 3.0-type (7.5 cm) Xtra Fine LCD that moves three ways for added convenience. The LCD also features WhiteMagic™ technology, which significantly improves screen visibility, even outdoors in direct sunlight.
Expanded Control and Customization
Evolved from the original α77 model, there are separate control dials on both sides of the grip for simpler control settings adjustments. In total, the α77 II camera has a total of 11 customizable buttons with up to 51 assignable functions.
Further, up to three frequently used groups of shooting modes and other settings can be stored in memory and recalled easily via the mode dial, and an exposure mode dial lock function has been inherited from the a99 model to prevent accidental mode changes.
Tough enough for serious enthusiasts
The tough, light magnesium body of the α77 II camera is engineered to withstand the demands of the most serious enthusiasts. It features a dust and moisture sealed design and a large, contoured grip for comfortable handling. In addition, the camera’s durable shutter unit is rated for 150,000 total shots.
Pro-style movie shooting with continuous AF
The α77 II camera can record Full HD 60p and 24p movies using the AVCHD 2.0 format. As with still shooting, Translucent Mirror Technology enables full-time phase-detection AF, ensuring accurate focus tracking with fast-moving subjects during video capture.
The camera has a number of additional features for serious movie makers, including three-level AF tracking sensitivity adjustment, a pro-style Zebra function and audio level metering. There’s also the addition of a clean HDMI® output that allows viewing on an external monitor and recording to an external storage device without compression
Wi-Fi® and PlayMemories™ Connectivity
On-board Wi-Fi allows one-touch connection for easy shot sharing with your Xperia®, NFC-compatible Android™ smartphones, tablets and VAIO® computers. A single touch also activates Smart Remote Control, linking the camera to your mobile phone enabling you to fire the shutter from a distance.
For devices without NFC one-touch capabilities, users can wirelessly transfer images and videos and activate Smart Remote Control through Sony’s free PlayMemories Mobile™ application, available for the iOS and Android platforms.
Sony α Lenses, Accessories and New “α Library” App for Tablets
Covering focal lengths from wide angle to telephoto, a family of 32 A-mount lenses offers an extensive choice of creative tools for visual expression, including several premium models from Carl Zeiss® and G Series Lenses.
The new α77 II camera is compatible with a range of versatile α accessories including microphones, flashes and more, and is designed to work the optional VG-C77AM grip, which enhances camera operability and versatility during vertical shooting.
Sony has also released a new photography-themed “α Library” application for tablets. This new app showcases the entire lineup of α lenses, including key information and specifications, in the “α Lens Catalog” section, and also includes access to a semiannual “α Magazine” lifestyle publication that showcases fun photography stories, tips, techniques and more. The new α Library is now available for download on Google Play and the iOS App Store.
Pricing and Availability
The Sony α77 II interchangeable lens camera will be available in June 2014 in a kit with a 16-50mm F2.8 lens (model SAL1650) for a suggested retail price of $1800. It will also be offered separately as a body for a suggested retail price of $1200.
| Number of pixels (total) | approx.24.7Megapixels |
| Image size (pixels) [3:2] | |
| Image size (pixels) [16:9] | |
| Wide: horizontal 12,416 x 1,856 (23M), vertical 5,536 x 2,160 (12M), Standard: horizontal 8,192 x 1,856 (15M), vertical 3,872 x 2,160 (8.4M) | |
| xvYCC standard (x.v.Color when connected via HDMI cable) compatible with TRILUMINOS Color | |
| “Memory Stick PRO Duo” “Memory Stick PRO-HG Duo” “Memory Stick XC-HG Duo” SD memory card SDHC memory card (UHS-I compliant) SDXC memory card (UHS-I compliant) | |
| “Exmor”CMOS sensor | |
| Available with AE lock button. AE is also locked when focus is locked in multi-segment metering mode. (“AEL w/ shutter”(Auto/On/Off) is supported) | |
| Still Image:ISO100 – 25600 (1/3 EV step), (ISO numbers up from ISO50 can be set as expanded ISO range.) AUTO ( ISO 100-25600, selectable the lower limit and the upper limit ) Movie:ISO100 – 12800 equivalent(1/3 EV step) AUTO ( ISO 100-12800 equivalent, selectable the lower limit and the upper limit) Movie:ISO100 – 12800 equivalent(1/3 EV step) AUTO ( ISO 100-12800 equivalent, selectable the lower limit and the upper limit ) | |
| Approx.1.09x (35mm camera equivalent: Approx.0.71x) with 50mm lens at infinity, -1m- -1 | |
| Approx. 27mm from the eyepiece lens, 22mm from the eyepiece frame at -1m-1 (CIPA standard) | |
| Tilt angle:150 degreesupward and 180 degrees downward. Rotation angle:180 degrees clockwise and 90 degrees counterclockwise. |
Sample Video
Sony A77 II Anounced - Press Release, Price, Specification and Videos
When Vine first launched, all you could do was view your stream and check out profiles for individual users. The desktop version came with TV Mode, too, which was admittedly addictive with its constant stream of full-screen content.
Alongside your Vine feed and user profile streams, Vine will now show a featured section that includes Editors Picks, cool playlists, and special featured videos.
You’ll also have access to channels, trending tags, and a popular page, just as you do in the app.
Perhaps more importantly, users don’t have to be logged in to Vine on the web to surf through these channels or featured Vine videos. Previously, to use Vine on the web, you had to be signed in or hunt down the URL for a user profile. Now, simply hitting up Vine.co will give you access to all of the best content on Vine, complete with TV mode, which plays them one after the other in full-screen.
This is a refreshing update considering that most mobile-first companies have limited and poorly designed web counterparts to keep people active in the main (mobile) experience. Instagram.com, with its limited feature set and crappy performance, is perhaps the most shameful example.
The future of Vine as it exists within Twitter’s long-term plan remains unclear. Since launching over a year ago, two of the co-founders have left the company, but it seems that the app continues to enjoy an active user base. This move, however, is a clearer step away from competing with Instagram on a mobile consumption level and focusing more on how mobile video creation and true video consumption play into each other.
To check out the new Vine.co in all its glory, head on over by clicking here.
San Francisco-based Centr Camera Inc. has launched a Kickstarter for a new style of camera. Called Centr, the 360º, 60fps, 4K-resolution panoramic camera will allow you to capture incredible footage all around you, in a device roughly the size of a hockey puck.
Centr was created by former members of the iPhone camera team, and uses of four separate 1080p cameras to capture and stitch together 360-degree video in real time using the company’s proprietary software.
If you want to get one you can do so by making a pledge of $300 over on their Kickstarter campaign.
Check out Driftwood’s Le Cas GH4 !
The Panasonic GH4 is one of the most highly anticipated cameras of 2014, mainly due to it’s stunning 4K video performance in a package that costs under $2000. Panasonic has done a great job of sharing commissioned footage from the camera on their official YouTube channel. Now for the first time we get to watch the very first independently created short film, exclusively shot the GH4. The film by Nick Driftwood does a great job of giving an entertaining overview of Panasonic’s new camera. Really, Le Cas GH4 is one part indie short, one part GH4 camera test, and one part pseudo GH4/5D Mark III shootout.
Unfortunately, there isn’t much information available at this time about how Driftwood approached his film — lenses used and camera settings (though he does say he’ll share details soon).
GH4 Specs – Camera Body:
Interface Unit:
Alex Weinstein compares the 4K video from the Samsung Galaxy Note to the Canon 5D Mark III with some very interesting results.
In this quick camera test I pit the venerable 5D mark III against the latest blockbuster cell phone to hit the market- the Galaxy NOTE 3. In this test the viewer is encouraged to see for themselves which image they like better- that of a $3,500 flagship camera or that of a $750 cell phone camera that shoots 4K video.
Test breakdown- this was a basic daylight test comparing the image quality of the two video cameras. The Note 3 was shot in auto mode with the default camera application. The 5D3 was shot in neutral/flat style and treated in post to come as close as possible to the look of the Note footage. The treatment included contrast, saturation, sharpening, some color temp tweaks, and minor exposure tweaks..
The goal of this test is to let the audience decide for themselves the performance of the Note 3 when compared to the 5D3.
