NAB 2015: Sound Devices new line of 1080p external monitors with 4K recording!

Sound Devices recently announced a new line for their Video Devices brand: the PIX-E Series. The line introduces 3 new video recorders each featuring 4K recording at 24 fps and HD screens.


From first glance, these recorders look like a perfect match for cameras like the Sony α7s, GH4, or any semi-professional camcorder that's lacking a robust codec or internally recordable 4:2:2 colorspace like the C100.

While the PIX-E5 includes the Apple ProRes HQ codec, the PIX-E5H and E7 allow you to record to Apple's most advanced codec to date, ProRes 4444 XQ. While this codec was officially released over a year ago, it hasn't seen wide circulation just yet - not that I've seen anyway. The ARRI ALEXA, however takes advantage of this codec in the current incarnation of the camera. What's the fourth 4 mean you may ask? ProRes 4444 XQ supports alpha channels, too.

Apart from the robust codec, the PIX-E is comparable to it's counterparts, the 7Q and Atomos Shogun. Some great features include:















PIX-Assist™ Monitoring Tools & Scopes

• Waveform Monitor
• Vectorscope
• Histogram
• TapZoom™
• Peaking
• Zebras
• False Color
• Frame Markers
• Four Way View
• LUTs








TapZoom™

Its never been faster to zoom in and check focus!

TapZoom provides instant 2x or 4x zoom to where you tap on the touchscreen. Tap again to zoom out.

Once zoomed in, tap on the screen in the direction of a moving subject to keep it centered - the perfect tool for quickly checking focus when an actor lands short or overruns a mark


There's currently no price set for these guys, but I expect that will be announced at NAB which is coming up very, very shortly.

Check out the tech specs below and check out the Sound Devices/Video Devices website for more details.

http://www.videodevices.com/products/portable-video-recorders/pix-e

PIX-E Series Comparison Chart
FeaturePIX-E5HPIX-E5PIX-E7
Description5" Recording Field Monitor with HDMI5" Recording Field Monitor with SDI and HDMI7" Recording Field Monitor with SDI and HDMI
Display
Size5"5"7"
Resolution1920 x 1080, 441ppi1920 x 1080, 441ppi1920 x 1200, 323ppi
Brightness500 nits500 nits500 nits
Contrast Ratio1000:11000:11000:1
Angle of View179˚179˚179˚
IPS
Gorilla® Glass 2
MONITORING TOOLS | PIX-Assist™
TapZoom™1x, 2x, 4x1x, 2x, 4x1x, 2x, 4x
Peaking Filter
False Colors4-step, 12-step4-step, 12-step4-step, 12-step
ZebrasZebras 1, Zebras 2Zebras 1, Zebras 2Zebras 1, Zebras 2
Waveform MonitorLuma (White, Green)
RGB (Overlay, Parade)
Luma (White, Green)
RGB (Overlay, Parade)
Luma (White, Green)
RGB (Overlay, Parade)
Vectorscope
Histogram
LUTsTo LCD and/or Outputs Load from SD cardTo LCD and/or Outputs Load from SD cardTo LCD and/or Outputs Load from SD card
4-way View (Live, WFM, Vector, Histogram)
Guide Markers
RECORDER
Recording MediaSpeedDrive (128G-1T)SpeedDrive (128G-1T)SpeedDrive (128G-1T)
CodecApple ProRes Proxy to
Apple ProRes 422 HQ
Apple ProRes Proxy to
Apple ProRes 4444 XQ
Apple ProRes Proxy to
Apple ProRes 4444 XQ
HD (1080i, 1080p, 720p)Up to 60 fpsUp to 60 fpsUp to 60 fps
UHD (3840x2160) - HDMI onlyUp to 30 fpsUp to 30 fpsUp to 30 fps
4K (4096x2160) - HDMI onlyUp to 24 fpsUp to 24 fpsUp to 24 fps
File Transfer to Computervia SpeedDrive USB 3.0 interfacevia SpeedDrive USB 3.0 interfacevia SpeedDrive USB 3.0 interface
USER INTERFACE | Touchscreen and Tactile Control
Capacitive Touchscreen
Real Tactile Buttons and Encoder
USB Keyboard
SD CardLoad/Save Settings Load LUTsLoad/Save Settings Load LUTsLoad/Save Settings Load LUTs
VIDEO I/O
InputsHDMI3G-SDI, HDMI3G-SDI, HDMI
OutputsHDMI3G-SDI, HDMI3G-SDI, HDMI
Full Size HDMI ports
4K Input to HD Ouput Scaling
PsF to P Conversion
3:2 Pulldown Conversion
AUDIO I/O
Max No. Tracks688
Analog Inputs2x unbalanced line, 3.5mm
2x balanced mic/line, XLR (via optional PIX-LR)
2x unbalanced line, 3.5mm
2x balanced mic/line, XLR (via optional PIX-LR)
2x unbalanced line, 3.5mm
2x balanced mic/line, XLR (via optional PIX-LR)
SDI Embedded Audio Inputs--88
HDMI Embedded Audio Inputs222
Headphone Output
TIMECODE
External SDI/HDMI TC ModeHDMI OnlySDI, HDMISDI, HDMI
Record Run TC Mode
Time Of Day TC Mode
REMOTE CONTROL
Record Start/Stop FlagsHDMI OnlySDI, HDMISDI, HDMI
POWERING
Power SourceEXT DC (10-34V), 2x Sony L-MountEXT DC (10-34V), 2x Sony L-MountEXT DC (10-34V), 2x Sony L-Mount
Locking EXT DC Connector
Chassis
MaterialsRobust Die-cast Aluminum Locking Nuts for BNC, 3.5mm, Ext DC Optically-bonded Gorilla Glass 2Robust Die-cast Aluminum Locking Nuts for BNC, 3.5mm, Ext DC Optically-bonded Gorilla Glass 2Robust Die-cast Aluminum Locking Nuts for BNC, 3.5mm, Ext DC Optically-bonded Gorilla Glass 2
Size5.4" x 3.4" x 1.6" (WxHxD)5.4" x 3.4" x 1.6" (WxHxD)7.3" x 4.9" x 1.5" (WxHxD)
Weight15 oz1 lb1 lb 7 oz
OPTIONAL ACCESSORIES
KIT - Hardcase, 2x L-Mount batteries, USB3 Y-cable, 2x 240G SpeedDrives, Sunhood, DTap to Coax Cable, Charger, HDMI Cable, SDI Cable, Articulating Arm
PIX-LR - 2x balanced XLR Audio Inputs, Sunlight-readable LED Metering, Gain Controls, and Dedicated Transport Controls




Review: The Impossible Project Instant B&W Film with Color Frames



When I embarked on this journey into photography and video production some 9 years ago (a hobby at first more than a business), I always wanted to learn my craft on film. I had heard other production professionals talking about learning on film in school and was intrigued by the chemical processes behind making an image. I knew that if I used film I could teach myself to get the shot right the first time, saving myself time, money and perhaps making myself a better filmmaker/photographer. Plus film is just cool. There's something about holding a piece of film. Knowing that I made this picture. It's perfectly unique. There are no digital duplicates. You're essentially holding the raw file in your hands. Tons of detail compressed onto one small frame. I also had a somewhat sentimental attachment to film as I expressed in my review of Pro8mm's Super 8 Film Kit.

As I was saying... early on I went out to explore the world of film. At the time, digital was already taking over the world of professional photography and feature films were getting there - RED and the Canon 5D MKII hadn't made their debuts. So slowing, I began shooting whatever kinds of film I could get my hands on. I started with the easily available 35mm film - even picked up a few old relics like the Canon AE-1. I stuck 35mm film in everything. I even made super wide panoramas by putting 35mm film in an old Ansco box camera.

Then came medium format. Portra 120 film in a beautiful Zeiss Ikon that my wife's grandpa had purchased from a work friend back in the 50's. A bit of a pain to use but produced gorgeous results.

Zeiss Ikon and Kodak Ektar 120 film
About the same time I was trying out my first few cartridges of Super 8 motion picture film. I shot some during formals at a wedding. The camera with gears grinding definitely turned some heads - in a good way.

The last popular film format that I experimented with was one that I had little remembrance of growing up. The only time I had seen a polaroid camera was on the rare occasion that great-grandma decided to bring her's to our family get togethers. Even then, the only time I ever remember seeing the magic of instant film was at the dentist's office. Kid's usually like getting their picture taken right? That must have been their assumption because every kid had their polaroid taken and hung on the wall after their appointment.

I realize that at this point you're probably wondering WHERE'S THE FREAKING REVIEW?! Well wait no longer! I give you...

The Impossible Project Instant B&W Film with Color Frames Review

-or-

The Good, The Bad and The Overexposed

Tech Specs
For those of you who are new to The Impossible Project, they rescued the once popular instant film business from extinction a few years back. When Polaroid called it quits, Impossible bought up their old instant film manufacturing equipment and began R&D for their own Polaroid style film. The film doesn't work exactly the same as Polaroid's, but essentially produces the same results. More details on that later.

The Film
The film used in this review was Impossible's B&W Instant Film with colored frames made for 600 series cameras. Each cartridge has it's own battery to power the camera and contains 8 exposures. I'm still not sure why Polaroid decided to put the battery in the film cartridge. It certainly doesn't make the film any less expensive! The emulsion that Impossible developed for this run is fairly new - providing high contrast and sharpness - unless you screw up like I did (more on this later).

Update from one of our readers:
"--Polaroid initially put the battery in the film pack as a bit of customer service. Its research revealed that many consumers went out to shoot with fresh film but then discovered they had dead batteries, and got blank pictures, so the idea was to deliver a fresh charge with each pack. Over the years, though, it took on another purpose: to stop anyone from making knockoff film for Polaroid cameras. Manufacturing that thin flat battery was a headache, especially in the early days, and nobody else could realistically do it and match Polaroid's price. So it served as a patent-enforcement tool. (Much later on, it became a problem, because it did raise the price of each pack of film, making it less competitive against 35-mm.and then digital.)"

Film Speed: 640 ASA. Each image has a different color frame.
Instructions come with the film. Anything else you'd need to know
can be found online.
The Camera
The camera I used was a Polaroid One600, one of the last models Polaroid came out with made in the early 2000's. Not the most exciting looking camera nor does it have the vintage, classic feel of an SX-70. It's fully automatic, so as long as you follow a few rules, you'll get pleasing results. Other features include an electronic flash, self timer, 100mm lens and a 3-foot minimum focus distance.


Loading Film
Loading film is simple. Insert the cartridge in the front of the camera firmly, close the door and open the camera with the "Open/Close" button on the back. Opening the camera turns it on. The camera will recognise the new film and spit out the black sheet that protects the first exposure.

video


Test Shots
Below are test shots taken with said film and camera. Some of the images are attempts to push the limits of the emulsion - just to see what I could get out of it.


1. The Tunnel
The first image I shot was rather late at night. I wanted to see how much latitude the film would give me with the tunnel ahead - the tunnel being lit by fluorescent tube lights. What surprised me was that the you could still see the interior of the tunnel even with the flash exposing the exterior of the tunnel. If you look closely, you can make out two figures sitting in the tunnel, roughly 3/4 of the way down.


2. Smoke in the Tunnel
I wanted at least one "portrait" and a portrait with someone smoking in the tunnel seemed like the thing to do at the time. The film didn't exactly render the smoke the way I wanted it to but I suppose that was more my fault in planning and lighting than the film's. It's important to note that all of these photos were taken with the camera's electronic flash - it fires with every shot - whether you need it or not! Don't worry. There are a good handful of cameras out there with manual controls.


3. The First and Last Hotel in Texas
A little history: This is the first (and last, depending on which direction you're going) hotel in Texas on the border with New Mexico. It's on an old stretch of Route 66 that was bypassed in 1973.


4. Cadillac Ranch
You guessed it. This is The Overexposed. This was supposed to be an image of Cadillac Ranch in Amarillo, TX. You may say, "But I thought you said that camera was automatic! How did it become overexposed?" The answer lies in the film itself - not the camera. This brings me to my next point...

Development
You see, unlike the Polaroid film of yesteryear where it came out of the camera and you watched it develop, you have to immediately put this film in a completely dark place for 10 minutes while it develops. If it sees light before then, you run the risk of further exposing the film and blowing out any details. The trick it to have a small piece of cardboard (or a frog tongue, etc.) to shield your images from the light as they come out of the camera. At that point you can carefully place them in a dark (I mean completely dark!!!) pocket or bag for the remaining development time. Why? I'm not sure. If I hear from Impossible on the subject I'll let you know. My assumption in that Polaroid decided not to sell their patent forcing Impossible to reverse engineer the process which they haven't quite figured out yet.

Update from one of our readers:
--Polaroid's patents have all expired, so that's not a factor in Impossible's recipe. The real problem involves the actual chemical ingredients. Polaroid's suppliers have long since shut down those production lines; they can't or won't restart them for the much smaller orders Impossible would be making. Other chemicals, made by Polaroid itself at other sites, came from factories that have been demolished. Impossible's workarounds, thus far, have been semi-successful. We are told that future batches will be better; hope so.

As far as the image above is concerned, I simply didn't cover the film fast or well enough to hold the exposure.


5. Wigwam Motel
Wigwam Motel is a classic stop on old Route 66 in Holbrook, AZ. This is one of my favorite shots. As you can see, there are some weird light splotches on the image. I'm assuming I again did not get the image covered fast enough to prevent overexposure.


6. Woman in the Weeds
Admittedly not a great image. I think I'll call this The Bad. Again, overexposed in some areas. Snapped quickly while over by Cadillac Ranch.



7. "Mom, there's a Unicorn on the Wall!"
This was taken at Graffiti Park at Castle Hills in Austin, TX. This was a really fun place to take pictures. This time I was able to shield the image from light and get it into my bag immediately which is why it looks sharp and full of detail.


8. Heart of Texas
My last shot was of a popular piece of "Texas" wall art. Perhaps there's a slight inconsistency in the film or perhaps I'm really just that bad at covering the photos when they come out of the camera. In any case, you can see some light leakage up in the top left corner where the detail is lost. Shielding your developing images isn't quite as difficult indoors because interior lights aren't anywhere near as bright as ye 'ol sun.

Buying a Camera
Cameras are easily available through The Impossible Project, ebay, yard sales and even amazon. Always check to see if film is available for that camera before you buy. Personally, I would go with a camera sold by The Impossible Project since it's been fully refurbished. A used camera bought elsewhere may not even work properly if at all!

Buying Film
The B&W color frame film I used is only one of many stocks Impossible carries. They have everything from your standard color film with white frames to Fuschia with Floral Frames. Go classic or have some fun with the new stuff. There are also different films for different camera series, so double check that you're purchasing the right film for your camera.

Scanning
Scanning Polaroids to share online or make copies is easy. Use your flatbed scanner or you may be able to use your smartphone if you're in a well lit area and you're in some kind of hurry (scanner is better... use the scanner).

Final Thoughts
The Impossible Project has truly done an amazing job recreating the Polaroid. It's a lot of fun to shoot this film and light leaks or no, they have a unique, vintage look that phone apps like instagram are still trying to replicate. I'm slightly disappointed that you can't pull out the image and watch it develop like in the old days but I really have no room to complain - if it weren't for Impossible, 'polaroids' would no longer exist in any iteration. As mentioned by one of our readers, the chemicals necessary to develop in broad daylight are no longer manufactured/expensive/toxic/etc. but perhaps Impossible they'll figure out in the not too distant future as they continually improve their product.

Price is another concerning aspect of this product. Now solidly in the digital age, instant film has become something of a novelty and the price of film shows it. Currently, an 8 pack of film costs $23.49. That's almost $3 a shot! So unless you're into expensive hobbies, using this for a photo gig or maybe a special occasion, you may want to rethink your instant photography options, new and old. It's important to note that the only other type of instant photography that uses similar technology is Fuji Professional Instant Film (review and tutorial coming soon!!!).

Lastly, on the color frames: At first I didn't care for them. I prefered the classic white frames but after shooting a few I found that I enjoyed the contrast between the frame and the image. The variety of color in the pack is a nice touch as well. In the future I'd probably want to choose a style of film for my subject matter - using classic white or even black frames for serious subject matter. In any case, Impossible has a wide variety of film and frame options so shoot what you like!

If you have specific questions about the chemistry of Impossible's film or need to troubleshoot image problems your having, check out this post on Impossible's website: http://bit.ly/1KeOSq7

Happy shooting!

NEW Gratical HD Micro-OLED EVF from Zacuto


Chicago, IL - November 21st, 2014 - The Gratical HD Micro-OLED EVF is the new standard for electronic viewfinders. It took over two years of research and development from the Zacuto design team of Steve Weiss and Jens Bogehegn, as well as the collaboration of five high-tech electronics companies, to bring this product to life.



The Gratical HD uses a Zacuto designed Micro-OLED 0.61” diagonal display with 5.4 million pixels to provide a hugely expanded contrast range. With Micro-OLED screens, each pixel is lit individually so that when one is turned off there is true black. This makes for a wider contrast range and more vibrant colors for a vivid, enhanced picture. 



“Our Gratical HD is first and foremost a focusing tool. That’s why contrast is so important. We weren’t going to settle for anything less than true blacks. You’ll be amazed with how sharp the image is.”
- Jens Bogehegn, Director of Photography and Zacuto Product Designer

The Gratical HD is powered by a FPGA dual core processor that supports a whole host of professional features including HDMI and SDI with simultaneous cross-conversion, Vectorscope, Waveform (3D), Histogram, LUT import/export and more. The processing power of the Zacuto Gratical HD far surpasses all other EVF units on the market. 

“I have a OLED viewfinder on my Sony F5 and it’s pretty good, so I was dubious about just how much of an improvement the Gratical HD would give me. But I was blown away when I put my eye up to it. Bright, sharp and just brilliant.”
- Den Lennie, Filmmaker, F-Stop Academy

The Gratical HD is available for pre-order at a reduced price of $3,600 from these exclusive resellers.

CANADA - Image Gear
UNITED KINGDOM - Creative Video Productions
AUSTRALIA - Lemac Film and Digital 
ASIA - Nobby Tech

The Gratical HD will start shipping in January 2015. At that time it will be available for purchase through Zacuto’s entire worldwide reseller network. Visit the Zacuto website to watch videos and discover more about this unique product from the design team at Zacuto. 

Review: Pro8mm’s Super 8 Film Kit or Shooting Super 8 Film for Fun and for Work


Yesteryear
I’ve always loved and appreciated super 8 film (and film in general). Growing up, my family would gather around the old “8-mil” projector in the dark basement, tack a white sheet to the wall and watch some of our favorite memories from yesteryear. It wasn’t just family movies, though. Sometimes there were silly movies that my dad or another family member had made back in the 70’s. The tradition continued with my brother, sister and I – making cheesy movies with the old VHS camera when we were younger. Perhaps it’s all those fond memories and the love of story telling that led me to my current profession.

Nothing’s quite like Super 8 Film

Many people I talk to today are surprised that Super 8 still exists. While the cameras and projection equipment are not manufactured anymore, the film format is still very much alive both in the US and abroad. Though the look and feel of super 8 has been reproduced with varying results through NLEs and Apps, there’s no substitute for the real thing.
What is super 8 used for? Everything from weddings, surf and skate, national brands, indie films, music video and more. It’s more popular than you might think!
Wether you’re interested in Super 8 film for fun or for work, I’ll take you through some of it’s pro’s and cons and talk about Pro8mm’s new product and service that makes it easy for anyone to play around with this old but incredibly fun format.

Tech Specs

First let’s go through our equipment and film stock. As stated earlier, super 8 cameras are no longer manufactured but getting your hands on a camera isn’t that difficult. It doesn’t even have to be expensive. I got lucky and found my Minolta XL 401 for about $30 on ebay. The lady who sold it to me found it at an estate sale and didn’t know anything about it. When I got it, one of the battery contacts was missing, so I had to do a little surgery when I first got it. It has great features like a large aperture for low light shooting, a timer, intervalometer, mini plug for a remote and manual exposure. It’s a lucky thing it had manual exposure, too. After shooting my first reel of film I discovered that my auto exposure didn’t work so for every shot I had to whip out the old light meter.
Despite the exposure problems, I got fairly lucky with my camera. Most cameras that you find on ebay aren’t going to work quite right simply because they’re old and the gears are gummed up. The only way to make sure your camera works is to run film through it and who wants to spend that kind of time and money just to make sure your camera works? One alternative is Pro8mm’s camera store. They have cameras that work right out of box. These aren’t new cameras but cameras that have been rebuilt and fine tuned to work betterthannew (more on this later).
Film stock & Cartridges


The film stock I used was Pro8mm’s tungsten 200 ASA color negative film (ASA: for all you dslr/digital shooters, think ISO). The film inside this cartridge is actually Kodak Vision 3 negative film, which is the film stock of choice for many motion pictures and TV shows. The difference being that features and series use this stock in it’s 16mm and 35mm form (larger format means a sharper image with more detail, shallower depth of field, more sprocket holes for better stability as the film is transported through the camera, etc). The other difference being that Super 8 comes in a convenient cartridge whereas 16mm and 35mm have to be loaded manually.
Record time
For those of you who are new to super 8 filmmaking, each cartridge of super 8 contains 50ft of film. The typical record speed of a super 8 camera (unless your camera has the option to record other frame rates) is 18fps. This means that you’ll get roughly three-and-a-half minutes of record time out of a reel. Doesn’t sound like much does it? But when each shot is only 4-10 seconds you can squeeze quite a bit into a single cartridge of film. The name of the film shooting game is planning. You need to plan and practice your shots before hand because once you pull the trigger and start recording, there’s no deleting or recording over the film! So be selective and make sure you’re only shooting something you want permanently on film.

The Test

In the video you’ll see shots of the product and an edited test I shot to see what I could do with the format. Some of these shots I would get in a real life production situation with a DSLR. Shots include rack focus, low light, synced audio, etc. I’ll go into more technical detail here.

 


Breakdown

:36-40 – One thing I absolutely love about Super 8 is the ability to go frame by frame with ease. While you can do this with a DSLR, creating a stop-motion animation with S8 is fun and just looks cool!
                      


:45-:52 – While super 8 usually looks best hand held – partially because the film already jostles a bit in the camera as it’s being transported from the lack of sprocket holes on one side – I thought I’d give the jib a go. While the shot came off well, this is still a handheld format to be sure.
:53-1:05 – Rack focus test. I knew this wouldn’t look great due to the small format, but I thought I’d give it a try anyway. The bokeh is pretty indistinguishable. I’d love to test this on a better camera/lens like Pro8mm’s Classic and get a higher-res scan. Of course you can always use this like an optical blur for artistic purposes.
1:06-1:10 - Timelapse – I didn’t do any serious timelapse tests, like clouds moving by or the sun setting, but I did a quick test with Alisha skipping toward the camera just to see what it would look like. Next time I’ll probably try a cloud or sunset timelapse.
1:11-1:19 - Some shots of downtown Stuart, Florida.
1:20-1:40 – Street musician with sound. It makes me a little sad inside that they don’t make Super 8 sound film anymore. Here I tried recording audio separately like many of my DSLR shooter comrades are use to doing – syncing it in post. You can hear the gears churning away on the camera in the background. For this short little clip, syncing worked out well. If I were interviewing someone however, the recording speed of the film is a little unpredictable and syncing a voice can be a nightmare. This is something else Pro8mm has taken into consideration with their crystal sync modification (that means accurate recording speeds on some of their cameras).
1:41-1:47 - More of downtown Stuart.
1:48-1:57 – Lowlight test. Keep in mind that this film is rated at 200 ASA. With a digital camera this shot would not have been possible at that ISO. This film stock has somewhere between 13-14.5 stops of dynamic range!
1:58-End - Shots from Key Largo/South Florida. This film renders colors beautifully, especially in full sunlight. The shot of the flea market sign and car are some of my favorite. Earlier I said that this was tungsten balanced film but it color corrects beautifully. Basic color correction is included with the Super 8 Film Kit.

Pro8mm Super 8 Film Kit

Okay, so know that you’ve seen the film and breakdown, let me tell you about the easiest way to get into Super 8 filmmaking. Firstly, go over to the Super 8 Film Kit website and get yourself one. The kit includes the film, a postage-paid envelope to ship in your film with standard processing and scanning included! And with Super 8 film it’s in cartridge form – you just pop it in to your camera, shoot it until you run out, and ship it in. Easy peasy lemon squeezy.

Don’t have a camera?

Check out the selection of cameras over at Pro8mm (you can get cameras with crystal sync, 16×9 framing and more) or do what I did and find yourself one on ebay, craiglist, a garage sale, the thrift store, etc. Of course you’re taking a risk with ebay and the rest because you won’t actually know what condition the camera is in. Pro8mm may be able to refurb the camera for you however, so be sure to talk to them first if you’re interested in buying a camera for that purpose.

Scanning

Once your film is processed, the scanning method included in the cost of the kit is SD interlaced. It’s good enough for fun stuff but if you want to kick it up a notch you can pay a little extra for HD, progressive scans.

Final Thoughts

Overall I’m very happy with the film stock and service that came with the Pro8mm Super 8 Film Kit. The packaging includes some tips and tricks to get started with Super 8 film too which is great.
If you’re a filmmaker and want to use this stock for a serious project, check out Pro8mm’sstore where you can order all-inclusive packages of up to 12 rolls at a time. The packages include processing and scanning (your choice of SD, HD or 2k scanning).
If you have a specific question about super 8 filmmaking, be sure to comment here or send me an email!

Tutorial: Creating a “Small World” with a Panorama



Most of my tutorials are video production specific but today I’m taking some time to recreate an effect that you’ve probably seen online called the “little planet” or “small world” effect using a panorama. The key when creating this effect is to use as wide of a panorama as possible. In fact, I suppose a 360° Panorama would work best, but I haven’t been quite that ambitious. Take a look at the tutorial below and as always, if you have any questions, just put them in the comments below.

Perspective Warp in Adobe Photoshop CC





Thanks to Andrew Trice, a Developer Evangelist for Adobe Systems, we get a look at just how to use this incredible new tool that has been added to Adobe Photoshop CC. Compositors rejoice!

Mini-Documentary: Grip it Good





Mark Vargo, ASC has been kicking out mini documentaries lately. His latest is one dedicated to film grips – giving an inside look at some of the tools of the trade. His other documentary, “Let There Be Light“, is a great introduction to film lighting, metering and temperature, so definitely check that out too.
For those who don’t know, Mark is a veteran of the VFX industry – mostly in the optical department – on films like Empire Strikes Back and as the Visual Effects DP of Ghost Busters II. More recently he has Directed TV episodes, commercials and his first feature film.
As Mark says in a closing remark, if he weren’t behind the camera, he’d want to being the grip department.

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