We had the opportunity to travel the California coast and shoot some video with the pre-production model of the Sony VG900. This video doesn't have any color correction applied, so you can really get a sense of what the images look like. From low-light aquarium shots to extreme bee close-ups, it's got a great variety of shots that showcase the VG900's capabilities, including some 60p shots that have been slowed down.
There are always lots of new lenses announced at NAB every year, but this one was truly special. Most of us can’t even afford to rent some of the lenses on the show floor, let alone the camera to use them. Canon’s Compact Servo 18-80mm T4.4 is the exception. While the $5,225 price tag is nothing to scoff at, it’s a steal when compared to Canon’s other EF servo zoom lenses, which approach $30,000.
An optional add-on to the Compact Servo 18-80 is a zoom rocker grip.
The visual style of your video is usually in the director’s head from the start of production, so what happens when you bring the footage into your editing software and you can’t get it to look quite right? Well, when it comes down to crunch time, as editing tends to, any solutions that are "as easy as it gets," are often the ones that editors rely on. You need to get the right tool, and you know that big young Internet has plenty to offer, but do you really want to be searching for, learning and purchasing something you’re checking out for the first time the same day?
Testing the S-Gamut3.Cine Slog3 colour profile in the Sony a7S II. Please note this is 4K down scaled to a 1080P timeline. Canon 16-35 F4 Set to F11 on both cameras. Shutter speed used to get correct exposure. White balance 5500K
We've been screaming about this for years, but Simon Cade at DSLRguide has put it into words more eloquently than we've heard in quite some time. Simon strikes down all the buzz words we industry geeks tend to throw around like dynamic range, aliasing and 4K, but emphasizes that the they all take second fiddle to storytelling.