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Choosing the best camera for the job: part two

By noreply@redsharknews.com (Guest Author)

The right gear for the job? Shooting 4K might be your answer, regardless.

In part one, Jody Eldred took a look at the fundamentals of choosing the correct camera for any given job. This time around he addresses the concerns and benefits of shooting in 4K, even if your delivery might be in HD.

  • production
  • Cameras
  • 4K
  • camera choice

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    From:: RedShark News

    When It’s Time to Look Beyond the DSLR

    By John P. Hess

    I started my career before you could capture video on DSLRs. Right out of business school, I started shooting local cable commercials first on a 1/3rd inch chip Sony PD150 at the tail end of the “DV revolution” before graduated to an HDV Sony Z100 and then making my way to full HD 1/2 inch […]

    The post When It’s Time to Look Beyond the DSLR appeared first on FilmmakerIQ.com.

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    From:: FilmmakerIQ.com

    Throwback Thursday: the iPhone 4S

    Credit: Gabriele Barni

    Late 2011 was a period of big changes for me. I had just finished up college, an internship, and landed my first ‘big boy’ job at Puget Sound Energy doing photo and video for their communications department. It was also around this time that I got my very first smartphone, an act which would forever change my perspectives on photography.

    Okay, well, it was my second smartphone that did that. My first was a Blackberry Bold, which was a Puget Sound Energy company phone, and I very briefly thought that it was amazing. I was wrong. You see, wanting to keep my work and personal life somewhat separate, I figured I should purchase my own smartphone for personal use. So I picked up a just-released iPhone 4S, and the Blackberry felt prehistoric in comparison.

    With a decent camera in my pocket at all times, I of course started an Instagram account and promptly put a photo of a bagel sandwich up for all the world to see. Yes, this is literally the first image on my Instagram profile, and it’s probably damaging my credibility to this day.

    A lot of people credit cell phone cameras with the death of the compact camera, but I think the iPhone 4S was one of the first cell phones with quality that could really rival the PowerShots and Coolpix’s of the day. In high school, VGA camera phones were all the rage, but a lot of us still carried around a dedicated compact camera for ‘real’ photos.*

    But with the iPhone 4S, you got an 8MP sensor, a reasonably fast F2.4 lens, 1080p HD video recording and a Retina high-density display that was probably the best display I’d → continue…

    From:: DPreview

    Still Not Shooting in 4K? Here’s Why You Might Want To

    By V Renée

    Should you shoot in 4K? (Yes, we’re still talking about this.)

    Even though it seems like every filmmaker has a camera that shoots 4K, there are still plenty of those out there still making movie magic in HD. However, if you’ve been wondering lately whether or not you should make the transition to a higher resolution, you might want to learn a few of the benefits of shooting 4K other than the obvious (a bigger, clearer picture). Filmmaker Peter McKinnon shares a few of those benefits in the video below.

    Okay, admittedly this subject seems a little dated. These days, everybody shoots 4K, right? Well, it would seem so, but there are still plenty of filmmakers out there who haven’t been able to (or don’t want to) get their hands on a 4K camera—most likely those who are trying to ball on a budget on a Canon Rebel T7i that only shoots HD. And that’s pretty understandable given the fact that many popular (and expensive) cameras from even just two years ago weren’t built with internal 4K recording. Suffice it to say that the switch from 1080p to 4K was a relatively quick one.

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    From:: No Film School

    How ‘Spiderman: Homecoming’ DIT Francesco Sauta Spun a Web With ACES

    By Charles Haine

    On-set color workflow keeps changing, and the ‘Spiderman: Homecoming’ team tried the brand new ACES workflow on this summer’s hit edition of the franchise.

    After years of using the traditional Rec. 709 HD color space, Spiderman: Homecoming DIT Francesco Sauta and cinematographer Salvatore Totino implemented the ACES color management workflow for the first time on this year’s superhero reboot. The ACES system is designed to help filmmakers manage their color workflow from capture through distribution and help match cameras and formats throughout production. Despite a few small hiccups, on this project it helped the pair maintain color fidelity for the signature red and blue web slinger.

    “Even with ACES, you still need to know what you are working with, what the monitoring format will be, and what each camera can do.”

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    From:: No Film School