Press text: Sony World Photography Awards reveals new categories for 2020 and latest Sony Grant recipients Photography’s power to capture environmental issues recognized in new dedicated category Sony Grants awarded to four exceptional professional artists and three student talents Youth…
DJI STORM is a custom aerial platform powered by DJI Studio. It’s designed for the professional cinematography industry, able to carry various popular digital cinema cameras and lenses with the support of Ronin 2, Master Wheels, or Force Pro. DJI Studio is a custom service that DJI can provide if you are looking for a … Continued
Wooden Camera has created a Power Strip for the Sony Venice Rialto which is designed as an extension of the D-Box. This is used to provide power to other accessories mounted to the extension head like monitors & lens motors. The Sony Rialto Power Strip attaches to the back of the Sony Rialto (Venice Extension … Continued
RØDE Microphones has just announced the TF-5. The TF-5 was designed in collaboration with legendary, Grammy Award-winning sound engineer Tony Faulkner. According to RØDE, the TF-5 represents a new standard in small diaphragm condenser microphones, and it is unrivaled in terms of airiness and clarity, with a warmth that makes it uniquely versatile. RØDE goes … Continued
RED has announced a new DSMC2 GEMINI Kit that is designed to be a comprehensive solution for cinematographers who shoot in a variety of environments. The new DSMC2 GEMINI Kit features: DSMC2 GEMINI 5K S35 DSMC2 RED® Touch 7.0” LCD DSMC2 Outrigger Handle DSMC2 V-lock with I/O Expander for a variety of input/output selections S35 … Continued
The majority of U.S. visa applicants are now required to submit social media handles/usernames as part of their applications. This requirement, which was billed as a necessity for national security by the State Department, includes Instagram and Flickr among the 20 social platforms listed on its online application form.
The new requirement applies to both tourism and immigration visas, according to the Associated Press, which reports that in addition to select social media accounts from the past five years, applicants are also required to submit previous email addresses and phone numbers. The requirement was proposed in early 2018.
The State Department includes a number of popular social media services on its application form, including Instagram, Facebook, Twitter, Reddit, YouTube, Flickr and even the mostly defunct Google Plus and Myspace. A few social networks popular outside of the U.S. are also included, such as China’s Sina Weibo and Russia’s Vkontakte.
According to a report from The Hill, ‘Applicants will have the option to say that they do not use social media if that is the case. The official noted that if a visa applicant lies about social media use that they could face “serious immigration consequences” as a result.’
At Cine Gear 2019 we had the opportunity to meet the 100 Mega Pixel Fujifilm GFX100. This is not your father’s medium format camera, no. The Fujifilm GFX100 is a mirrorless digital camera system bringing the highest level of digital image quality to your grummy photographer hands in either video or still frames.
The GFX100 uses a large format CMOS sensor with over 100 million pixels making the GFX100 the highest resolution mirrorless digital camera ever produced. The 55mm diagonal length large format CMOS sensor can also shoot 4K 30P 10-bit color depth video. Not too shabby for a medium format mirrorless camera.
The GFX100 delivers smooth gradation and image sharpness with the high-resolution sensor. This is made possible thanks to FUJIFILM’s expertise in medium format which has been gained since the days of film cameras. Maybe in the future, we can see this type of mirrorless camera tech in a dedicated cinema camera from Fujifilm / Fujinon.
The GFX100 uses the X-Processor 4, FUJIFILM’s latest image processing engine to quickly optimize the data from the fast, high-resolution image sensor. Despite the massive amount of data involved, the processor handles it at a speed. You can also apply the Film Simulation modes to 100MP+ image data to achieve FUJIFILM’s unique styles of color and tone reproduction.
The GFX100 allows users to capture images in various formats and image qualities. This includes uncompressed / lossless compressed RAW and JPEG formats of varying image sizes, aspect ratios and compression ratios. Its in-camera RAW processing gives the option of saving 8bit or 10bit color depth images as 8bit or 16bit TIFF files. When using a 35mm format lens via a mount adapter, the camera can record images in a 36.0mmx24.0mm frame at the center (60.8M) as JPEG or TIFF (in-camera RAW processing) formats.
Fujifilm GFX Details:
Compact and lightweight body
Weather resistant structure
100MP+ 55mm diagonal length* large format CMOS sensor
HDVideoPro’s editorial team compiled this Cine Gear Expo 2019: Image Gallery. Throughout the various sections of the Cine Gear Expo show, which took place in Los Angeles from May 30 through June 2, 2019, our teams discovered some exciting new products and exhibits.
The expo was set up in various sections of Paramount Pictures Studios, including four indoor stages as well as the studio’s “New York Streets” section and a B-Tank section.
Click through the gallery slideshow below to see some of the hottest new gear and other show highlights. We’ll be updating this gallery with more images soon:
There was no secret that Apple has been working on a new, modular and expandable Mac Pro, they had actually said as much in an almost unprecedented hint at a future product. But Apple had a lot of ground to regain. Since their last expandable professional workstation many pro users have felt there’s been close … Continued
Smaller. Lighter. The Panavision DXL-M is designed to work with RED DSMC2 cameras. The DXL-M combines the quality and performance of the 8K DXL into a smaller size and weight while making use of either the RED MONSTRO, GEMINI, and HELIUM sensors.
The Panavision DXL-M has many of the features found in the Panavision Millennium DXL-2 like the 600-nit Primo HDR Viewfinder, DXL Menu System and LiColor2. The DXL-M offers 2×2 SDI outputs capable of sending two independent monitoring paths across 4x HD-SDI outputs. Other bonus accessories and a battery elevator and control over an android phone.
“At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency,” says Kim Snyder, president and CEO of Panavision. “We’re always focused on adapting the tremendous power of technology to the needs of the visual artist. We’re proud and excited to demonstrate our latest advancements.”
Staying mobile and lightweight looks to be the goal of the Panavision DXL-M. In many ways, the DXL-M is to the Millennium DXL-2 as the Arri Alexa Mini LF is to the Arri Alexa LF. Both companies offering a solution to camera operators who want to be more mobile. Similarities between the Panavision DXL-M and Millennium DXL-2 means shooters can jump from one camera to the other without hesitation to remember where a feature is on either camera.
Gearless? Smooth housing? LCD screen? You’d think these lenses were meant for flight. At Cine Gear 2019, we learned this is exactly how and why Panavision designed their Primo X lenses.
The Panavision Primo X Series is the first of its kind. These are cinema lenses specially designed for use on drones and gimbals. Each lens is fully sealed, weatherproof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity.
One of the interesting elements of many Panavision lenses are focus motors are built within the lens housing. This puts likely bulky, less aerodynamic, and the added weight of a Follow Focus motor off the camera and more importantly off the Gimbal or Drone. We have all been here, a fully kitted out camera on a Freefly Movi or DJI Ronin, and that camera build can become rather heavy very quickly. Yes, you have a ReadyRig, or EasyRig to help manage the entire rig, but any weight left off the build is always appreciated. At least in my book, it is appreciated.
Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8). Are these lenses available for purchase? No, Panavision as a camera option is rental only. Plus, that internal focus, iris, and on the 24-70mm, zoom control are going to require a Panavision camera.
What happens when you combine the stars of an award-winning modern-day Western television series, with photography methods that haven’t been mainstream since the early 20th century? Check out the video to see what goes into the making of a tintype portfolio.
During World War II, director William Wyler went to Europe to capture American efforts aboard. But much of his footage was lost. Now, director Erik Nelson has assembled it into something spectacular.
When America decided to join the fray in World War II, they knew they would need public support. They recruited from Hollywood and found five brave souls to take their cameras to the front. Frank Capra created Why We Fight, John Huston’s re-enacted The Battle of San Pietro, George Stevens investigated concentration camps and the prosecution of Nazis, and John Ford and William Wyler filmed the D-Day invasion from sea and air. They shot thousands of hours of footage, but much of it was lost to time.
These men were heroes and members of their crew died making these films.
Recently, all the raw color footage Wyler shot for The Memphis Belle, Wyler’s film, was discovered deep in the vaults of the National Archives and, after a year of painstaking, shot-by-shot film restoration, Director Erik Nelson constructed a new film out of the material.
You can check out the original film in this link below.
Not knowing how much to charge as a photographer is a surefire way of giving you and your business a major headache. Here are a few pointers which you should never forget when working out what you are worth.
Photographing a Porsche is a special experience for me, as I am a racing fan, and Porsche is racing. They are the essence of speed on the curving tracks they have graced around the world, and on a photo shoot, they are just as incredible sitting still. It is for this and many other reasons that I count myself lucky to stand behind the camera while photographing the art pieces that are Porsche racecars.
Today I wanted to show some that you may have seen before, as well as some that have not been shown until now. Each car is unique in its pedigree and history, but all share the common trait of being absolutely stunning in front of the camera. While there are many that can go into great detail about every turn these cars have taken, I cannot, but I can describe what it was like to photograph them.
The first car is the Porsche 962 (Rothmans). It was a car that I had wanted to photograph for quite some time as the colors and shoulder line were so vivid in my memories. When it was first brought to set, I was struck by how large it was in person and how cramped it was in the cockpit. It proved a very tricky car to light as the shoulder line gives way to a very flat siding that is tricky to illuminate without the lighting getting too directional. To work around this, we had to elevate the light sources higher and use softer modifiers. If the 962 was tough, the next Porsche was damn near impossible.
The Porsche 959 (Rothmans) Dakar Rally car. Photographing this Porsche is unlike any race car I have in my portfolio. It is huge and significantly taller than any other racer I have worked with before. Placing light sources around it is best done at camera level and canted back towards the camera, but off axis. The only easy thing about lighting it was getting light sources below it for fill. Knowing the end product for the image meant I could cheat the odd line of the car by going wider than normal at its rear ¾ corner.
If I were to pick the easiest Porsche to photograph, it would have to be the 917 series. Not only were they extremely successful on the track, but the lines of them and the depth of which they curl to form the body of the cars makes them extremely easy to light. The falloff from a softbox over the shoulder line is very gradual, and the ability to compliment main light sources with fills around the body makes them great photography subjects.
The one in this piece is a Porsche 917K (Gulf) Le Mans car. The livery is iconic to the sport, but the contrast to the rims and the depth of the rear hub prove a bit tough to photograph without the contrast creeping up. However, negotiating this with multiple frames or gridded lights isn’t too hard. What is hard (and probably the most difficult part of photographing the 917) is the headlights. They are big reflective monsters that show everything, and everyone, in the studio. In all honesty, Photoshop may have been created just to remove reflections from the 917’s lights.
When it comes to all-out excitement, the Porsche 935 was the one that had me not sleeping the night before. I loved the form, the speed the all-out bonkers turbo that would spit flames like a campfire. The other aspect that I enjoyed was the photographic challenge of the rims. Most cars have spokes that give texture to the photo and fill the shadowy void of the rim… not the 935.
The Porsche 935 has rim covers that reduced aerodynamic drag, but also add color to the images of them. I was able to flat light a softbox over the car and have it sweep the tires without even needing a fill. It was as if this car was made for a photo shoot. Unlike the 917, the color pallet of the 935 was actually complimented by its rims.
The final Porsche is one that I lovingly referred to as “Pumpkin“. The Porsche 906 of the Dutch Racing team was about as Dutch looking as they get. The orange on this car was so rich that I actually photographed it with two cameras to make sure we were reproducing the color correctly. The form of it is iconic and the way it sweeps meant we would have to light paint it. There was too much difference in depth from the roof to shoulder, but not enough angle to set up strip lights to fill. The decision was made a while before the photo shoot, so we were able to plan out how we would grab the angles and lighting needed.
My assistants and I wore all black and choreographed the shot from shutter open until the light was killed. It was an image that, with planning, would not need a secondary piece and would exist out-of-camera. The 906 is surprisingly small compared to the other Porsches in this article, which also meant that we could hold the lights by the head, making the paint more accurate. It was one of those shoots that somehow went according to plan.
Porsche is a design in speed on the track, but a practice in art on set. They are a mark that can stand on a podium on Sunday and exist as art on Monday, and having them is the studio is a great pleasure.
About the author: Blair Bunting is an advertising photographer based out of Los Angeles, California. The opinions expressed in this article are solely those of the author. You can see more of his work on his website, blog, Facebook, and Instagram. This article was also published here.
Las Vegas-based photographer and rock climber Luke Rasmussen (AKA PhLuke) visited Looking Glass Rock outside Moab, Utah, and shot this beautiful long-exposure photo of himself climbing up and rappelling down the rock while wearing colorful LED lights.
What’s shown in the photo, titled “Through the Looking Glass,” is a 300-foot climb rated at a 5.4 difficulty and a rappel of roughly 120 feet.
The photo is a composite long-exposure image: using his 42-megapixel Sony a7R II (and Rokinon 24mm f/1.4 at f/8 and ISO 400), Rasmussen shot 17 separate 30-second RAW photos of himself during his 8.5-minute climb and descent, and he shot 78 separate 30-second exposures of the night sky for the 35 minutes of star trails. The photos were then stacked and edited in Photoshop.
Here’s another of Rasmussen’s long-exposure climbing photos, titled “Road to Pahrump“:
This shot is one of Rasmussen’s favorite photos thus far, and it shows him climbing the M16 route (rated at a 5.11d) of Blue Diamond Cave in Nevada 15 minutes from his home.
You can find more of Rasmussen’s amazing work on his website and Instagram. The photographer is also selling metal prints of his photos in a variety of sizes through his online store.