On this week’s Go Creative Show episode, host Ben Concoli speaks to DP Michael Franks about shooting multi-camera sketch comedy, as well as Nickelodeon’s reboot of the 90’s show, All That. Michael shares stories from his early career at Saturday Night Live and how it prepared him for All That. He also shares insight on … Continued
On the RED User forum, RED President, Jarred Land has posted a new image of the camera revealing a display on the top of the upcoming Komodo camera. The top of the camera also reveals a pogo connection and four 1/4″ mounting points. The display on the top is reminiscent of many medium format cameras … Continued
On Cooke Optics TV, Gaffer Julian White talks about film lighting, what lights should you use, and what are the best lighting options when you need to save money. Julian White has worked on Crazy Rich Asians (2018), Tolkien (2019), Murder on the Orient Express (2017), Breathe (2017), One More Time With Feeling (2016), Game … Continued
When the Ronin-SC was announced, it included a number of new features that weren’t found on the original Ronin-S. In particular, Force Mobile & ActiveTrack 3.0. DJI has just released a new firmware update for the Ronin-S which adds these two features to the original gimbal. DJI’s Paul Pan has shared two short videos demonstrating … Continued
Join the Digital Cinema Society at San Francisco’s Beyond Pix Studios for an exploration of the latest technology from Blackmagic Design.
Featured products will include the new Pocket Cinema Camera 6K which can record Blackmagic Raw or ProRes 422 on a Super35 size sensor in up to 6K resolution. We’ll also review the latest updates to DaVinci Resolve, version 16.1 with an array of improvements in editing, color, Fusion and Fairlight audio pages.
Doors open 6:30PM for Meet & Greet with light refreshments
Presentations from 7PM-9PM
What you need to do
All are welcome, but confirmed RSVPs are mandatory. Please indicate if you are a DCS member, list “Blackmagic” in the subject line, and don’t forget to give DCS your contact details when sending your RSVP e-mail: firstname.lastname@example.org
Note: If you want to bring a guest, DCS will need their name and a separate email address in order to confirm the RSVP.
Disclosure: DCS supremo Jim Mathers wrote me and asked if I could make some noise about this event, and I happily agreed to do so. But he didn’t promise me any money, free products, or a tasty donut if I did. I’ll be about 650 miles north of Beyond Pix that night, so even if Beyond Pix has donuts, I won’t get one. Sad, eh?
Replacing the sky in a landscape or outdoor portrait can be both a difficult and very tedious process. Skylum is preparing Luminar 4 for release this fall, and the marquee feature is its automated sky replacement that can allow photographers to quickly replace a sky in a convincing fashion. Is it the groundbreaking feature it has the potential to be? This great video review answers just that question.
At one point in my phone interview with The Sound of Silence director Michael Tyburski, I ask whether a film transforms and changes the filmmaker through the process of its production. His response is one that has an air of lightness even as he describes filmmaking as a grueling mental challenge as well as a physical one. “The film is with you for so long,” he says. “I lost something like 20 pounds during the course of making the movie, so I physically changed. But it’s a bit of a marathon, as I realised, and I was treating it like […]
The State of Self Distribution in Indie Film with Klaus Badelt Today on the show I had Klaus Badelt, the founder of Filmhub.com. We do a deep dive in the state of independent film and self-distribution. We also discuss the Distribber debacle and how filmmakers can get access to their films back from Distribber. Klaus…
Getting your horror movie made while working a full-time job is not easy, but Rob Grant has done it four times. Read how.
Everyone that reads No Film School wants to get their stuff made. That’s why it’s so fun talking to people like Rob Grant. He works in the industry but still finds time to make his projects come to life.
Harpoon finds three best friends stranded at sea as tensions, secrets, and rivalries boil to the surface, and madness unravels beneath the biting narration of celebrated comedian Brett Gelman. It stars Munro Chambers (Turbo Kid), Emily Tyra (Code Black) and Christopher Gray (The Mist) and is truly one of the year’s most notable movies. It already made GQ’s list of The Best Horror Movies of 2019 So Far and it garnered IGN’s praise as an Upcoming Horror Movie You Need to Know About.
We sat down with Rob and chatted about the industry and how to get your movies made.
Modern filmmakers journey into the land of filmmaking technology known and unknown.
An interview and story featuring Luke Bubb (VR Concept/Storyboard artist), Mark Millicent (Storyboard Artist), and Krisztian Majdik (Editor/The Third Floor)
Before we begin, I’ve taken it upon myself to spotlight, search for, and interview the punk rock disruptors, the independent artists, the risk-takers, the ones who make up this ever-changing entertainment industry that challenges the status quo of the industry.
There’s a credo that I stand by: be open to new ideas, be skeptical of grand illusions, promote, question, and open a dialogue about this brave new world that we’re living in. Meaning, know what the smoke is, know where the mirrors are placed.
The showrunner ran one of the most secretive and complicated writers’ rooms in history. But what was his average day like?
Being a showrunner is one of the most demanding jobs in all of Hollywood. You have to be in the writers’ room, on set, in the edit, and everyone wants your opinion on everything. That’s why it’s so cool to get an inside look at Gilligan’s day to day from the Breaking Bad special features.
The show has been over for years, but I wanted to revisit this to emphasize how much work goes into every episode of television you see.
Check out this video from the Breaking Bad DVD extras and let’s talk after the jump!
What’s the life of a showrunner like? Some days they are jam-packed and you have to be everywhere at once.
The Writers’ Room
Writing is problem-solving. Of you have a bad script you have no foundation for whatever comes next. This means that Gilligan’s number one priority is as a writer on the show. He has to manage the room, help with ideation, and give notes on every episode turned in.
The Avatardirector is one of the greatest filmmakers in cinema history. He has changed with every decade. Where is he going next?
If you’re like me, you spend a lot of your time waiting for the next James Cameron announcement. While shooting is underway on the latest Avatar, I wanted to take a look back on some of Cameron’s films like Titanic and Avatar and see what he sees as the future of film.
Check out the video for BAFTA Guru and let’s talk Cameron after the jump!
The idea for the movie came from Cameron exploring a shipwreck. He was in the ocean and doing his research, and knew his bucket list expedition would be the Titanic.
After doing some research, he had a film in his mind. But was unsure who would ever want to buy it. At the time, Peter Chernin ran Fox. Cameron, who says he’s bad at pitching, just grabbed a book of portraits of the boat and got a meeting with Chernin.
According to Cameron, he walked into Fox, showed the book of portraits and said “Romeo and Juliet on the Titanic.”
DZOFILM introduces an upgraded version of their Linglung 20-70mm T2.9 cine zoom lens and new Linglung 10-24mm T2.9 cine zoom lens. Both lenses have Micro Four Thirds (MFT) mount, they feature parfocal design, and have minimal focus breathing.
DZOFILM Linglung cinema lenses 20-70mm and 10-24mm T2.9. Source: DZOFILM
DZOFILM is a Chinese lens manufacturer which specializes in cinema lenses. At NAB 2019, DZOFILM showcased two prototype lenses – huge Foton optics 25-300mm T2.8 cine zoom lens for super35 sensors and 20-70mm T3.1 cine zoom lens for Micro four thirds. (The brand Foton is owned by DZO.) Here is a link to our NAB article with the video interview in case you missed it.
Now, DZOFILM upgraded the 20-70mm cine lens and they are also introducing a new 10-24mm cine lens. What are the features of the updated and new lens?
DZOFILM Linglung 20-70mm T2.9 and 10-24mm T2.9 Cine Zoom Lenses
Back in April 2019 during NAB, DZOFILM showed this lens as a T3.1 lens, so I suppose they have redesigned the optics a bit to enable shooting at a faster T2.9 aperture. I can only hope the lens is not too soft at T2.9. Both lenses have an MFT mount, so they can be paired well with some popular cameras like the BMPCC 4K, Z CAM E2, or Panasonic GH5 and GH5S.
DZOFILM 20-70. Source: DZOFILM
Both lenses feature a constant aperture of T2.9, 270° focus rotation angle and 100° zoom rotation angle. The DZOFILM Linglung 20-70mm (40-140 full frame equivalent) T2.9 lens features 72° iris rotation angle and the 10-24mm (20-48 full frame equivalent) T2.9 lens features 58° iris rotation angle.
There is a back flange fine adjustment ring on both lenses, which offers an adjustment of ± 0.3mm. There are 12 Iris blades in both lenses. Close focus distance is 0.79mm (2’7″) for the 20-70mm lens and 0.5m (1’8″) for the 10-24mm lens.
Both lenses also have almost identical physical specifications. Weight will be approximately 1100g (38.8oz), the front diameter is 80mm and length is 153.3mm (20-70mm) or 150.9mm (10-24mm)
According to the manufacturer, both lenses feature parfocal design (keeps focus distance when zooming) and well-controlled “nearly zero” focus breathing.
Price and Availability
Both DZOFILM cine lenses are available for pre-order. Retail prices during pre-order will be $1,499 for the 20-70mm T2.9 and $1,699 for the 10-24mm T2.9. An additional $100 discount will be applied if purchasing a set of both lenses. After pre-order, the regular prices should be $1,599 for the 20-70mm T2.9 and $1,799 for the 10-24mm T2.9.
For additional information, please head to the DZOFILM site.
What do you think of these new DZOFILM cine lenses? Could it fit in your kit? Let us know in the comments underneath the article.
SmallHD just updated their line of professional grade reference monitors with two new lines, called the “Cine Series” and the “Vision Series”, all of which in 4K resolution.. Both lines feature three monitors each at 13″, 17″ and 24″ and features like 100% DCI P3 Coloraturas, HDR, and daylight view ability. Let’s have a closer look.
The new “Small4K” monitors. Image Credit: SmallHD
SmallHD’s two new lines share the same sizes, chassis and resolution: all are available in the three sizes mentioned above, with some controls on the lower left side of the front panel, all of them have 4k resolution and 4 independent 12G SDI inputs and SmallHD’s full suite of exposure tools. As probably a marketing gag, they are calling them “Small4K” monitors, but the company name remains SmallHD (and they’re owned by the Vitec Group).
Small4k Vision Series. Image Credit: SmallHD
SmallHD Vision Series – Video Village & Post Production
The Vision Series seems more geared towards video village and the post production studios. With ‘TrueHDR’ and a contrast ratio of 1000000:1 as well as 114% DCI P3 coverage these monitors are well suited for the higher end of grading and any reference usage. In addition to the wide color space covered here, the Vision Series features SmallHD’s proprietary zone dimming technology, with over 2000 zones for local dimming.
Here’s an overview of the key specs:
TrueHDR with 1000000:1 contrast
2000+ local dimming zones
114% DCI P3 coverage
4x 12G-SDI inputs
Sizes of 13, 17 and 24 inches
small4k Cine Series. Image Credit: SmallHD
SmallHD Cine Series – Production Use, High Brightness
As mentioned above, the Cine Series features the same sizes, chassis, exposure tools and the four 12G SDI inputs. But unlike the Vision Series, the Cine Series sports daylight viewable brightness of 1000-2500 nits. This works to the slight detriment of the color space, which in turn features “only” 100% DCI P3 coverage. Again here are the key specs:
1000-2500 nit displays
100% DCI P3 coverage
4x 12G-SDI inputs
Sizes of 13, 17 and 24 inches
Going forward these new lines of monitors are sure to deepen SmallHD’s hold on the monitoring space with a more pro-oriented profile. We’ll keep you posted once we have have additional information on these new lines. There is no definite pricing or availability yet.
What do you think? Do you use monitors like this in your production and would the ‘TrueHDR’ features of the Vision Series suit you? Let us know in the comments!
It can get exhausting, inefficient, and even expensive constantly trying to find new photo locations for your landscape work. But with a little bit of work and creativity, you can get numerous shots and looks from a single location. This great video discusses why it is important to keep returning to the same location and how it can improve your work.