Created by Tom Fletcher and Gary Adcock, the 2018 edition of the annual camera comparison has just been published. Here is the PDF version of the 2018 Camera Comparison available to download. This Camera Comparison Chart is the latest in an annual series and shows a range of features and specs for Red, Arri, Sony,…

Kinefinity’s new MAVO 6K Cinema Camera got it’s first UK showing at The Media Production Show at Olympia, London. Distributed in the UK by Proactive – – the MAVO uses advanced colour processing architecture and new CMOS image sensors to achieve low noise and high latitude dynamic images. Other highlights of the camera sytem… reports on the launch of an innovative, light weight and shoulder worn camera, the Logmar Magellan 65mm. “The Magellan 65mm from Danish company Logmar Camera Solutions, is a brand-new, fully electronic, hand-held and ultra-light all-purpose film camera that perfectly marries the best of digital technology with the characteristic look and feel of 65mm film….” Read…

If you like exploring online tips and recommendations from filmmakers, here’s a good list of blogs and websites centred around filmmaking, courtesy of Access the full list of 50 links here. No.51? We also like Doddle News – Filmmaking. And if any of your favourites sites are missing, we welcome your suggestions here

Televisual Magazine reports – JVC launched its new ENG camera, the GY-HC900 “Connected Cam” that puts connectivity front and centre. When it’s paired with the optional ProHD Dockable Bridge or via Wi-Fi with any ProHD Bridge unit, the new GY-HC900 allows on-air talent to conduct a two-way interview with return video while streaming live to…

VMI is the first UK rental company to have taken delivery of Phantom’s newest camera, the Phantom VEO 4K which just like its big brother, the Phantom Flex 4K, can capture full resolution 4K images at 1000 frames per second. Until now, The Phantom Flex was the only camera capable of 4K super slow motion…

Dreaming of owning your Arri Alexa? Phil Rhodes’s article on RedShark, “Buying your own Alexa is much easier than you think”, weighs the pros and cons: For many camera ops the idea of owning an Alexa is simply an unrealistic dream. But is it? Phil Rhodes shows how mere mortals could in fact own one…

VMI has published a “everything you need to know” guide to film lenses. The comprehensive article was written by VMI Director and DP, Ian Jackson (assoc BSC) as “a useful resource, explaining some of the most common terms, de-bugging some of the mechanical and optical principles…”

Read the article here

Courtesy of Doddle (and FStoppers) we can compare 4K and 1080p video from the iPhone X with the Panasonic GH5: “Much has been written, and will be written, about Apple’s hot new iPhone X, with its nearly complete screen, Face ID, and much more. Including the stellar cameras Apple engineered for it and the iPhone…

Shift 4 has produced a handy guide “Everything you need to know about High Dynamic Range“. For the full article link go here.

“Enriched pictures with more immersive and vivid colours, extended contrast, deeper shadows and brighter highlights. Sounds pretty good? Well, that’s what High Dynamic Range can bring.

It’s the biggest thing in our industry at the moment and is soon to revolutionise all parts of production. You really need to know about it in full.

Here, Shift 4’s Technical Director Colin Coomber discusses exactly what defines HDR, how it impacts on production processes and what it means for your equipment hire decisions.

The nature of HDR and the full explanation of it here means things are gonna get technical. We’ve broken it down into sections with handy headers; if you’ve had your fill, get it and want to move on, or it’s just all too much, scroll on to the next header.
What is HDR anyway?

High Dynamic Range concerns both image capture and image display and, to fully understand it, a grip on the specifics of how cameras and displays work together is required.

In the simplest terms, a digital camera’s dynamic range is the total range from the darkest shadow to the brightest highlight that it can resolve in a single shot. It’s measured in stops; the more stops of light that a camera’s sensor can see, the higher the dynamic range. (Modern cameras capture a dynamic range of 14-16 stops when shooting in Log).

Monitors follow recommendations that set out exactly how they should display colours and brightness. Rec709 HDTV (short for ITU-R Recommendations, Broadcast Television, number 709), otherwise known as SDR or Standard Dynamic Range, came into being 20 years ago and recommended that monitors should display 6 stops of linear, uncompressed dynamic range with a peak brightness of 100 NITs. This was based on the lowest performing technology at the time: CRT (cathode ray tube) screens. Since then technology has moved on significantly: monitors can now display more colour gamut and luminance and cameras are capable of capturing more too – which is where HDR comes in.

High Dynamic Range, then, is a new way of capturing images and displaying them, with contrast, colour and luminance capable of producing an overall highlight brightness level of more than 1,000 NITs. This blows SDR out of the water which, by comparison, has a maximum brightness of 100 NITs. Rather than the outdated Rec709 colour space, HDR, at its maximum, uses Rec2020.

Contine reading the article – go here. Courtesy of Shift 4