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

This article from KFTV looks at some of the best cameras available at the budget end of the price spectrum for filmmaking. Author:  Phil Rhodes “The price-performance ratio of film and TV technology has improved out of all recognition. KFTV takes a look at some of the best cameras available at the budget end of…

Sony introduces its next generation motion picture camera system (“created by and for the cinematographer”) – the 6K resolution CineAlta VENICE. Details of the camera are here.

Some of the newly-published specs for the Nikon D850 include: • Nikon-designed back-side illuminated (BSI) full-frame image sensor with no optical low-pass filter • 45.7 megapixels of extraordinary resolution, outstanding dynamic range and virtually no risk of moiré • Up to 9 fps1 continuous shooting at full resolution with full AF performance 8K6 and 4K…

10,000 copies of the new Pocket Films guide, The Camera Map, are being distributed inside four leading trade magazines in May and June. The handy guide is a snapshot directory of UK hire and sales companies for professional video cameras and promotes awareness of the web site.

VMEDIA is a new initiative from VMI, specialising solely in renting recording media. See the VMEDIA web site.

“VMI tailors camera kits for rent from over 250 lines of equipment and no two client requirements are the same,” says Barry Bassett, Managing Director, VMI. “But what every job has in common is the requirement for memory cards. As people embrace higher quality with 4K the media demands are significantly higher than they used to be. That’s why we have elected to create a new company with a new website and unique service characteristics.”

A novel camera design, with great results: see trailer. Spy croc hatching films a mother croc with her babies closer than ever before and reveals the caring side of a fierce creature.

Spy In The Wild is a co-production between BBC, PBS and THIRTEEN productions LLC.

This article appeared on ScreenDaily web site on 2 March 2017 (see Filming with drones article).


Sarah Lazarides from law firm Harbottle & Lewis on what you need to know before using a drone on a film shoot.

The evolution of drone technology has been ground-breaking for the film and television industry. For the first time, it is possible to get high quality and dramatic aerial footage without the expense of helicopters or cranes. But following a number of criminal prosecutions for misuse of drones, what are the potential legal pitfalls that producers should be aware of? Here is a brief guide.

Note that rules on drone use vary depending on the size of the drone and whether or not it is equipped with a camera. This article focuses on a filmmaker operating a camera-fitted drone weighing less than 20kg.


If you’re operating a drone for commercial purposes, then you must have permission from the Civil Aviation Authority (CAA). In order to get that permission the CAA may require you to undergo tests and training to demonstrate that you are a competent operator.


Unless you have particular enhanced permissions in place, you must not fly a drone within 50 metres of any person, vehicle or building not controlled by you. Therefore you will need to ensure that you are in control of the full flight path and may need to close nearby roads/areas.

The CAA also prohibits drone use within 150 metres of any crowd or built up area, so be aware that urban spaces might be a no-go. Many spaces such as parks, airfields, prisons and notable landmarks are also designated as no-fly zones. Guidance is on hand for this – check out the National Air Traffic Control Service’s app, Drone Assist, which presents users with an interactive map of no-fly zones.


You might need to go back to the drawing board on your plans for that soaring mile high panorama shot – the drone must be kept within 500 metres horizontally and 120 metres vertically of the operator and in any case within his/her line-of-sight.


You should undertake a full risk assessment for the use of the drone, as it will be your responsibility to comply with health and safety laws.

Check your insurance policies to make sure you will be covered for drone use – if not consider taking out special drone insurance. Public liability cover of at least £5m will be required when using drones to film in London.


Don’t forget the usual permissions and rights clearances which would apply to filming on land.  In particular, if you fail to get permission from the owner of the take-off and landing site, or the space which is actually being filmed, you may fall foul of trespass and nuisance laws.


Using a drone to film someone without their consent could land you in breach of privacy and data legislation. Make sure you obtain releases from anyone that you film, particularly anyone who was on their own private land when you filmed them.


The Government is in consultation about new measures to regulate drone use. Proposals include mandatory registration of drones, new drone-specific standards of pilot competency, as well as new criminal offences and increased fines for misuse. It would be sensible to keep up to date on these developments and make sure check that the rules haven’t changed before embarking on a project.