Canon confirms the light-leak issue in the Canon 5D Mark III:
Today, Canon released the following advisory for the 5D Mark III, noting that in extremely dark conditions, the LCD panel can cause what appears to be a metering issue that can affect the displayed exposure value. The exposure fluctuation may occur “as a result of the AE sensor’s detection of light from the LCD panel,” according to Canon.Canon Confirms “Light Leak” Issue in the 5D Mark III | Michael Zhang | PetaPixel
Problem is, the issue isn’t limited to the LCD’s backlight in a dark room. Apparently any light (e.g. sunlight) shining onto the LCD screen can affect exposure.
Here’s a video that shows how sunlight shining down onto the LCD affects the camera’s metering
NAB 1: The 4k exposition continues…4k Canon DSLR and the C500 | Philip Bloom
| Blog
Philip offers his thoughts on the Canon new camera announcements:
So…what do you think? The C500 sounds very interesting. It’s essentially my C300 with a much better output, as it can output 4k raw at up to 60 frames per second to a compatible external recorder. Internally, it looks like it can do up to 60fps in full HD as a “proxy” which I expect will be of similar quality to the C300…just with 1080p instead of 720p at 60fps. Outputting 2K seems to be a 12 bit 444 signal, very nice and if you drop to 10 bit you can output 120fps. From what I can see…and the info is very scarce, that will only be externally for those frame rates.
4K AND THE FUTURE | Dylan Reeve | Edit Geek
More thoughts on the importance of 4K:
There’s also the matter of demand. There is currently no distribution system for 4K (beyond DCP for a very limited digital projection market). RED want to change this with RED Ray, but they are working alone on that and I’m sure we can recall how Beta/VHS and Blu-Ray/HD-DVD hampered technological advancement. Currently there are no broadcasters, distributors or film festivals that demand (or accept) a 4K deliverable. Of course that’s likely to change, but without standards, formats and platforms for that distribution, the demand is going to take a while.
Canon Cinema EOS 1D C | Stu Maschwitz | prolost
Stu isn't that excited about Canon's 4K DSLR:
More confusing, imperfect, and expensive options for making beautiful images. Canon is starting to remind me of that scene in Bridesmaides where Kristen Wiig and Rose Byrne keep grabbing the microphone from each other.
Making sense of the Canon Cinema 1D 4K DSLR from a film industry perspective
| Andrew Reid | EOSHD
Andrew offers his thoughts:
This camera is a departure for Canon because it is 100% a tool for industry. It isn’t really aimed at the lone professional, freelancer or pro photographer. At $15,000 the Canon 4K DSLR is a b-camera to the Canon C300 on set which fits in a tighter space and offers the option for 1080/60p slow mo and cropping into a 4K image (giving the ability to re-frame in post). As a stand-alone camera it offers a very future proof 4K recording format from an APS-H crop and it is also a professional full frame stills camera.
Zacuto launch C300 Recoil rigs, Tornado Remote Follow Focus, Plasma Lights and more at NAB | Dan Chung | DSLR News Shooter
A look at new products from Zacuto:
There is a new Recoil kit designed to work with the Canon C300. Cleverly it relocates the original Canon handgrip from the side of the camera down to the rig’s handgrip position. You can start and stop the camera rolling just as if the handgrip were still on the camera. There is also the Tornado remote mechanical follow focus that allows you to pull focus from the other handgrip.
Should I buy the Canon C300? Broadcast Cameraman Daniel Haggett gives his impressions | Daniel Haggett | DSLR Models
Daniel looks at the C300, while offering some thoughts on the C500:
From my perspective, as a mainly broadcast cameraman, I just don’t need to shoot 4k. The camera will certainly cost more money, and that is cash that I will have to make back by increasing my day rate, and my clients really won’t want to pay the extra for resolution they just don’t need. That said, it does shoot 120fps at 2k, which could be very useful. If I was going to spend more money on a camera, I would want something that has more functionality, that is more user friendly in terms of ergonomics. For me a camera is not just about the processors and technology inside the box.
Pre-NAB video blog: Vinten Vision Blue 5 & Kessler motion control systems
| Tom Guilmette
Tom will be working for Vinten at NAB, and here he offers a pre-show preview:
Vinten has released a new fluid pan and tilt head to their Vision Blue range called the “Blue 5″. I have been using Vision heads for many years with broadcast ENG cameras and was very excited when Vinten introduced the Vision Blue designed for smaller light weight cameras. I was now able to get the perfect balance and silky smooth action I expected from a Vision head, in a tighter, smaller and less-expensive package.
[FStoppers Review] Atomos Ninja External Recorder With Nikon D800
| Patrick Hall | FStoppers
Interesting write-up on using the Ninja to record from the D800:
In conclusion, we were really surprised by our findings. Before our tests, we thought the Atomos Ninja would provide us files with more latitude for better post processing. What we actually found was the Nikon D800 files contained more detail. The Ninja files, while ever so slightly more sharp, had more contrast than the D800. This increase in contrast destroyed data in both the shadows and in the highlights and provided less editing latitude compared to the files directly out of the camera.
New Marshall 5.6″ monitor | Vincent Laforet | Blog
Vincent likes the new field monitor from Marshall:
Of course, the 1280×800 LCD monitor also works well for single-user operating. It supports 720p resolution, which is a nice resolution to operate and pull focus with. However, it also supports the reception of a 1080p signal through both its HDMI and modular 3G-SDI inputs, so there is the inclusion of an improved pixel-to-pixel feature which blows the image up to show its native resolution.
Looks 2.0 Good to Go with FCPX 10.0.4 | Andrew Cheyne | Red Giant
Red Giant releases a quick fix for a problem that appeared in Looks 2.0:
Well, that was fun! As you may have seen already, a recent update to FCPX ended up causing a bug with Previews in Magic Bullet Looks 2.0. We jumped right on getting a fix in place and are happy to say that the fix is ready to go! So, go ahead and update FCPX, update Looks to the latest (2.0.7) and you’re good to go.
Okay, So I'm a Little Addicted to This Thing | Strobist
A web tool for virtually experimenting with lighting arrangements:
Virtual Lighting Studio.
Yeah, he may look a little like a mass murderer. But he's your mass murderer, to light any way you like by playing with knobs and buttons at VLS.
Chris Nolan Discusses 3D, Shooting on Film & More in DGA Interview
| Alex Billington | First Showing
Thoughts from Chris Nolan...is it really cheaper to work on film?
"For the last 10 years, I've felt increasing pressure to stop shooting film and start shooting video, but I've never understood why. It's cheaper to work on film, it's far better looking, it’s the technology that's been known and understood for a hundred years, and it's extremely reliable. I think, truthfully, it boils down to the economic interest of manufacturers and [a production] industry that makes more money through change rather than through maintaining the status quo.
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