A new Definition Magazine Digital Edition has been published. The issue is full of OSCAR related features from films American Hustle - the editing story; Gravity - shooting and lighting story; and Captain Phillip - the aerial shoot story.
Also in the issue is our guide how to edit 4k footage with an HP PC; also reviews from HitFilm and Blackmagic Design Pocket camera update.
Also our usual coverage of new gear, reader reactions and our cameras listing guide.
For the first time, the multi-award winning stage production of War Horse will be broadcast live in 4K.
Following on from Technicolor’s deal with Sony last year, the company has today announced it has signed a multi-year patent license agreement with LG Electronics for the use of Technicolor patents for LG’s smartphones and tablets.
“Technicolor’s pioneering work in video technology is now widely spread in smartphones and tablets to offer consumers a media rich experience and we are pleased to welcome LG as a licensee and offer a comprehensive license to our patent portfolio.” said Boris Teksler, Head of Technology. “As new media-rich devices become pervasive we are pleased to expand our offering and share our patented technologies.”
SLR Magic has introduced the Anamorphot 1.33x 50 anamorphic adapter.
In the past, many indie filmmakers who wanted to shoot anamorphic had to depend on rare vintage lenses, which were not always reliable. To achieve the much loved 2.35:1 scope aspect ratio, (which gives a pleasant, epic effect) filmmakers must crop the top and bottom of standard 16:9 footage when using spherical lenses with modern digital cameras. As a result, 25% of sensor/negative information is discarded.
Patient 39 Director of Photography, Oliver Schofield, has worked with Writer/Director Dan Clifton on a number of projects. Through close discussion with Dan and careful use of the latest camera technology, Oliver created a unique look and feel for Patient 39. Here, he discusses the lenses he used for the production.
Long running TV series Escape To The Country is moving to Sony F5 camera shooting that has brought a huge enhancement in the look of the programme and brought extra latitude which helps when shooting indoor in these much sought after homes.
There are, it seems, two camps – not exactly opposed, but each with their own manifesto and each fighting to be heard. One has the numerical advantage – the UltraHD Camp – giving them an immediate appeal. 4k is better than 2k, right? And 8k must, therefore, be better than 4k. The other has a harder job – this group we’ll call the Better Pixel Camp.
In the first of a series of articles looking at 4k technology we look at the acquisition and perhaps more importantly at the workflow of higher resolution cameras for movies and TV.