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I’m sat here listening to the classic album ‘Labyrinth Soundtrack – David Bowie’ wondering if I ever really understand why a pop star of that magnitude needed to nick a baby. Anyway, down to business, I recently read on one of my favourite websites for all things video; Doddle that by 2016 8K will be common place. This baffles my tiny little brain box as I’ve still not had a chance to shoot in 4K. For those who don’t have a clue what I’m talking about, the current ‘norm’ for a video production company is to shoot in 1080p which is high definition 2K so 4K is essentially twice the size, meaning 8K is 4 times the size of normal HD. Massive. Here is a little picture to help you understand.
There are drawbacks to shooting this format, biggest being the file sizes are larger than The Rock’s arms.If you’re a small video production company you can’t afford to be offloading every 5 minutes. There are ways around this and with the availability of Magic Lantern’s firmware updates it is becoming ever easier to shoot RAW on DSLR’s like the Canon 5D MK III. So, is it worth shooting in RAW? Probably, yes, with the pace that technology is moving I doubt it’ll be more than 10 years before consumer and professional filmmaking products are that far apart. Take, for example, the Mōvi, the shots achievable on that are going to revolutionise video production for years to come. Are we seeing a change in video production as we know it? Ask The Rock.read more
When thinking up an idea for a video production, we often visualise cinema quality camera movements including ariel shots and tracking shots. When it comes to the shoot, it can sometimes be to difficult to achieve these movements due to limitations with equipment or even the lack of an experienced camera operator. Luckily, the clever bunch over at Freefly Systems have developed some nifty pieces of groundbreaking tech designed to help video production aficionados get the beautiful, ambitious shots they desire.
Their two most innovative products include the CineStarHL (a mini-helicopter like device complete with a camera cradle) and more recently, the MōVI M10 (a handheld, motorised camera gimbal). While these products aren’t cheap, they’re definitely a worthy investment for future video production.
This amazing piece of kit allows film makers to capture a huge variety of complex shots without the need to hire multiple pieces of equipment, such as dolly tracks or a crane; Not only is lugging all of this extra equipment around a major hassle, the transport arrangements alone are also expensive. The CineStarHL boasts a robust 5.4kg, carbon fibre body, 8 500mm/550mm booms with rotors and an improved battery over earlier models allowing for longer flight times. Most dSLRs can be used with the kit and now with the latest model, larger cameras such as the RED EPIC and the Canon C500 can be used.
The MōVI M10 completely redefines the Stedicam, using a 3-axis gimbal and gyroscopic motors to keep moving shots smooth and stabilised with minimal effort. With its carbon-fibre body, this piece of kit is extremely light weight, making it less of a workout to capture the desired shots. It can even be used one handed. The inclusion of gyroscopic motors lets the user attain smooth cinema standard camera movements with minimal training; shots that would take at least a month of training with a Steadicam to achieve.read more