A very long process is coming to an end:

The collaborative short film project “The Owner”, which I directed an episode for in my hometown Innsbruck, is finished and will premiere around the world on May 25th, 2012. DoP on my episode was Mario Feil, we shot on Red One and a 5D Mark II (back in August 2010 – check the original blog post right here.)

In case you missed the trailer:

Please be aware that this is one-time occurrence in most of the cities around the world, as the film will go through its regular festival route after the initial screenings.

So secure your tickets in the city closest too you as soon as possible!

My good friend and colleague Arne Nostitz-Rieneck will host the Vienna premiere together with me at the Urania cinema in Vienna on May 25th, 2012. He directed the Vienna episode which I shot (on the 550D).

Who said it was going to be easy?

“THE OWNER” IN THEATERS AROUND THE WORLD!

CollabFeature’s “The Owner” premieres worldwide on Friday, May 25th, 2012 in the following confirmed venues. More screenings are being added every week, so sign up below for screening news and ticket sale information.

May 25th (all times local):

Berlin, Germany

Kino Moviemento (Kottbusser Damm 22, 10967 Berlin)  ::: 8 pm ::: Get your tickets here

Bogotá, Colombia

Cinemateca Distrital (Cra 7 # 22-79 Bogotá) ::: 7 pm ::: (Invitations only, please contact us to request one)

Calcutta, India

Satyajit Ray Film & Television Institute – Main Auditorium ::: 6 pm ::: Free entrance

Chicago, USA

The Portage Theater (4050 N Milwaukee, CHICAGO, IL 60641) ::: 8 pm ::: Get your tickets here

Detroit, USA

Emagine Theater (44425 W 12 Mile Rd Novi MI 48377) ::: 7 pm ::: Get your tickets here

Dubai, UAE

The Pavilion Downtown (maar Boulevard, Downtown Dubai) ::: 8 pm

Holmfirth, UK

Holmfrith Film Festival (Special preview screening) at Brambles Cafe Bar  ::: 7 pm ::: Free entrance with festival ticket

Johannesburg, South Africa

Ster-Kinekor Headquarters Preview Theatre   (185 Katherine Street,Primovie Park, Sandton) :::  Invitations only

Medellín, Colombia

Instituto Tecnológico Metropolitano (ITM) ::: 6 pm ::: Free entrance

Aula Magna – ITM Campus Robledo

Calle 73 No 76A -354 Vía al Volador

Auditorio Menor – ITM Campus Fraternidad

Calle 54A # 30-1 – Barrio Boston 

Auditorio – ITM Campus Floresta

Calle 47 N° 85-20 – Barrio La Floresta

Mumbai, India

Studio X ( Kitab Mahal, Fourth Floor, 192, D N Road, Fort Mumbai 400 001) ::: 6:30 pm

Nairobi, Kenya

Kuona Trust  presented by Screen on the Green (Likoni Close, Likoni Lane Off Dennis Pritt Road, Hurligham) ::: 7:30 pm

Newcastle, UK

Tyneside Cinema (0 Pilgrim Street, Newcastle Upon Tyne, Tyne And Wear NE1 6QG) ::: 6 pm

New York, USA

IndieScreen (289 Kent Ave at S. 2street, Williamsburg Brooklyn 11211) ::: 9 pm ::: Get your tickets here

Rio de Janeiro, Brazil

Studio X (Praça Tiradentes, 48) ::: 6:30 pm

Sao Paulo, Brazil

Cinemateca (Largo Senador Raul Cardoso, 207 – Vila Clementino – São Paulo,Metrô Vila Mariana) ::: 8:30 pm

Schull, Ireland

Corona Fastnet Short Film Festival (Guest Feature Film)

Vienna, Austria

Urania Kino (Uraniastrasse 1, 1010 Wien) ::: 7:30pm ::: Get your Tickets here

May 26th:

Bangalore, India

Alliance Francaise Bangalore (21 palace road, Vasanthnagar, Bangalore 560 052) ::: 3:30 pm & 7:30 pm ::: Tickets online soon

DETAILS COMING SOON FOR:

London, UK

Paris, France

New Orleans, USA

Orlando, USA

and many more cities

If you would like to host a premiere in your own city, sign up here.

Scene photo from the Vienna episode, "Return to Sender"

A Facebook campaign video shot for Audi Austria, commissioned by my good friends at Loop Agency.

Visit Audi Austria on Facebook: http://facebook.com/AudiAustria

On Audi Austria’s Facebook page, Audi asked people to share why they deserved it to drive the Audi R8 V10 Coupé … and of course, a massive amount of people wanted to drive the car for one “Hot Summer Day” and took part in the challenge.

We shot the car “selecting” the winner. All the entries were printed out and spread out in a giant dusty hall. The R8 drove around for 30 seconds and after it stopped, the winner was selected – for that purpose, I equipped the car with GoPro cameras pointing to the front, so it was clear who was the winner. The main video was shot on the Canon C300, with some shots from the 550D (and of course the GoPros).

The shoot took place in Salzburg, and my buddy Mario Feil (who I shot our C300 test short “13:59″ with, for example) was my obvious choice as the second man, because that’s close to where he is based. Thanks for your support, Mario!

This is a cut-down version of the original video of the selection process in real-time!

The short film “Homophobia” by Gregor Schmidinger, which we shot in February and where I was DP on, will premiere on May 11, 2012 in Vienna’s prestigious and beautiful Gartenbaukino. Be sure to get tickets now while they last!

Here’s the official Facebook event page for the premiere, with details on how to get tickets.

The short was shot on the Canon C300 EF with Zeiss CP.2′s – which I found an unbeatable combination. Huge thanks to my 1st AC Alois Kozar Jr. as well as my gaffer Alexander Püringer with his entire lighting team – it’s a blast to work with motivated, talented and nice people, they don’t often come in one package!

I will share loads more details on the production shortly. Check back here soon.

The official trailer has just been released, watch it here:

The teaser for the film was released earlier:

Canon has announced two new cameras in their Cinema EOS line, which started with the rather great C300. Here’s my review & test short.

Canon EOS C500

The C500 is in prototype status and is essentially a higher-end C300 with 4K output, raw and 12-bit, so pretty impressive. It’s the same sensor as in the C300, but it outputs that 4K resolution. Internally, it records the same 1080p 50Mbps like the C300 onto CF cards. If switched to 10-bit YCrCb 4:2:2 mode, the camera can operate up to 120 fps, in 2K up to 60fps in 1080p – all only through output if I interpret this correctly.

No definite word on pricing yet, but it’s expected to cost $30K-$35K.

Canon EOS 1D C

The Cinema 1D C is something new entirely. A camera in DSLR form factor mainly gear towards video users. That’s an odd but interesting mixture for sure, and the suggested retail price is $15,000.

I am looking forward to hopefully checking out the 1D C at NAB which starts on Monday (jeeez … still so much to do before we leave on Saturday!). At first glance a “proper” video camera in this form factor, lacking XLR and HD-SDI ports doesn’t make much sense, at almost the same price of a C300 ($15,000). It will however appeal to the large market of photographers who moved into video after the 5D Mark II came out. It’s no perfectly clear that Canon still sees two different markets and they created the Cinema EOS line to unify the advantages of the EOS DSLRs with the requirements of the cinema and broadcast world. A great move indeed, and I think that will make them very successful for the years to come too.

The impressive part: it can record 4K in Motion JPEG, but if the press release is correct, only at 24p. That would be a huge blow to European filmmakers as most cinema is shot at 25p here to match the standard TV frame rate. I will update this information once we know more, to me it sounds more like something that somebody mixed up when writing their press release.

It records 8-bit 4:2:2 Motion JPEG 4K to CF cards in an APS-H crop mode, 1080p up to 60fps (impressive, because the C300 can’t do that for some odd reason) in either full frame, Super 35mm crop or APS-H crop.

Canon’s Cinema EOS future – C100 as a low-end Cinema EOS?

The only thing missing now is a low-end camera in the price range of around $6,000-$8,000, which is now really only catered by Sony with their NEX-FS100. I am usually not the one to speculate, but I expect a Canon EOS C100 in around half a year if they keep up their current pace of releases, that would be at IBC 2012 in Amsterdam, possibly.

Press Release:

CANON U.S.A. INTRODUCES EOS-1D C DIGITAL SLR CAMERA FEATURING 4K HIGH-RESOLUTION VIDEO CAPTURE

Newest Addition to the Canon Cinema EOS Product Line Combines the Convenient Form Factor of a Digital SLR Camera with Full HD and 4K Video Recording up to 4096 x 2160-Pixel Resolution

LAKE SUCCESS, N.Y., April 12, 2012 – Continually advancing the frontiers of digital high-resolution motion-image capture for film, television, and other industries, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the EOS-1D C digital single-lens reflex (SLR) camera.* Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications.

Equipped with an 18.1-megapixel full-frame 24mm x 36mm Canon CMOS sensor, the camera records 8-bit 4:2:2 Motion JPEG 4K video to the camera’s CF memory card at 24 frames-per-second (fps) or Full HD 1920 x 1080 video at selectable frame rates from 24p to 60p, making it possible for next-generation visual expression with even higher image-quality and resolution performance.

“The Canon EOS-1D C digital SLR camera was designed in response to the needs of filmmakers, television producers, and other high-level motion-imaging professionals,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “Not only does it combine 4K and Full HD video capture with a convenient design, its use of dual CF cards also offers an efficient workflow compatible with today’s post-production requirements.”

Creative Control
The Canon EOS-1D C digital SLR camera incorporates Canon Log Gamma to enable the recording of high-quality video with rich gradation expression, making possible the type of impressive image quality required in motion pictures by maximizing both highlight and shadow detail retention while also providing a high level of color-grading freedom. The EOS-1D C’s full-frame 24 x 36mm 18.1-megapixel Canon CMOS sensor makes possible a wide range of creative imaging expression, such as image-blur effects. Additional features include an expanded sensitivity range of up to ISO 25600 for exceptional motion-imaging results with reduced noise even in low-light settings. The camera’s ability to record 8-bit 4:2:2 4K and 8-bit 4:2:0 Full HD video to CF cards eliminates the need for an external recorder and enables workflows with increased mobility. If desired, however, captured video (excluding 4K video) can be output from the camera’s HDMI terminal to an external recorder using an uncompressed YCbCr 8-bit 4:2:2 signal.

4K video is captured by an approximately APS-H-sized portion of the full image sensor, while Full HD video can be captured in the user’s choice of two different imaging formats:

The standard Full HD setting captures the full 36mm width of the CMOS sensor to achieve the largest possible angle of view for any compatible lens.

An optional Super 35 crop setting enables cinematographers to match the industry-standard imaging format and angle of view achieved by traditional motion picture cameras. This enables video footage from the EOS-1D C camera to more closely match the look of footage from other cameras in multi-camera shooting environments.

Other useful video-related features on the EOS-1D C DSLR include a built-in headphone jack for real-time audio monitoring, and the ability to view the camera’s LCD even when the HDMI port is connected to an external monitor. The EOS-1D C camera uses the same LP-E4N battery pack as the EOS-1D X, and it can also be powered by an optional AC Adapter Kit.

The EOS-1D C camera ships with Canon software applications including EOS Utility, which enables various camera settings to be adjusted from a PC, and Picture Style Editor. These two personal computer applications enable users to view the camera’s live output on an external monitor1 and adjust the image in real-time to maximize shooting and post-production efficiencies. The software also ensures no loss of quality for 4K/Motion JPEG and full HD/60p video displayed on the external monitor, and it enables video shot with Canon Log Gamma to be output on the monitor with video gamma applied.

Versatility and Value
The Canon EOS-1D C camera can be used to capture still images with more than 60 interchangeable Canon EF and EF Cinema Lenses, all of which are designed to deliver exceptional image quality to maximize the potential for creative visual expression. The compact size and lightweight design of the camera make it easy to carry so it is highly mobile for convenient shooting inside automobiles and other confined spaces. Its compact size also enables peripheral equipment such as rails and cranes to be more compact, which can facilitate smoother handling and reduced costs on-set. The camera’s low-light capabilities can also help to minimize lighting costs and increase versatility for lighting. For added usability, record start/stop can be remotely controlled by EOS Utility Software via an optional Canon WFT-E6A Wireless File Transmitter.

Realizing the same exceptional still-image performance as the recently introduced Canon EOS-1D X digital SLR camera, the camera provides a sensitivity range of ISO 100-51200 for outstanding still-image results with reduced noise, even in dimly lit settings. Incorporating high-performance Canon Dual DIGIC 5+ image processors, the EOS-1D C delivers high-precision AF and AE performance while also enabling high-speed continuous shooting of up to approximately 12 fps. In the ultra-fast continuous shooting mode, the EOS-1D C provides a continuous shooting speed of up to approximately 14 fps (mirror remains raised during shooting; JPEG images only).

The Canon EOS-1D C digital SLR camera is scheduled to be available within 2012 at a suggested retail price of $15,000.

Press Release:

Canon Announces Development Of 4K Digital Cinema Cameras

LAKE SUCCESS, N.Y., April 12, 2012 – Canon Inc. is developing two digital cinematography cameras as part of its acclaimed new Cinema EOS System of professional cinematography products. Designated as the Cinema EOS C500* for use with EF-mount lenses, and the Cinema EOS C500 PL* for use with PL-mount lenses, the cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording, in response to growing expectations for higher levels of imaging performance in premium Hollywood films and other production markets requiring the utmost in picture quality.

“With the unveiling of our Cinema EOS System last November to great acclaim, Canon marked our full-fledged entry into the motion-picture production market,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “To further serve the needs of Hollywood’s premier filmmakers, Canon is developing the Cinema EOS C500 and Cinema EOS C500 PL digital cinematography cameras, which deliver the added benefit of full 4K motion-image capture to the Cinema EOS System.”

The 4K imaging format is emerging as the new standard for advanced effects and post-production in Hollywood, and it is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The Cinema EOS C500/C500 PL digital cinematography cameras will not only support 4K-resolution video but also outputs this as a 10-bit uncompressed RAW data stream with no de-Bayering. The cameras offer the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All of these digital image source formats fully conform to established SMPTE production standards. All 4K formats can be selected to operate from one to 60 frames per second. The cameras employ a 12-bit RGB 4:4:4 signal format during 2K output, which can be selected to operate from one to 60 frames-per-second (fps) as well. If switched to a 10-bit YCrCb 4:2:2 mode, the camera can operate up to 120 fps.

The Cinema EOS C500 simultaneously records in-camera a 50 Mbps HD proxy video to a CF card that is immediately available to support offline editing. Equipped with a newly developed Super 35mm-equivalent approximately 8.85-megapixel CMOS sensor, the cameras will be compatible with Canon’s wide range of interchangeable EF Cinema and PL-mount lenses and EF lenses for Canon SLR cameras. Highly mobile and compact for filmmaking versatility, the Cinema EOS C500/C500 PL digital cinematography cameras – like Canon’s Cinema EOS C300/C300 PL cinematography cameras – provide all of the same ergonomic features, except for the rotating hand grip.

Further details regarding the Cinema EOS C500/C500 PL digital cinematography cameras – including specifications and pricing – have yet to be decided. Plans call for these new products to be launched later this year. In addition to targeting a swift launch of these cameras, Canon will continue to enhance other components of its Cinema EOS System product lineup, which is designed to contribute to the continued advancement of tools for visual expression and the development of cinematic culture.

Canon will display a prototype of the Cinema EOS C500/C500 PL digital cinematography camera at the 2012 NAB Show in booth C4325 at the Las Vegas Convention Center from April 16 to 19.

Sony has released the official launch video of the Sony NEX-FS700, featuring loads of the amazing super-slow motion footage we all have been waiting for. Unless you have been living under a rock for the last week, you might have heard that it shoots up to 240fps in 1080p (in 8 second bursts maximum).

The video was produced and directed by my pals Den Lennie & James Tonkin – these lucky two always seem to get their hands on Sony Pro gear as some of the first ones.

Check it out:

Unfortunately and for no obvious reason Sony Professional have uploaded the video in 720p rather than 1080p, which makes it impossible to judge the sharpness of the footage accordingly, with Vimeo compression adding more uncertainty. There is no doubt that the slow motion footage looks absolutely mind-blowing though, and it’s clear that no other camera comes close to this kind of slow motion capabilities in this price range.

What will be particularly interesting for me is how it sticks up against the Canon C300 in the sharpness area, because both cameras feature a 4K sensor, recording 1080p internally (Sony has announced that there will be some add-on recorder available for the FS700 within a year or so, which can record 4K – no word on pricing yet).

The Canon C300 is the one of the sharpest cameras I have worked with and it makes DSLR footage look uncomfortably out-of-focus cut next to it. It will be really interesting to see what FS700 footage looks like right next to it. As far as I can tell from Sony’s launch video, the image is very much like the one from the FS100, really what you would expect from the same codec and a camera in the same (NEX-) series. The C300 footage certainly holds highlights much better, and it is also more light sensitive – having said that, the FS100 is a crazy-good camera with an incredibly light sensitive sensor in itself, and considering its price, it is still unique in the market.

There was also a 480fps test video posted by Andy Shipsides. Mind you, while this video is available for download on Vimeo in 1080p, 480p footage is recorded in a 1920 x 432 pixels and only interpolated to 1080 lines. You can clearly see how soft the footage is when downloading the 1080p file. Nevertheless an amazing capability, unheard of in other cameras.

These are certainly exciting times for shooters and never have there been that many high-end cameras been released within such a short period of time. We can certainly see that the Japanese industry has recovered from the Tsunami and earthquake disaster and it’s great to see them back on their feet.

I will be flying to Las Vegas by the end of next week for NAB 2012, and our Filmmaking Masterclasses with Philip Bloom in Vegas and Key West set right after that. While I mainly go there to meet friends and colleagues and geek out with them about filmmaking stuff, it is great to see that this shapes up to one of the most exciting NAB’s of the past years. (Last year really didn’t have any camera innovations at all.) Exciting times!

Let me know if anybody wants to meet up in Vegas. I will be working at the Vitec / Sachtler booth for two of the four exhibition days, and I’ll be roaming the floors of the Convention Center for the rest of the time.

UPDATE: “VS” – 1080p NEX-FS700 test film

Click on the image to be taken to Vimeo (video not embeddable)

This is Den Lennie’s & James Tonkin’s test film “VS”, shot on the FS700. From the Vimeo page: “We wanted to maintain 1080p so did not shoot beyond 200fps.”

That means he had the camera in PAL mode, because it can shoot up to 240fps 1080p when in NTSC mode – if I understand this bit from Den’s blog correctly (click here for the full post):

The camera will do full 200/240fps at 1080P (region specific so if you shoot 60hz you’ll get 240fps and 50hz 200 fps) The camera is a worldwide camera from launchj so 50hz/60hz switchable.

But the camera will also do 400fps at a reduced bit rate but still full frame. Then at 800/960 fps at reduced bit rate and a copped image.

The Super slow-mo can be set on start trigger or end trigger and in 1080p mode it will record 12 seconds of Slo-mo which makes over a minute of on screen time. It is very impressive.

UPDATE – April 10, 2012: More footage!

More footage of the FS700 has been posted to the Interwebs, from the same bunch of people who contributed to that neat official introduction video above – James Miller and Peter Prevec.

It’s only a about two weeks until the first Filmmaking Masterclass in 2012 is going to take place in Las Vegas, and only a few days later in beautiful Key West, Florida. In June, we will host the 3rd Masterclass of 2012 in Majorca, Spain.

For all dates and booking information, head over to our dedicated Filmmaking Masterclass website at film-masterclass.com.

We have put up the dedicated website for the Masterclasses as the requests for information have been truly overwhelming. (If you have any questions also feel free to email info@filmmaking-masterclass.com)

Shooting, learning, having fun: Filmmaking Masterclass 2011 in Majorca

Backstory – hands-on shooting vs. attending a seminar

Sebastian Wiegärtner and I started the first “European HDSLR Masterclass” (as we called it back then) in 2010 in Majorca. Our buddy Philip Bloom unfortunately didn’t have time to join us for the first one, but we went ahead anyway: So many people were eager to learn about shooting professional video with DSLRs, and we seemed to be among the ones who had most experience with these cameras in professional environments – people kept asking us for our experience online, via Twitter, E-Mail or Facebook – but shooting with these cameras has a lot of caveats and a lot of stuff is hard to explain in writing.

So we decided to do a workshop. Not an ordinary workshop. One where participants could actually go out and shoot – ideally in a beautiful scenery and a peaceful environment without distractions – the idea for doing a Masterclass in Majorca was born. (Read about the 2010 Majorca Masterclass by clicking here.)

This first “test” was a huge success, we had a great bunch of people who made two really good films and learned their DSLRs inside and out within these few days on the island. Check out one of the films they made below – “Bonanza” (the name of the hotel).

While most of it went well, we weren’t too happy with the original hotel location on Majorca as we were in a very densely populated part without much nature or natural beaches which would have been great to shoot at – so we decided to move further South in 2011, and we found the perfect spot and hotel in Colonia Sant Jordi – a huge natural beach, probably the most beautiful one on the entire island. Philip Bloom joint us and the Masterclass became a huge success – on an even bigger scale (and that’s also were it’s going to take place in 2012). Watch some of the films that were created there by clicking here.

Attendee film “Good Catch”:

Enhancement

With every single workshop and Masterclass we learned a lot and enhanced the concept further and further.

Our top priority is to get people shooting as much as possible. That’s what it’s all about after all, and that’s were people can learn most. Actually using the gear, and trying different techniques, hands-on. While camera theory is important too – the differences and intricacies of the cameras, the influence of different settings on the image, and so on – we are convinced that there is no better way than actually go out and shoot. Ideally in an environment that allows you to make a lot of mistakes which you shouldn’t necessarily be making on a paid job. In an environment that lets you come up with creative ideas and find out how to achieve the results you are looking for – under our guidance and with the help of your fellow attendees.

Over the last few Masterclasses, we have increased the level of the course consistently, as we have learned that most of the basic stuff is already known by everyone. The 2012 Masterclasses are intermediate to advanced level and we ask our attendees to already have knowledge of a lot of camera and shooting basics, so we can take them much further. In case anybody is unsure about their own level, don’t worry – we are sending out learning material with all the important basics weeks before the courses, so people can get ready and freshen up their knowledge. It’s basically information that is available via our and our colleagues’ blogs and filmmaking websites, in concentrated form! It’s also a manual to stick to in case you are not sure about something.

Unique and specialized events

We also decided to make each Masterclass unique. Each single one won’t be like the other. We focus on different aspects and genres of film production while maintaining a certain universal approach to the topic.

Las Vegas – corporate filmmaking

For example, in Las Vegas we will shift the main focus on corporate filmmaking. Commercials, corporate or promotional films, interviews – stuff like that. The Las Vegas Masterclass will take place in a huge resort in the South East of Las Vegas, the Westin Lake Las Vegas Resort & Spa.

There, attendees will have a chance to shoot in and around the hotel venue. We will give attendees some rough theme or item to work with – they will be asked to do a corporate film or commercial on said theme or item. In the past we have found it most stimulating for attendees if they are given a rough idea of what they can shoot, but not too much of that – the creative freedom is still a top priority, but the rough theme guides them and gets their ideas flowing.

Apart from the seminars on cameras, interviewing techniques and other stuff, we will have seminars on various aspects of corporate filmmaking. For example, we will talk about how to deal with client briefings. As everything else, these talks will be as close to reality as possible and we will talk about actual briefings that we got from clients in the past, and how we dealt with them. Sometimes the hardest part is finding the right approach on how to deal with a specific film project, and that is of course especially relevant for hired work, where the real trick is to produce something creative while staying within budget and time limits.

Talking about time limits, in Las Vegas we will have Preston Kanak joining us as an additional hands-on tutor. Preston is a filmmaker from Canada who is particularly proficient in managing time on productions – in 2010, he set out to shoot one movie per day for the entire year, as a personal challenge. He has to say a thing or two about efficiency, as you can imagine!

There will also be a portion about how to budget a corporate shoot, because this can be among the hardest parts for shooter-director-editors type of people.

Key West – artistic filmmaking

In one of the most beautiful spots on the planet, the wonderful Key West on the Southernmost point of Florida, that unique Masterclass will be all about artistic filmmaking. It’s all about art – the films YOU want to make. Either short documentaries, narratives or even a little “beauty” or timelapsing piece – if this is what you are aiming to get better at, this is the Filmmaking Masterclass for you.

The nature of this Masterclass means that groups will greatly benefit by staying small, that’s why we have to charge a little more for the Key West Masterclass – it’s more exclusive but definitely to most personal experience of all the Filmmaking Masterclasses we have planned for this year.

We will spread out over town together with the groups and try to capture the incredible natural beauty of the Keys and Key West as a town.

In the specific seminars about artistic filmmaking, we will have Philip Bloom talking about how he creates an atmosphere, and how he approaches an artistic shoot – how he maps out what he wants to shoot in his head and then pursues that goal step by step, adjusting whenever it’s needed.

We will talk about how to pick a subject for a documentary and finding a theme for a narrative short. Like in Las Vegas, we will aid attendees by giving them a rough theme or item to base their idea around.

While planning the group shoot, people will be involved with rough scripting and storyboarding– before they go out and shoot what they want to shoot, possibly adjusting their original plan as much as needed and improvising on the spot.

Like in Las Vegas, we will talk about choosing the right tools for the particular job – which camera, which lenses, and so on. We will talk about upsides and downsides of various setups.

We will also deal with timelapsing in Key West, with Philip Bloom showing you advanced techniques of planning and calculating a timelapse shoot accurately, without messing too much!

Majorca – Storytelling

In Majorca, we will this year have a specific focus on storytelling. We will be joined by a professional script consultant, Ines Häufler, who is working on enhancing feature and short film script on a daily basis. She really knows the toolset on how to create a working storyline, and she will guide our participants through that process in order to make their films better. She will also be there during the shoot for individual tutoring with each single group.

Like in 2011, the Majorca Filmmaking Masterclass will take place in Colonia Sant Jordi, right next to the most beautiful natural beach of the entire island.

Other specific seminars in Majorca involve a mixture of corporate and artistic filmmaking, similar to the above.

General content

Shooting timelapses on the beach during the 2012 Majorca Filmmaking Masterclass

Day 1 – theory, hands-on, forming groups & creating stories

There are a few things that all three Masterclasses have in common: The better part of the first day will be spent on the theory of advanced shooting techniques, new cameras, their ups and downs as well as a hands-on section. A portion will be dedicated to proper sound recording, which is often something shooters neglect way too much. We will also be covering interviewing techniques in every course as this is something so essential that is relevant for every shooting scenario. Masterclass-specific seminars will be held on all of the days, with some of them optional – meaning you don’t have to attend them, you can also continue shooting your film if you prefer to.

There will also be tons of gear from our sponsors to check out and use – for more details, see the sponsor and give-away section below.

In the classroom during the 2011 Majorca Masterclass

In the hands-on sections, people will have a chance to get to know each other as well. By the late afternoon, we will put people into groups, in which they will shoot their films. Of course it’s up to yourself who you will be going in a group with, but we aim to put participants of similar levels in the same groups as this has proven to be most effective – that’s why we are asking for each and everyone’s personal experience and what their range of work is. We want to tailor each Masterclass as close around the individual needs as possible – this is also where the very limited numbers of attendees come into play!

We will have the latest and greatest cameras there Canon C300, Sony F3, FS100, in Majorca maybe (don’t know for sure yet) even the brand-new FS700. Plus of course DSLRs of many flavors, e.g. 5D Mark III, Sony NEX-5N and so on.

Tons of gear, lots of hands-on with new technology at each Masterclass

The evening of the first day will be dedicated to casual get-togethers by the groups. Each group is given an item or rough theme to work with, but they have to come up with what they actually want to shoot by themselves. During that evening and over dinner and drinks afterwards, most groups will come up with a script or story idea, which they can start shooting either right away, or in the morning of the second day.

In Majorca, script consultant Ines Häufler will be holding a basic seminar on storytelling on the first day, and guide the individual groups through with their ideas in the afternoon.

Me and Philip teaching

Day 2 – shooting!

The second day will almost entirely be dedicated to shooting in the groups. Depending on the Masterclass, the attendees will either spread out in or around the hotel resort area (like in Las Vegas or Majorca), or even go downtown, splitting up in smaller groups (Key West).

Terrible working conditions in Majorca last year

Philip Bloom won’t be permanently attached to one specific group, but rather switch between the groups every now and then, so everybody gets most of his experience. The other tutors will usually stick with one group and aid them throughout the shooting day.

In Las Vegas Preston Kanak, our assistant tutor, as mentioned above, will make sure the attendees manage their time efficiently.

Setting up a dolly shot under palm trees

Day 3 – post production & finishing

The third day will be mostly about post production and editing. Some groups might finish up their shoots in the morning or do pick-ups after they have already done a rough edit of what they shot in the evening before.

We will talk about post production workflows talking about Premiere Pro, Final Cut Pro 7 and also a little bit about Final Cut Pro X. Please be aware that all tutors work on Apple computers and therefore this is where our main expertise lies with regards to post production. This is however not a problem if you are using Premiere Pro on Windows as it’s the exact same software on all platforms.

Due to the fact that people prefer very different editing workflows, attendees are advised to bring their own laptops with their own software if possible. We had problems before with people who felt force to use another platform or editing program, so we think this is the best way to do it. Of course not everyone needs a laptop with editing capabilities, but from our experience, the majority will bring their own work stations anyway. It’s enough to have one editing station per group of course – after all, this is mainly a shooting, not a post production course.

We will show attendees how to deal with the different formats from the multitude of different cameras now on the market.

Groups will be finishing up their films by the evening – and then they will be screened in front of everybody and up for scrutiny by the entire Masterclass.

Sponsors & give-aways

During the entire course, people will be able to use the unique products by our sponsors Vitec Videocom (Sachtler, Litepanels, Petrol Bags, Anton Bauer, OConnor) on their shoots. There will be special deals available as well, with 40% off of some available Kessler gear right on the spot.

After the general course part is over and all the films were screened on the last day, we are doing the raffle for the amazing give-aways – worth a total of $7,000 – which were donated by our amazing sponsors Vitec Videocom and Kessler.

One of last year's lucky winners of great gear!

Here are the details:

Give-aways by Sachtler

Sachtler will give away (through a raffle):

• 1 Ace M tripod system each at the Las Vegas & Majorca Filmmaking Masterclasses – a $535 value!
• 1 FSB6 Carbon Fiber Speed Lock tripod system at the Key West Filmmaking Masterclass – a $1,599 value!

Give-away by OConnor

OConnor will be giving away to one of the attendees of the US Masterclasses:

• 1 OConnor OFocus DM Cine Set with an additional hand wheel for photo lenses, worth in total … hold your breath … $2,700!!

Give-aways by Petrol Bags

Another generous donation comes from our sponsor Petrol Bags, who will be giving away:

• 1 Petrol Bags Rolling DigiSuite DSLR Camera Case to 1 attendee of the Key West Filmmaking Masterclass, a $350 value
• 1 Petrol Bags Dr. DSLR Camera Bag to 1 attendee of the Las Vegas Filmmaking Masterclass, a $230 value

Give-aways by Kessler

Kessler will give away a $500 voucher for their products at each of the 3 Filmmaking Masterclasses.

Because the Masterclasses are strictly limited in attendee numbers, your chances of winning are very high! So this might mean that you can win something that is worth even more than the whole course costs – which sounds like a good deal, right?

Be aware that we have only a few spaces left at each Masterclass and we will strictly limit the numbers. So if you want to take part, please hurry up and head to the site. Also, do not hesitate to contact us via info@filmmaking-masterclass.com if you have any questions!

The greatest thing about our attendees: They are awesome folks, and often the industry connections and friendships last for a long time! Here a group of attendees from the 2011 Majorca Masterclass.

Sony has just announced their new cinema camera, the Sony NEX-FS700, which is about to fill the gap between the FS100 and the F3 in Sony’s cinema camera line-up in Super 35mm cameras. It has a 11.6 million pixels sensor.

Incredible slow motion capabilities

There are two features that really make the FS700 stand out: It can record 120 or 240 frames per second in 1080p in 8 or 16 second bursts, respectively. It’s insane and unheard-of in a camera in this price range. So far, the best we could get for a comparable amount of money was the FS700′s little brother, the FS100, which is able to record up to 60 fps in 1080p (in the US version, 50 in the EU version – though that is about to get irrelevant with a firmware update that will make it a world camera).

Here are the details on what kind of slow motion it can shoot:

240fps for 8 seconds in Full HD
120fps for 16 seconds in Full HD
960fps up to approx 19 seconds in a burst (1920×216 line skipped readout, interpolated in camera to 1920×1080)
1480fps up to approx 9 seconds in a burst (1920×432 line skipped readout, interpolated in camera to 1920×1080)

The LCD panel is 3.5″ 921K – same as the FS100.

4K upgrade in the future

The second big thing about this camera is that it will be able to output 4K “Raw” through its 3G HD-SDI output in the future. It seems like not even sources within Sony know yet when exactly this will be available, nor what the recording device will be like or what its cost will be. But it sounds extremely intriguing.

To keep in line with the NEX series, the camera will record AVCHD 2.0 by default, to SD cards. It is a world camera, switchable from 50Hz to 60Hz, recording all variations of frame rates that we need (24/25/30/50/60) in 1080p.

It seems like a series of shooters had a chance to use this camera prior to its release. We can expect test shots of it at and around NAB time, maybe even in the coming days. Den Lennie, James Miller, Peter Prevec and Jason Wingrove seem to be among the few who had access to the camera already. Check out my friend Den Lennie’s first blog post on his shoot with the FS700 on his blog by clicking right here.

Head over to Den Lennie's blog for more from a man who actually used the camera

 ND filters & form factor

They enhanced a few things from the FS100, although the form factor is similar. The FS700 has 3 built-in ND steps at 1/8, 1/16 and 1/64. I was never a big fan of the FS100 form factor, but it seems they enhanced some of its biggest shortcomings, e.g. moving the XLR port from the back to the front. It however still has the little awkwardly designed viewfinder that can be taken of, and it features the same LCD screen as the FS100.

It shares the same E-mount lens system with the FS100. Now, with the availability of a several adapters allowing you to control the f-stop on the ubiquitous Canon EF lenses, the Sony cameras will gain a lot of popularity in no time without a doubt.

Pricing

Now this is exciting, according to Sony’s press release it will be below $10K, according to other sources even around $8-9K. This will truly make a big difference in the camera market, mainly because of its slow motion capabilities which put it out of reach of all the competitors, for now.

I will keep this post updated as we learn more about the FS700. Please check back later.

I will do my best to get my hands on one to shoot something with it as soon as possible!

Sony’s preliminary information

Preliminary Information

This is preliminary information. All features and specifications are subject to change without notice.

4K-ready

The first 4K-ready Super35mm camcorder in its class – providing an assured upgrade path to 4K acquisition and delivery – with full HD 1080p for today.The camcorder will also have the capability to produce 4K RAW 3G-SDI output via a future upgrade.

Super slow motion at 10x at full HD or 40x at lower resolutions

Incredible super slow motion capability of up to 10x slow motion at full HD resolution or up to 40x slow motion at a reduced resolution, giving you creative options that were once only available with specialist high-end equipment.

E-mount interchangeable lenses offer a wide choice of lenses

The E-mount interchangeable lens system utilises an extremely short flange back distance allowing you to use a huge array of lenses via a range of adaptors giving you almost unlimited creative options.

SEL 18200 lens supplied

The supplied SEL18200 (E 18–200mm F3.5–6.3 OSS) with the NEX-FS100EK boasts 11x zoom power, a quiet AF motor for cleaner sound recording, and Optical SteadyShot™ image stabilization with an advanced Active mode that lets you take steady handheld shots while walking around — even without a bulky stabilization rig.

Additional A-mount lenses available

The Sony LA-EA2 A-mount lens adaptor allows you to use the wide range of high quality alpha lenses and take advantage of the auto focus function for quicker, more convenient operation.

Built-in HD filters

The NEX-FS700EK features built-in, ultra-thin ND filters, offering exceptional shallow depth-of-field on highlights. It also means less accessories to manage as no external ND filters are required.

3G-SDI interface and HDMI

A 3G-SDI output enables easy integration with highest quality recording formats.

Exceptional ergonomics

The NEX-FS700EK has a refined ergonomic design with a robust detachable handle and grip.

Switchable 50 Hz and 60 Hz shooting

The NEX-FS700EK is switchable between 50 Hz and 60Hz to allow 24p shooting in PAL areas and no PAL/NTSC limitations.

Selectable magnification and positioning of expanded focus

Expanded focus improvement allowing 4x and 8x magnification and a moveable area of expansion for easy focusing with shallow depth of field.

Camera profile settings storage on memory card

Up to 99 camera profile settings can be stored, allowing rapid adaptation to multiple shooting environments without time wasted adjusting parameters. Settings are also easily shared in multi-camera productions.

Press Release

Read Sony’s press release on the launch of the NEX-FS700:

SONY EXPANDS NXCAM LINE WITH NEW
FULL-HD SUPER SLOW MOTION CAMCORDER

NEX-FS700U Delivers High Quality, Flexible and Creative
Shooting Options for Workflows of Today . . . and Tomorrow

PARK RIDGE, N.J., April 2, 2012 — Sony is pushing the creative boundaries once more with the new NEX-FS700U Full-HD Super Slow Motion camcorder, the latest in Sony’s line of NXCAM interchangeable E-mount camcorders. The new Super 35mm model is designed for high-speed shooting, capable of capturing footage at up to 960 frames per second. The camera also features a range of capabilities such as 3G HD-SDI output and built-in ND filters. Additionally, it also offers several creative options, shooting styles, and enhanced ergonomics – all based on customer feedback — to deliver a flexible production tool that can fit seamlessly into a variety of shooting applications.

“This camera opens a new door to creative shooting,” said Juan Martinez, senior product manager at Sony Electronics’ Professional Solutions of America group. “You can record beautiful high speed full HD movies with the freedom of creative interchangeable lens choice. The NEX-FS700U, with its super slow motion mode, is ideal for promos, TV dramas, commercials and documentaries as well as sports and a variety of event shooting.”
The camera delivers full HD quality at 120 and 240 frames per second in a 16 or 8 second burst mode respectively. The NEX-FS700U’s high sensitivity and low noise shooting capability makes super slow motion shooting more convenient without the need for additional equipment. Its 480 fps and 960 fps at reduced resolution are available for faster frame rate recording.

The NEX-FS700U camcorder uses a new 4K “Exmor” Super 35 CMOS sensor (Total 11.6 million pixels). This high-speed readout chip is optimized for motion picture shooting, giving high sensitivity, low noise and minimal aliasing.
The NXCAM line’s E-Mount flexibility is designed to accept virtually all SLR and DSLR 35mm lenses, with the use of simple, inexpensive adapters without optical degradation. FS series owners can use their existing lenses and add more lenses without being limited to brands or mounts.

Users can capture high-quality still images with the NEX-FS700U. The camera also includes “face detection” and auto focus to help ensure that a subject is always kept in focus.
With the NEX-FS700U, operators can take advantage of the camera’s built-in ND filters, with a newly designed ND filter wheel that rotates across the sensor like a turret. The wheel includes positions for Clear, 1/4 (2 Stop), 1/16 (4 Stop), and 1/64 (6 Stop).

The camera is 60/50Hz switchable to give shooters the freedom of working in any geographic region without being restricted to only PAL or NTSC recording.

The NEX-FS700U’s 3G HD-SDI and HDMI connectors can output full HD 50p and 60p, in addition to standard HD 60i, 24p, 25p or 30p frame rates with embedded time code and audio. With 3G HD-SDI, it can output native 23.98, 25, 29.97 progressive signals. Users can elect to output PsF over the 3G HD-SDI. Thanks to flexibility of the digital ports virtually any external recorder can be paired.

Users can save up to 99 camera profile settings on a memory card, and can copy the same setting to multiple cameras. Compatible media includes SD and Memory Stick cards, and Sony’s HXR-FMU128 flash memory unit that attaches to the camera.
The NEX-FS700U features a robust detachable top handle, secured by a pair of screws (a cold shoe, plus two sets of 1/4 and 3/8 inch holes) to allow secure mounting for heavy accessories. The handle is attached with a rosette mount.

A key element of the handle is an “active grip” that features four buttons for commonly used functions – expanded focus, auto iris, still capture and recording start/stop. Function buttons are also enlarged to make operation easy even while wearing gloves.
The camcorder’s enhanced design also includes anchor points for compatibility with third-party accessories and a more durable design than previous models.

Sony is planning a future firmware upgrade that will enable the NEX-FS700U to output 4K bitstream data over 3G HD-SDI when used with an optional Sony 4K recorder.
The NEX-FS700U (body only) and NEX-FS700UK (with 18-200mm zoom lens) are planned to be available in June at a suggested list price less than $10,000.

 

via Dan Chung, Sony Alpha Rumors & Engadget

I’m very excited that the German-language pro video magazine “Professional Production” has posted a 4-page report about our C300 test shoot in early December.

Catch the 4-page PDF by clicking right here.

Back then, my good buddy Mario Feil came to Vienna for two days to test the C300 with me, which he received as one of the first people in the world. He wrote and directed his script, I was director of photography and organized a bunch of colleagues and actors in Vienna to support us. Nothing better than a real-life test!

In case you don’t speak German, read my extensive write-up on the C300, the shoot and “13:59″ in case you missed it.

Or try Google Translate on the 4-page report by “Professional Production” – no guarantees for proper translation though!

To say that the Canon EOS 5D Mark III is a long anticipated release is a crass understatement. The 5D Mark II was the camera that started the DSLR craziness that spurred the explosion in quantity and sometimes cinematic quality we now take for granted from productions with even the smallest budgets. It changed the market entirely.

Yet the one that started it all was neglected for a looong time by Canon. It turned out that the unexpected success with filmmakers made them develop the Canon C300, the first real video camera by Canon that took the best of the DSLR video features (mainly being a large sensor and the small form factor) and combined it with camcorder features which video professionals like me have missed from DSLRs from day one. (Read my review of the Canon C300, which I’m a very happy owner of since about a week ago, right here.)

People who started out with DSLRs probably never missed what people like me took for granted (XLR audio, built-in ND filters, sharp images without line-skipping or aliasing), and we too ignored the sometimes massive downsides of having to deal with dual system audio, complicated rigs and filters to make the moiré less noticeable – simply because the images where nothing short of stunning compared to even the most expensive broadcast camcorders. Much closer to film – also in the way you have to work with these cameras with interchangeable lenses. A true revolution.

It has arrived – 5D Mark III

But now, three and a half years after the introduction of its predecessor, Canon has introduced its successor. And – it’s far from revolutionary. Of course it isn’t, how could it be, now that we have been spoilt with so many great other options in all price ranges. The full frame cameras capable of shooting video are still very rare though, and therefore the 5D Mark III is a very, very relevant option for a lot of stuff. The aesthetics of the 5D Mark II are still very unique despite its comparably “old age”.

However, the video improvements in the 5D Mark III are considerable and it looks like it’s well worth the upgrade:

• better light sensitivity (2 more stops) and higher ISO’s (25.600 in video), cleaner images due to new sensor and DIGIC 5+ processor
• hugely reduced moiré and aliasing through the better processor (in other words: no more line skipping)
• better codecs: you can choose between Inter-frame or Intra-frame (i-frame only) codecs, which means that basically every frame is a keyframe, resulting in better quality. Frame rates are the same, 1080p30, 1080p25 or 1080p24 as well as 720p60 and 720p50.
• SMPTE Timecode (a biggie for a lot of productions that use several cameras!)
• Headphone jack … sounds basic, but it became an object of desire on all Canon DSLRs because you were never able to monitor audio …
• audio leveling during recording (yep, also basic, but something we’re not used to from Canon DSLRs)
• in-camera HDR (this is HUGE and long-overdue, great for timelapse shooters!)

Unfortunately, it still doesn’t offer clean HDMI out. That means there is still no way to record video on an external device. It’s a bit disappointing considering Nikon provides clean HDMI out on their D4 and D800, but again, I think this was to be expected.

It’s hard to give any judgement without having used the camera, so I will refrain from that – the demo videos that are out there so far are a bit underwhelming, but that is also because of that crazy high compression they are using, which makes absolutely no sense to me. I dare to say already that the 5D Mark III is nowhere as sharp as the C300, but again, that was to be expected (the C300 uses a 4K chip internally but saves files in 1080p).

Pricing & availability

The 5D Mark III will be available in limited quantities by the end of March (so get in line now) for a suggested retail price of $3499. A lot of used 5D Mark II’s will pop up on eBay soon. If you want to upgrade, I suggest you get your order in now as I expect prices for the 5D Mark II to drop massively, both used and new.

Both Amazon.com and B&H Photo have it available for preorder already.

The full press release:

London, UK, 2nd March 2012 – Canon today announces the latest addition to its worldfamous EOS range with the launch of the new EOS 5D Mark III. The EOS 5D Mark IIIbuilds on the performance of the legendary EOS 5D Mark II, offering improved speed,greater resolution, enhanced processing power and extended creative options for bothstills and Full HD movies – providing unparalleled artistic freedom for the most demanding photographers.

Incorporating feedback from photographers worldwide, the EOS 5D Mark III offers improved performance in virtually every area. A new 22.3 Megapixel (MP) full-frame sensor offers the ideal balance of resolution for stills and HD movies and up to 6 frames per second (fps) shooting, whilst a 61-point AF system and 63-zone metering provide greater speed, flexibility and accuracy. Powered by the latest DIGIC 5+ processing technology, the EOS 5D Mark III also features enhanced video functions, offeringimproved image quality alongside greater audio control – redefining creative possibilities for photographers and amateur videographers alike. “The EOS 5D Mark III represents a big step forward for the EOS 5D series” said Kieran Magee, Marketing Director, Professional Imaging, Canon Europe. “The EOS 5D Mark II is an exceptional camera and we’ve listened carefully to feedback from its passionate community of users to improve performance in every area. This camera has been designed to meet virtually any creative challenge – it’s faster, more responsive and features the tools to adapt to everything from studio photography to creative videography, while producing results of the highest quality.”

Enhanced performance

With its comprehensively upgraded specification, the EOS 5D Mark III is the ideal toolfor the growing number of photographers shooting both stills and movies. It incorporates a number of the features launched with Canon’s revolutionary EOS-1D X,providing vastly improved performance, flexibility, handling and durability. The camera’s newly-developed 22.3MP full-frame sensor provides increased resolution and finer detail, enabling the capture of a wide range of scenes, from sweeping landscapes to beautiful portraits. Higher speed continuous shooting also offers expanded creative possibilities. With an increased 8-channel read out, the camera comfortably handles a maximum full resolution speed of up to 6fps in bursts of 18 RAW images or over 16,000 JPEGs1, without the need for additional accessories. Additionally, the sensor’s advanced architecture offers a huge native ISO range of 100-25,600, expandable to 102,400, making it possible to capture clean, high quality pictures, even in extreme low-light conditions.

The EOS 5D Mark III utilises the same 61-point wide-area AF system as the flagship EOS-1D X, providing exceptional sensitivity, precision and speed. One of the most advanced AF systems currently available, it features an impressive 41 cross-type points and five dual cross-type points, providing unsurpassed accuracy across the frame. The customisable AF pre-sets introduced in the EOS-1D X are also available, helping the capture of traditionally challenging subjects, and providing additional reliability in ituations where subject movement can be unpredictable. Highly accurate exposures are provided by Canon’s acclaimed iFCL metering system, which incorporates a 63-zone Dual-Layer sensor linked to each point of the AF system. Focus information gathered from the AF system is analysed alongside colour and luminance signals measured by the metering sensor itself, enabling the EOS 5D Mark III to deliver consistently accurate skin tones and excellent results in a wide range of shooting situations.

Creative performance without compromise

The EOS 5D Mark III features Canon’s latest DIGIC 5+ image processor, which powers a range of new functions without affecting the camera’s performance. 14-bit A/D conversion provides smoother tonal gradation and transitions between colours, while in-camera HDR shooting combines three different exposures and allows one of five preset tone maps to be applied, enabling photographers to capture all the detail in high contrast scenes. With in-camera RAW processing and editing capability, photographers also have the option to immediately begin post-processing their images while still on a shoot. The increased power of DIGIC 5+ also enables a range of tools which contribute to higher image quality. Lens peripheral illumination correction, Lens chromatic aberration correction (lateral and axial) and high ISO noise reduction are all performed in-camera without affecting performance, allowing photographers to continue shooting without any camera lag. Additionally, in-camera image rating via a dedicated button makes it easy for photographers to organise images ahead of post-production. The EOS 5D Mark III features a new Creative Photo button, which enables users to quickly select Picture Styles and capture multiple exposures, as well as offering direct access to the HDR shooting mode. In playback, pressing the Creative Photo button displays a new comparative playback function, displaying two images side-by-side to allow photographers to view, magnify and compare the quality of different exposures mid-shoot. For situations where photographers want to avoid being noticed, such as weddings, the EOS 5D Mark III also features a new silent shooting mode that dramatically reduces the sound of the shutter and mirror, ensuring they can work quietly in the background. A continuous silent mode is also available, enabling photographers to capture fastermoving subjects without attracting attention.

Next generation EOS Movies

The EOS 5D Mark III builds on the reputation of the EOS 5D Mark II, with a range of new features introduced following feedback received from photographers to provide even better Full HD video performance. As well as offering the depth-of-field control loved by video professionals, the new full-frame sensor combines with the vast processing power of DIGIC 5+ to improve image quality by virtually eradicating the presence of moiré, false colour and other artefacts. The addition of a movie mode switch and a recording button also offers greater usability, enabling videographers to begin shooting immediately when movie mode is engaged. Additional movie functions include manual exposure control and an enhanced range of high bit-rate video compression options, with intraframe (ALL-I) and interframe (IPB) methods both supported. Variable frame rates range from 24fps to 60fps, and the addition of SMPTE timecode support provides greater editing flexibility and easier integration into multi-camera shoots. Users can also check and adjust audio during recording via the camera’s Quick Control screen and a headphone socket enables sound level monitoring both during and after shooting. Enhanced processing power provided by DIGIC 5+ also makes it possible to conveniently trim the length of recorded movies in-camera.

Professional build, easy operation

The EOS 5D Mark III has been built to offer photographers easy-handling and robust build quality. Its lightweight, high-grade magnesium body offers advanced weather proofing for protection against the elements, while the construction of the shutter has also been reinforced, with 150,000-cycle durability making it ideal for repeated, everyday use. An enhanced version of the Intelligent Viewfinder featured in the EOS 7D offers approximately 100% coverage, as well as an on-demand grid display via the builtin transparent LCD. The same reinforced 8.11cm (3.2″) Clear View II LCD screen as used by the EOS-1D X provides high quality framing and playback in all conditions. 1,040k-pixels provide the resolution to accurately check image sharpness and focus, while the gapless structure design introduced with the EOS-1D Mark IV prevents reflections and protects against dust or scratches. A headphone socket and locking mode dial have been included, while the inclusion of a UDMA 7-compatible CF card slot plus an SD card2 slot enables shooting to both cards simultaneously, auto switching when the one in use becomes full and the option to copy images from one card to the other in-camera.

Digital Lens Optimizer – new in Digital Photo Professional v3.11

The EOS 5D Mark III comes complete with the most advanced version of Digital Photo Professional (DPP) yet – Canon’s free, in-box software enabling high-speed, high quality processing of RAW images. New in DPP v3.11 is Digital Lens Optimizer – a revolutionary new tool designed to drastically improve image resolution. Digital Lens Optimizer (DLO) precisely imitates lens performance, with a series of complex mathematical functions replicating each stage of the journey of light through the optical path. Using this information DLO can correct a range of typical optical aberrations and loss of resolution caused by a camera’s low pass filter, by applying an inverse function to each shot to take the image nearer to how the scene appears to the naked eye. This creates exceptionally detailed, high-quality images with highly manageable file sizes, providing photographers with maximum image quality and greater flexibility.

EOS System compatibility

As part of the EOS System, the EOS 5D Mark III is immediately compatible with over 60 EF Lenses, including the EF 24-70mm f/2.8L II USM – the new, essential wide-angle zoom lens from Canon’s famous L-series. The camera is also compatible with a newlyannounced range of accessories designed to offer extended creativity, including the Speedlite 600EX-RT – a high performance TTL flash with wireless radio connectivity. Additionally, the new Battery Grip BG-E11 offers greater handling flexibility alongside the ability to double the camera’s battery life.

Canon EOS 5D Mark III – Key features:

• 22.3 Megapixel full-frame sensor

• 61-point autofocus

• Up to 6fps continuous shooting

• Native ISO 100-25,600 sensitivity

• Full HD video with manual control

• 14-bit DIGIC 5+ processor

• Enhanced Weather sealing

• 8.11cm (3.2-inch) 1,040,000-dot screen

• HDR mode with presets

UPDATE: ISO 12800 comparison video between 5D Mark II & 5D Mark III:

This video just popped up which impressively compares how grainy ISO 12800 on the 5D Mark II are in contrast to a pre-production 5D Mark III:

Also, the first production samples popped up on Vimeo – shot by No Average Joe. Unfortunately, as with all videos from the 5D3 up until now, compression is quite bad and resolution is only 720p, so impossible to judge image quality or sharpness of the new camera.
From Vimeo: “This was shot at ISO 5000 in natural light, and has been compressed for the web. No noise reduction or color-correction was applied to the image in post. Further to this, footage was transcoded to ProRes HQ for FCP 7 workflow.”

And another one, same ISO. The codec used was “91mbit, ALL-I and 25p @ 1080.” according to the guys on Vimeo.

Just a quick post to make you aware of an ambitious documentary project that I am happy to be one protagonist of – “Virtually Famous” by New Zealand filmmaker/photographer Ollie Dale. He started a Kickstarter funding campaign to get things rolling for his film and I urge all of you to support his vision, because it is a great one and a story that truly hasn’t been told before.

Ollie is a really talented and ambitious photographer who has been gradually moving into moving images like so many others. I met him online when he contacted me about possible future collaboration, and I could immediately tell there was someone who really had something to say with a genuinely nice and open attitude, striving to learn more. He was in Europe a few months ago and I was so honored that he made a trip to Vienna just basically to meet me and talk about this new project of his, for which he interviewed me too.

He wants to shed light on something that often gets lost in all this camera and gear talk – the way filmmakers and photographers alike (and anyone striving to make a name for themselves, really) need to market themselves in this day and age, using all relevant online communities to get the word out about their work.

Ollie came to me because he was interested in some of my social media success stories – mainly the great chance I got when I was able to test the brand-new Canon 550D/T2i as the first filmmaker in the world two years ago, reviewing it and posting the short “FEBRUARY”, which was the initial reason why I started this blog. And then I just kept going, fueled by all the interest people suddenly had in my stuff and my thoughts on camera gear. I also talked about “Table Connect”, the viral video project we started with my guys from LOA, where we managed to gain millions of views in no time, fooling the world about a fictional product, with news stories in major newspapers like The Sun, Forbes, or blogs like Gizmodo, Engadget, Wired and many, many more. (Read all about it here.)

So it’s clear to me social media is essential to gain some interest for your work and fields of expertise, but you need to be honest and upright at all times. It’s no different from the real world to tell the truth.

Ollie also interviewed my friend Philip Bloom and strives to interview other role models – both from the industry and in terms of their social media success – when he meets his Kickstarter goal of $12,000 which will cover his travel costs and enable him to make the film he envisions to make. These other interviewees are people like Vincent Laforet, Tom Lowe, Chase Jarvis and many others who will surely all bring different angles to an ever-evolving topic which is essential to any filmmaker’s success nowadays.

So if you can spare a few bucks, please make this happen for Ollie, I know him and have seen his work ethic, which means he will make a great film! Of course as usual with Kickstarter, there are a lot of treats involved if you fund the project, everything from appearing in the film if you attend NAB, a producer or funder credit, or a dinner with the director. And me, if you want, and I’m sure I can convince Philip too to join us for a dinner at NAB

Head over to Kickstarter for all the details!

Today a very practical blog post for everyone who still has to rely on Final Cut Pro 7 for a lot of their work (like me), despite trying to phase it out slowly (which isn’t too easy when you don’t have time to really learn another software – oh well!).

This post is about a problem I encountered when I bought SSDs both for my Mac Pro as well as my spanking new MacBook Pro 17″, and did a clean install of all the software I own on them. 

When you install Final Cut Studio (the old suite which includes Final Cut Pro 7, or 6, depending on which version you own), the installer places all the files in the Applications folder, just like it should. The programs installed are Final Cut Pro, DVD Studio Pro, Soundtrack Pro, Motion, Cinema Tools, Compressor, Apple Qmaster, Apple Qmaster Administrator and Color.

So that’s what I did, I installed the old suite, then I went to the App Store and re-downloaded my copy of Final Cut Pro X. Mac OS X of course automatically installs it, and thereby moves all the programs from the old suite in a new folder called “Final Cut Studio” (within the Applications folder).

The unholy "Final Cut Studio" folder with all the legacy applications

Why? The reason for that is as simple as it is stupid: Apple decided to call the application of the new Final Cut Pro X simply … Final Cut Pro (version 10.0.0). Weird considering in fact it has absolutely nothing to do with its predecessor, and as we all know, you can’t even open legacy projects. But this is a whole different discussion. (Read my original blog post on Final Cut Pro X here, and a recap of its presentation at last year’s NAB here).

By giving two completely different pieces of software the same name, you of course create a conflict within the applications folder, which of course is the only reason why they decided to move all of the old suite apps into that new “Final Cut Suite” folder.

Really smart idea Apple, we like the new name! *sarcasm*

The problem

The problem, you ask?

Well, turns out that Apple’s very own programs are usually only updated with Apple’s Software Update routine. A great and easy way to do updates without a doubt. However, the only folder it checks for updated applications is – you guessed it – the Applications folder. Not even subfolders.

That means that the “Final Cut Studio” folder is dutifully ignored by Software Update, which means that if you re-install your entire software library, you are very likely to never do all those necessary error-removing little updates of your old Final Cut Studio suite – like me. And, like me, you don’t realize that immediately and start to wonder if Apple built in some kind of routine into your Lion which makes Final Cut Pro 7 very crash-prone, just to sell more licenses of Final Cut Pro X.

You start really hating them when your large projects crash over and over again every time you start to render anything that is a little more processor-heavy than, say, some XDCAM EX footage.

And then you realize the above and find out its simply due to Apple’s negligence of old software, and nothing else.

Software Update - stupid piece of software that only checks file names and version numbers with the Applications folder (not even subfolders)

The solution

The solution is quite simple – temporarily re-name your new versions of Final Cut Pro, Compressor, Motion and Qmaster to “Final Cut Pro X”, “Compressor X” and so on, and move all the legacy apps from that Final Cut Studio folder back to the Applications folder. Then run Software Update. It will immediately recognize the files and suggest a Pro Video update which updates Final Cut Pro 7 to version 7.0.3 – the last version it will ever see.

After the updates, simply move everything back and don’t forget to re-name “Final Cut Pro X” and the other apps to their former names. Otherwise, you’ll have the same problem with the new software, once the next updates are due.

Then start Final Cut Pro 7.0.3 and feel happy that it still works as stable and looks just as old-school as it ever did.

Done!

I just stumbled upon this incredibly useful chart, which lists all – notably high-end – cinema cameras currently on the market, ranging from the Sony F3, the Canon C300 and the various RED models all the way to the Alexa.

It’s useful because it gives you a chance to compare the technical features and specifications at a glance. Many people ask me about differences between cameras, here you have it – at least in the high-end range of the spectrum. It even gives you a rough idea about “average national daily rental” rates, obviously talking about the US here, with Fletch Camera being a Detroit company.

Download the Fletch Camera Comparison Chart 2012 right here.