Above: Lanparte Blackmagic cage Patrick at the Blackmagic Design UK offices contacted me today to put some official information out there about what is going on with shipping. The source of the information is Simon Westland of Blackmagic Design EMEA. His statement has now been expanded from the ones he made originally to Televisual magazine earlier this morning…
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The latest news on cameras, from EOSHD
Blackmagic are holding an event right now in LA and information is being reported back by attendees from the Blackmagic reps present. EOSHD takes a look at what’s new…
I’m releasing today a special 50D edition of my extensive 100+ page book about shooting raw video with Magic Lantern. Get it here!
It is mid-July and the new Blackmagic cameras – Pocket Cinema Camera and Production 4K Camera are due to ship imminently, which I am very much looking forward to. In anticipation I have been building up a collection of Super 16mm c-mount glass for my Pocket Cinema Camera. However in my inbox today was a frustrated sounding email from London’s CVP titled ‘When will I get my Blackmagic Cinema Camera?…
BBC documentary filmmaker Adam Curtis is showing his latest film this week at the Manchester International Festival in the UK. Massive Attack provided a live sound track. I was there and although I don’t usually review films on EOSHD this occasion warrants a few words.
The Contax Zeiss Distagon ‘Hollywood’ 28mm F2.0 is a classic fast wide for full frame and is incredible on Super 35mm as well. Wide open it’s one of the sharpest F2.0 wide angle lenses available and it has very little distortion. The Contax Zeiss version fetches $800 on eBay but there’s a $60 wolf in sheep’s clothing called the Pentax PK 28mm F2.0 which has a fascinating story behind it.
Spielberg recently said he felt the multiplex cinema filmmaking industry was heading for implosion, where someone making a $250m popcorn movie forgets to add a compelling reason for an audience to see it. A string of massively costly flops follow, bringing the system to its knees. The soft opening of Lone Ranger (a western with Johnny Depp by the makers of Pirates of the Caribbean) points to Spielberg being right…
[vimeo]http://vimeo.com/69803484[/vimeo] Red shooter Ryan Lightbourn has been shooting with the Red Scarlet-X and raw 5D Mark III on the same production. His aerial shots reveal very little difference between the cameras but also some striking observations regarding the 5D Mark III’s raw prowess.