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Zacuto – the Great Camera Shootout 2011 – Episode 1

Last year Zacuto sponsored an Emmy-winning extensive HDSLR camera shootout, delivering side by side comparisons with extraordinary scientific attention to detail.

Zacuto returns this year with a brand new shootout, this time comparing the 12 “cinema-level” cameras including the 35mm Kodak 5213 & 5219 Film, Arri Alexa, RED ONE M-X, Weisscam HS-2, Phantom Flex, Sony F-35, Sony F3, Panasonic AG-AF100, Canon 5D Mark II, Canon 7D, Canon 1D Mark IV and Nikon D7000. In a huge production involving over 7


Robert Primes, ASC, designed and administered the full series of tests. “That’s right,” says Web Series Director Steve Weiss, “We didn’t want people to think that these tests were biased in any way. So Bob created the SCCE as an independent organization to conduct the testing.” Additionally, Bob Primes designed the tests with his own technicians and selected the cameras to be tested. “Our documentary is about the process that Bob took to design and conduct his tests,” says Producer Jens Bogehegen. “I don’t think people understand the scope of this project which is the largest I’ve done in 29 years of production,” says Weiss. “It was a 4 day shoot divided into two phases with 1 prep day for each shoot. Phase one had 128 crew members including specialists, 141 crew and specialists in phase two of shooting and a total of 772 people who were involved in one way or another including shooting, screenings & post process.”

Click here to go to the full 30 minute video on Zacuto… and yes, you will want to watch the whole thing.

Branding tips for Online Video Creators

Daisy Whitney interviews Miles Beckett, CEO of EQAL and the creator of LonelyGirl15, for best practices in working with brands in online video and he shared his tips on how to drive marketing ROI, how to share the brand’s creative vision, and how to capitalize on Web storytelling in this week’s New Media Minute.

From: Content Creation & Video Advertising Tips For Video Producers

10 First Looks At: Final Cut Pro X

Apple released Final Cut Pro X to the Mac App Store yesterday for $299.99. It promises better speed and more efficiency. They say the new version isn’t merely an update of Final Cut Pro 7, Apple says it’s rebuilt from the ground up. It may be too early to tell it’s hype or real, but we decided to throw together a few first looks at it.

Blender Tutorial: Camera Mapping

Camera mapping is a clever technique that allows you to take a still image and convert it into 3d geometry for use in an animation. This powerful technique is used extensively by visual effects studios for feature films, commercials and television shows. It’s especially useful for faking helicopters flyovers because it costs just a fraction of the cost of hiring a real helicopter.

VIA: Andrew Price

New Camera Allows Photos to Be Refocused After They Are Taken

Lytro Inc. unveiled plans to sell a new kind of still camera which generates a photo that can be refocused after it has been created. They say the technology will allow benefits including, eliminating focus issues in taking pictures and allowing users to generate 3-D images with one rather than two cameras.

To get a feel for what it does play with the photos below. Click on the images to change the focus.

Wushu guru Rob Dull practices in Golden Gate Park. By Lytro / Eric Cheng

What would an Internet gallery be without a picture of a cat? Here, a portrait of Pixie and Clover. By Lytro / Eric Cheng

By Lytro / Richard Koci Hernandez

Siphoning coffee at Blue Bottle Coffee. By Lytro / Eric Cheng

Shore entry in Monterey Bay, California. By Lytro / Jason Bradley

Can you spot the king? By Lytro / Richard Koci Hernandez

Press Release:

The Journey
Today, I am proud to announce the launch of Lytro and share our plans to bring an amazing new kind of camera to the consumer market.

This journey started for me eight years ago when I was in the PhD program at Stanford University. I loved photography then as I do now, but I was frustrated and puzzled by the apparent limitations of cameras. For example, I remember trying to take photos of Mei-Ahn, the five-year-old daughter of a close friend, but because she was so full of life, it was nearly impossible to capture the fleeting moments of her smile or perfectly focus the light in her eyes.

That experience inspired me to start the research that became my dissertation on light field photography, which had capabilities beyond what I could have ever hoped for. The journey soon accelerated with a full-body plunge into the world of entrepreneurship, with a dream to share this new technology with the world.

Today
I am thrilled to finally draw back the curtain and introduce our new light field camera company, one that will forever change how everyone takes and experiences pictures. Lytro’s company launch is truly the start of a picture revolution.

What began in a lab at Stanford University has transformed into a world-class company, forty-four people strong, sparkling with talent, energy and inspiration. It has taken a lot of hard work, late nights and tireless dedication to get Lytro to this point. I want to thank the entire team for their remarkable contributions, spirit, and camaraderie. I want to especially thank the very first believers: Colvin, Tim and Alex, the original magic engine of the company, and Manu, Charles and Allen for personally doing so much to help build this company. Besides the Lytro team, I want to thank my family, and my fiancé Yi (pictured above) for their continued support, confidence, and love.

We have something special here. Our mission is to change photography forever, making conventional cameras a thing of the past. Humans have always had a fundamental need to share our stories visually, and from cave paintings to digital cameras we have been on a long search for ways to make a better picture. Light field cameras are the next big step in that picture revolution.

The Future
Today is a big day for Lytro, but I believe it is just the beginning of a bright and exciting future. Photographers and casual shooters alike will be able to create and share new living pictures. I believe that as people begin to use light field cameras, we will see an explosion in new kinds of photographic art. It will be another wonderful journey to see how people use light field cameras, see where these new living pictures travel, and discover how each person chooses to take this revolution.

Welcome to Lytro! I hope you’ll follow us on the Lytro Blog, so we can keep you updated about the introduction of our first Lytro camera.

Ren Ng
Founder and CEO of Lytro

The Fast and the Furious (1955)

The Fast and the Furious is a 1955 film starring John Ireland and Dorothy Malone. It was the first film produced by American International Pictures production company. The black-and-white B-movie was co-directed by the film’s leading man, John Ireland. The story was written by Roger Corman and the screenplay by Jean Howell and Jerome Odlum. Except for the title, the film bears no relation to the 2001 film of the same name. Although, the plot was used again in The Chase starring Charlie Sheen and Kristy Swanson.

Plot:
Wrongly imprisoned for murder, Frank Webster (John Ireland) breaks out of jail to try and clear his name. With the police in hot pursuit, he’s forced to take a beautiful young woman (Dorothy Malone) in a fast sports car hostage. Together they slip into a cross-border car race in an attempt to make it to Mexico before the police catch up.

Walt Disney’s 1957 MultiPlane Camera

Walt Disney explains his multiplane camera in this 1957 film. The camera is a special motion picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various distances from one another. This creates a three-dimensional effect, although not actually stereoscopic.

The first multiplane camera, using four layers of flat artwork before a horizontal camera, was invented by former Walt Disney Studios animator/director Ub Iwerks in 1933, using parts from an old Chevy car.

The Little Mermaid was the final Disney film to use a multiplane camera, though the work was done by an outside facility as Disney’s cameras were not functional at the time. The process was made obsolete by the implementation of a “digital Multiplane camera” feature in the digital CAPS process used for subsequent Disney films and in other computer animation systems.

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