Because of its lack of video capabilities and its relatively low resolution, the Nikon D700 never attained the level of buzz the Canon EOS 5D Mark II did, despite being an excellent camera. With the D800, Nikon looks poised to catch up to, if not overtake, Canon in the hearts and minds of full-frame devotees.

With all the information about the D800 having leaked in advance, it’s easy to tell what’s been most attention-grabbing: the high-resolution sensor and the D800E sibling model which incorporates a modified low-pass filter system that results in little to no antialiasing. There’s no doubt that the combination should appeal to professionals like studio and wedding photographers.

— CNET.com | Read the Full Article

With clean 4:2:2 video coming off the HDMI port, this camera has a lot of people very excited. Here’s one of the first shorts shot on the Nikon D800.

Behind the Scenes:

When you think of a 35mm sensor camera, what characteristics come to mind? Probably the first is shallow depth of field. It is part of what many consider the “look” of that imager size and a principle defining difference between it and other formats. But while some consider this the chief attribute of the format, others may find it to be a detriment in certain situations. For those shooting documentary, run-and-gun productions, a deeper depth of field may be preferable to maintain focus. Fortunately, there is another major facet to the latest crop of 35mm sensor cameras – a very low noise floor. This means that in a camera such as the Canon C300, a wide range of ISO settings can be applied with little objectionable artifacting to the image. Using the concept of the “variable depth of field camera,” you can adjust the available parameters of the camera to yield the depth of field desired for any given image. Watch the video to see this concept demonstrated.

In the world of independent filmmaking, it’s easy to assume that more money can make any problem go away. But most filmmakers–independent or mainstream—will readily admit that nothing derails a project faster than being unprepared before the production begins.

It’s tempting to think that the $20,000 budget that you’ve scraped together through loans, personal savings and credit cards—and possibly an illegal act here or there—will trump readiness. It’s not true. So many films don’t get made because of poor planning, or just assuming that you can make it up as you go. Granted, it’s much easier to shoot now with digital as opposed to film, but it should be fairly obvious that you can’t just turn on the camera and film until the battery dies. Because the work that you’ve put in during pre-production will help in post, when you’re editing, looping sound, or trying to figure out how the boom ended up in all of those shots.

—Film Slate |Read the Full Article

Parts Mentioned:

• Cinevate Base Plate (Option 1)
• Affordable Manfrotto Style Base Plate (Option 2)
• Friction Adjustable Arm
• Express35 Grip (Handle 1)
• Cinevate Grip (Handle 2)

Kellie Sigler and her husband have spent the last two years developing a low priced helicopter platform for aerial photography. Launching through Kickstarter, the basic 6-blade hexacopter with 24lbs of thrust can be yours for a cost of just shy of a grand.

But that’s not the coolest part…

For a few more dollars, this badboy can be rigged up with the APM2 - turning it into a fully automated Unmanned Aerial Vehicle (UAV). That’s right – a full autopilot system programmable with Google maps.

Check out their Kickstarter page.

When shooting interiors with available light whenever possible WORK WITH THE LIGHT.

It’s actually a rule you should use whenever and where-ever you’re filming, not just inside without lights, but it comes into its own indoors. Don’t fight the light (hmm… could make a good album name!), use whatever light there is in the environment to your advantage and don’t make things hard for yourself. I like to split this rule up into 3 “sub-rules” (no not sub-rolls!). These include:

Controlling the light by closing/opening blinds and curtains.

Utilising whatever electric lights are in situ (table lamps, overhead lighting, monitors/tv screens).

Standing your subject facing a source of light (a window for example) to illuminate him/her on screen – Avoiding shooting against bright backgrounds and having to battle with your exposure.

— Through the Lens | Read the Full Article