This is a beautifully shot film by James Miller, highlighting Magic Lantern‘s latest, experimental feature for Canon DSLRs; RAW video recording in-camera. There are plenty of other examples of RAW DSLR videos here. The images are stunning, and resolve many of the issues DSLRs are plagued with, namely compression. Not only can these clips be graded aggressively, they are also sharper, and retain so much more colour information and fine detail. Miller is offering the original RAW Carousel clip for download here, allowing anyone to see the flexibility of these images.
The Magic Lantern team have managed to create RAW video files on the 5D Mark II and III. It’s in the early stages and is currently more or less unusable for video due to the buffer rate of the camera and card speeds. There’s a good overview of the current state of the RAW experiments over on EOSHD.
At the same time, Blackmagic’s recently announced pocket cinema camera is set to ship in July with RAW and ProRes recording, priced at USD $995, footage of which can be seen here. This is all rather astonishing news, seeing as RAW didn’t seem to be something the prosumer, let alone the consumer market, would see for a long time.
While discussing cinematography in Film-TV 1, I started to wonder wether cinematography ended after the production stage. After all, the cinematographer will often work with the colourist to create the desired look, which is technically post-production. Then comes visual effects work, which means post-production artists might end up having a larger impact on the production
by Mitch Myers
Infrared Time-Lapse Movie Footage by Andrew Shurtleff
Music: Cloudlight : Eskmo
As part of my Integrated Media course, I read through an extract from The discipline of noticing by John Mason. While somewhat mundane on the surface, it did touch on the importance of consciously registering things you see or hear, or sense in any way. We often overlook or ignore much of what we see. Mason
Just over a week ago, Canon released this press release announcing a brand new prototype; a 35mm CMOS sensor for video, that can record even faint stars and only requires the light of the full moon to capture a scene. Yes, feel free to reread that. Can this really surpass the human eye? No word on dynamic range yet but I think humanity is still superior in that regard – for now…
‘The sensor facilitates the shooting of clearly visible video images even in dimly lit environments with as little as 0.03 lux of illumination, or approximately the brightness of a crescent moon.’ — Canon Inc.
I think for once I can genuinely say there really aren’t any spoilers, unless you don’t want insights into Malick’s process – but who wouldn’t? I’m already excited. It’s a shame Australia has to wait till April.
If this captivating, one take wonder doesn’t impress you, just wait till you see how it was shot.