que actualmente compiten en el mercado del cine digital. The following video is an interesting short that mixes footage with the three digital cameras now compete in the digital cinema market. y su reciente competidora la Panasonic GH1 . This is the familiar RedOne, specifically for digital cinema and two SLR with HD video function: the very mented Canon 5D MarkII and its recent competitor the Panasonic GH1.

Even having a big jump between the RedOne and the other two, who after all they are still cameras with video function, the short is fully balanced in all respects. No significant differences between the planes shot with either camera, of course, that the low resolution and compression Vimeo help even the shots. Still, we can see the potential for a camera of 1500 € as GH1.

Also worth noting is the short itself, simple but very powerful, not only in image but also for its content and the excellent work of the unknown actress.

It has been run by the directors Byron Shah and Jason Ensler for the company Hollywood film material Birns and Sawyer .

Red One, Canon 5D Mk II, and Panasonic Lumix GH1 Comparison Footage from Birns and Sawyer on Vimeo .

Canon has listened to repeated requests from its users about the lack of manual controls in the HD video mode of the 5D MarkII popular and has finally developed a new firmware to unlock these features.

Due to popular demand is now possible to change the aperture, the ISO and speed in video mode, although the frame rate is still 30fps, though users also claim a frame rate of 24fps.

The firmware will be available for free download on the official website of Canon from June 2.

This provides food for thought to what extent the brand play with users, to what extent are "castrated" the products we buy and if when we change our cameras by top models, we are actually buying back the same camera we had with just a firmware again.

Hidden somewhere in the 5D, sleep a variable framerate Canon currently does not want to wake up.

After a while unpublished, back again, this time with news about the camera more minds lately videographic circles: the usual Canon 5D MarkII.

It seems that as this camera is being tested by different professionals and amateurs, is ceasing to be a mystery and we can already draw some conclusions about their suitability as a film camera.

We collect information from two sources that lead to these conclusions. First publication in the Spanish site of Cameraman we describe in detail the workflow that the director Javier Fesser used in commercials for Groupama Insurance, played by Iker Casillas. This interesting article details the advantages and disadvantages over the processes of preproduction, shooting and postproduction.

In addition to the forum Cinema5D you can find extensive information on all aspects of this camera applied to films, produced from the experience of users as well as examples of production carried with it.

Making a brief summary we can draw the following basic conclusions:

PROS

• Fullframe Sensor
• Possibility of using high-end photographic lenses much more affordable than the optical film.
• Excellent low-light response.
• Small size, light weight and price.
• The longed depth of field, and as emotional as film.
• It also takes photos

CONS

(Updated information in this post )

• Only logged in automatically. You can not control and diaphragm or exposure or ISO while recording video. Which obviously is not practical and we must resort to "tricks" to "fool" the camera and be able to modify at least some of these parameters.
• Only records 30fps. A nuisance for lovers of 24fps and the rest of us who live in PAL region, domain of 25fps. And some say, no problem, the framerate is converted in post. It is possible, but the solution is not saved from inconvenience. In panoramic camera movements in general, the "jumping" of the conversion are clear and there is no elegant way to solve this. Not to mention the flashing or "flickeo" that will produce artificial lights in PAL regions.
• Records in H264, an aggressive compression format, not suitable for critical post-production, low dynamic range and suffers from fairly obvious compression artifacts.
• Has HDMI output But if you thought you could record this signal directly to a hard drive to save the compression, you're wrong. For the HDMI port launches a signal "capada" resolution much lower than the 1080p is able to give this camera, which only serves to preview and little else.
• It is possible to use both manual and automatic focus, but we must bear in mind that no longer the focus of a "camera" that is thought to take a picture and do not follow trasfocos or other wonders that we can think of to do with that beautiful depth of field that allows the camera. Fortunately when the need tightening, people move faster and longer on the market devices that mimic the controls of an outbreak of film cameras and other accessories for tuning this camera. Here is an example of the most sophisticated: ZacutoStore.

SOLUTIONS

• Using Nikon lenses with adjustable diaphragm's aim.
• Making measurements on dark and then use high-density filters to balance the diaphragm.
• High compression and defects of frame rate conversion to make Downconversion offset is defined as using the HD 1080p for a final product in SD format. Or what is the same scale of 1920 × 1080 to 720 × 576 (for PAL), which device, noise and other go unnoticed.

These findings, although basic, we can provide guidance for when choosing or not this camera for our productions.

You will have probably already heard the announcement that Red did last November 13th.
Red has done it again. As anticipated and Jim Jannard , Red was going to revolutionize the market with a new concept camera, the DSMC (Digital Still Camera Motion), which is said not to have even more surprises.
Here is the complete list of specifications , models and other accessories that have been announced as a probable future.

In summary the major stakes and innovations of network would be:

• A modular system allowing endless configurations. Extensions and combinations of lenses, bodies, sensors and accessories almost without limit.

• Back longed concept camera for life, or what they call Obsolence Obsolete, which means that the camera is updated over time, via a modular or firmware, without the need to change machine every time you leave an update.

• A range of sensors ranging from 3k to ... 28K!

• . New "brains" that add to the already known RedOne: Epic Escalet and redesigned and combined with the new sensors Misterium X and Monstro.

• Motion Digital Still Cameras, or what is the same, the final chamber, which is valid both for professional photography and cinematography. With Canon and Nikon mounts to specifications.

• REDCODE RAW recording format developed and supported native in the future by leading manufacturers (Adobe, Apple ...)

• A RED 3D future.

In general the list of every professional audiovisual Christmas could ask ...
Everything ..? I would not say much ... The Achilles heel of all this orgy Megapixels and Gigabit (which is ultimately what it comes down footage from these monsters) is storage and processing power of computers.
Are you already developing the hardware that these 28K pull in RAW?.
Who is making the economic storage system, cheap, durable and reliable, allowing to keep all this information without risk to fade in a couple of decades?

The company that meets this challenge successfully will have a parallel to the real network and then we can talk of revolution. For now, while RED, or otherwise, get a Digital Still Camera Motion 2k, with variable frame rate, lightweight, economical, with wide dynamic range and sensitivity ... happy to have 98% market share. Let's see if you get really.

In relation to the last post published on the spectacular first promotional video shot with the Canon 5DMKII, you can now download from Canon's official website several original video clips. No catches, no format conversion or rescaling, without post-production. The clips are offered by Canon as they left their new 5D.

The patio is upset, and although everyone agrees the spectacular progress, many question its usefulness by not having a way to 24 fps. So far recorded at 30fps and the filling not have many options.
Since the page Prolost , Stu Maschwitz, is campaigning seriously to ask Canon firmware update for the camera adminta 24p. We invited them all to leave any feedback in the blog of Vincent Laforet (as the creator of said short) claiming the 24p to Canon. Stu took it as something personal and it almost has written a letter requesting the Japanese company this role.
Well, nothing, to see if we ignore ... but seeing how the market will most likely be left for MRKIII ...

As was rumored throughout the community as audiovisual and discussed in this recent article , the market is about to change dramatically. de la cámara prestado por Canon durante 3 días . The inclusion of HD video in high-end cameras is to blame, specifically Canon, with its new 5D MKII, has surprised both friends and strangers with candy like this: Reverie, shot by photographer Vincent Laforet on a prototype camera provided by Canon for 3 days.

The response from the competition has not kept you waiting, and self-Jim Jannard, founder of Red, said the following on the official forum of their offspring:

Have we changed everything about Scarlet Because the market has changed and We Have a Lot of Things discovered in the process. We Have A new vision.

Of Wipe you minds Scarlet Announced the Past. Forget the design and forget the price. It is all Different Now. We think you will be surprised. Any Glad We Did not take deposits ...

Jim

In short, following the announcement of the new 5D 1080p/30fps, the market's reaction and particularly of Red, Scarlet is that its expected it will take a new course and will be completely redesigned. What new surprise will Jim preparing?.
The soap opera has only just begun and hopefully for good.

We will resume online EfectoHD technical articles, trying to shed some light on a confusing concept that you sure sound: the gamma correction.

, a los dispositivos que la reproducen ya la luminosidad del entorno donde la estamos viendo. The gamma correction is responsible for the "feel" contrast of an image, and we feel it is not something inherent in the image, if not the registered devices, devices that reproduce the ambient brightness and where we are seeing.

That is why one image looks very different depending on the monitor or system that is playing as well as the surrounding brightness. A single image may appear white or "washed" in a system, while another can appear dark contrast, all due to the gamma correction is applied.

Although each system has its own intrinsic gamma correction, it is important to understand how it works.

To understand the concept of gamma applied to image processing, we must first understand the concepts of "linear", "logarithmic" and "dynamic range."
While the explanation of these concepts would take at least a long article for each one, yes we do here a little closer.

THE REAL WORLD DYNAMIC RANGE

The dynamic range of an image would be the scale between the maximum brightness and the darkest value. y el valor máximo de luminosidad posible, que sería, por supuesto, el Sol . If we apply this to the real world, the dynamic range situraría for example between the value of an opaque surface, black and reflects no light and the maximum value of light as possible, which would, of course, the Sun.

Thus the dynamic range of "reality", although the concept sounds a bit abstract, is incredibly broad, almost immeasurable.

But since this is not useful for practical purposes of this vast dynamic range, only take a fraction, the fraction of values that the human eye work.

DYNAMIC RANGE OF THE HUMAN EYE

(más allá de ese valor estariamos hablando de un espejo). Although the dynamic range of the human eye is also very large (at least 4 times more than the best film negative) could normalize their values and make a range of measures from a black surface that reflects only 1% of light and such a white surface that reflects 90% (beyond this value would be talking about a mirror.) The remaining 10% would be reserved for objects that produce their own light candles, lamps and finally the sun.

“, el ojo humano no percibe detalles en ellos, sólo una luminosidad cegadora , que no es sólo un 10% mayor que la superficie blanca antes citada, si no 1000, 10000 o 20000 más brillante. That is the human eye moves between the 1% -90%, which is where almost all the values perceived contrast and detail are above 90% and 100% until the maximum light provided by the sun, we can speak of "SUPERWHITE", the human eye does not perceive details in them, only a blinding light, which is only 10% higher than the white surface cited above, if not 1000, 10000 or 20000 brighter.

. Therefore we can say that the human eye has a nonlinear response with respect to the brightness of the real world: with increasing brightness, the perception of such light by the eye is not proportional. Mathematically this is a form of expression: a logarithmic function. Here, then, the three concepts: dynamic range, linear and logarithmic.

LOG RESPONSE

The negative film and photography are also a logarithmic response, similar to the human eye: the more light is exposed to the emulsion, the darker, but not in proportion as it has a cap that is determined by the density of negative.

Likewise the response of a CRT monitor is also logarithmic.
In particular the electron beam hitting the phosphors, it has a linear relationship with the voltage applied to it. Its intensity increases logarithmically, and so lienal no increases or decreases the contrast and brightness of the image reproduced.

This relationship between the applied voltage and light responses, or the relationship between the chemical emulsion and its response to light, must be quantified, and corrected if necessary in order to determine what the "look" of the resulting image.

GAMMA

This is where the concept comes into play GAMMA.
The GAMMA is a numeric value that provides the valuable information to know how much is obscured or shine an image to be reproduced by a device. This value is intrinsic and affects all the images that reproduce and thus altering its brightness.

It is therefore necessary to introduce a GAMMA CORRECTION OF avoid altering the image display and balancing devices with different gamma.
This is essential, for example if several people are working on the same image on different computers.

Here's something a little more complicated because in reality, we must speak of three different GAMMA.

• GAMMA monitor: is the numerical value increases the value of image pixels and converts the brightness of the image. It is intrinsic to the device because of the behavior of its components. It is invariable and must be provided by each manufacturer.

• Gamma Correction: it is the numerical value with which one must compensate for the gamma of a device to show the original, unaltered image.

• GAMMA resulting: the numerical value is obtained to compensate for monitor gamma correction with gamma. Is obtained by dividing the monitor gamma / gamma correction. Although in theory to avoid altering the image, its value should be 1, is usually no attempt to give a value of 1.1 or 1.2, so the image is perceived a little darker and contrasted, which is often preferred.

On the other hand is essential viewing environment for this image also alters perception. While darker the viewing environment (living in darkness, cinema ...) should be higher resulting gamma to achieve a correct view.

Put this into practice.
. CRT monitors have an inherent gamma of 2.5.
In PC systems, gamma correction is set to 2.2
. Therefore the resulting gamma is: 2.5/2.2, which gives us a gamma of about 1.1. Just enough for a dim viewing environment

que se multiplica por gamma del proyector de revelado, que es 2.5 . The negative film has a gamma of 0.6 which is multiplied by gamma revealed projector, which is 2.5. . So with 0.6 × 2.5, a gamma of 1.5's overwhelming. Just enough for a room in darkness.

, que es más apropiada para imágenes impresas. With their share of MAC systems typically apply a correction to gamma 1.8, which is more appropriate for printed images. . Resulting in a final gamma of about 1.4, so the same image will look much more contrasted than in a PC.

The TFT, Plasma, LCD, etc but have a very different technology to CRTs, trying to imitate his response, so the gamma correction of 2.2 would also be suitable to them.

The domestic TVs do not apply any gamma correction. For this reason the correction is applied directly on the camera to record. That is, every image is recorded with a camera for gamma correction of 2.2.

It is therefore important to control the gamma correction in the whole network device goes through an image (camera, monitors, projection systems ...). For this there are the so-called LUT (look up table or lookup table) that are shared between devices and simulate the image would look like in each system.

It is a complex and confusing concept but of enormous importance. Inadequate management of gamma correction can lead to undesirable effects, yet is a relatively easy problem to solve, re-adjusting the gamma correction of the system until it resembles the gamma that was created.

Bbliografía:
Digital compositing for Film and Video (Steve Wright)
Charles Poynton, Color technology

, el creador de Red One y su prole, Scarlett y Epic, ha reaccionado y anuncia una revolución. We went on vacation and we are surprised to Nikon SLR cameras that also record HD video 720p/24fps ... But it seems that Nikon has only uncovered a small corner of the Pandora's box ... Jim Jannard, creator of Red One and their offspring, Scarlett and Epic, reacted and announced a revolution. ) o lo que es lo mismo una cámara, ya no de vídeo, ya no de foto, sino una cámara integral que alberguará las dos opciones. The visionary creator of Red, who is also an avid photographer, says that in the near future (as close as next year) will begin developing a new concept camera, which he calls DSMC (Digital Still & Motion Camera) or what is the same as a camera, no video, no picture, but a comprehensive camera hostelling the two options. A DSLR that records HD video, which makes the RED ONE 20Mp photos?

. For its part Canon seems to have also a surprise in this regard and already saying that its new 5D can record at 1080p. The revolution is near.

How about taking advantage of optical reflex to record video without all this paraphernalia ?
Is the depth of field longed finally available to everyone? "Video on RAW? HD "on economic Fullframe sensors?

This unification seems a natural evolution of market and if RED is maintained in that line, will serve as incentive for large companies in RED are already a competitor to be feared and respected, and only a couple of years!.

It seems that we will live again changing times in the audiovisual market, and it is not new formats, in SD against HD, but a radical change in concept, which should be redeveloped, the ergonomics of the cameras, access manual checks, formats for recording, storage systems, software editing and retouching ... The future is promised interesting.

Seen Prolost