Miasma [...] first caught public attention with their large-scale theatrical vision “Call for Reduction! (in effigie)”, staged in summer 2012 at the former Ankerbrotfabrik in Vienna. [...] manifested as an intermedial happening with more than 70 participating artists from very diverse genres. A stunning installation provided the framework for the theatrical aspect of the performance and its realisation with various media. A number of HD cameras and the latest streaming technologies were employed to edit the images live and broadcast them online in real time. (Source: Donaufestival)
You can get more information about the show on their twitter account @miasmatotal, their facebook page or watch a trailer of their last production on youtube.
We had a short Skype interview with the group ArtisticBokeh, telling us more about the technical background and the challenge of working with extended theatre in the time of the internet and fragmented narrations. (Read the full interview inside)
[Update] after my interview with the group, they clarified that while the HDMI setup was used for initial tests, they were switching to a wireless HD-SDI transmitter/receiver pair. The HDMI solution was quite stable but the HD-SDI version was rock solid even after "filming while moving through the mud".
A press release just reached me via email: the group ArtisticBokeh finished a project, combining a theatre play with a video/film shooting. According to the press release, the used hardware for realizing the piece (and a live stream setup for online viewers) were
Miasma – Call for Reduction was an initial prototype that combined the media/formats of theatre and film: in three days, the performance that took place in the viennese ‘Alte Ankerbrotfabrik’ was interwoven with a movie-shooting. The actual production included the DSLR-cameramen – the cameras were not hidden from the public, but rather included in the storytelling and the stage set. ‘Call for Reduction’ was not only a performative experiment, but also consisted of various experiments with new media technologies as well as new audiences and forms of reception regarding the story-complex and the fictional world of Marie Müller, the main character of the play.
In my opinion, this project perfectly shows how a creative combination of camera and computer hardware can bring new perspectives to rather "old artforms" such as theatre. According to the press release, the group will work on additional prototypes with self-developed camera rigs and settings. You can follow them on twitter and subscribe to their mailinglist directly on their website.
Joseph Weizenbaum, German-American author and professor emeritus of computer science at MIT is called one of the grandfathers of artificial intelligence. The documentary Weizenbaum. Rebel at Work shows Weizenbaum talking about computers and globalism. He states that "if you think of the social structures of the world (...) computers came at the right time to prevent a radical change of the world". Computers finally saved capitalism in a moment, when the polulation boom needed a structural change - in some sense, computers prevented a radical and maybe better transformation, according to Weizenbaum.
The film on DVD is highly recommended by nanofunk!
The film spans 8 decades of Joseph Weizenbaum's life. It provides a stage for his humorous narrative depicting a World of Yesterday while reflecting on the dawn of the computer age. It follows 84-year-old Weizenbaum on some of his numerous public lessons, effortlessly entertaining overcrowded lecture halls. (via amazon.com)
Nikonrumors just posted the first Nikon D4 unboxing video.
Lots of photographers are still using old film cameras. Tough times, since Kodak slide films are not sold anymore. Kodak dropped and already removed all slide films from their stores.
Eastman Kodak Co has recently agreed to sell its online photo services business to Shutterfly Inc for $23.8 million.
There are still ways though to get Kodak analogue slide films on ebay:
If anyone knows of additional sources on where to get 35mm Slide Film in the web, please add your comments below.
The sensor sizes and resolution for digital video and film increase, but what displays for editing can be used when exceeding the full HD (1920x1080) resolution? Here are some opinions and examples.
1920x1080 Full HD (comparable to 2K)
For the penny saver: you could use a Full-HD LCD Television (LED) with HDMI to monitor your edits. You can get them starting at $600 via Amazon US (starting at around 500€ in Europe). Since you might produce for TV or youtube anyway, this might be the best way to go, since it is also a cheap solution.
If you need to have a higher resolution (~2.5K 2560 x 1440) the Dell UltraSharp U2711 27-inch might be the Monitor you are searching for.
3K Footage (e.g. from the RED Scarlet-X)
There is a 22.2" LCD Monitor with the resolution of 3480 x 2400 pixels - the Viewsonic VP2290B-2 22.2" and it's twin: the IBM T221. That's 9.2 Megapixels (!). The Viewsonic VP2290B-2 is available as Refurbished for $3.500 on Amazon, the IBM T221 is available used for $1.675.
You might still be lucky and get a bargain via eBay, though:
4K Footage (e.g. from RED Scarlet, RED Epic, Arri Alexa, etc.)
The EIZO DuraVision FDH3601 with a 4096 x 2160 resolution (2160p) sells for around 36.000$. You might be cheaper off with a 4K Beamer (Projector).
While the Sony VW1000ES 4K Beamer sells for around 28.000USD, the Christie Mirage S+4K 3D DLP Projector with 5000 Lumen sells used for $5,980.00 on Amazon. Still, the question is if you care about a second hand beamer: if you own 4K production equipment, you most likely have the moolah to get yourself a brand spanking new 4K projector as well.
5K Footage and above, up to 8K (e.g. from 5K RED Epic or 2x RED Epic)
If you want to go all way up to next-level 8K, you can get the recently announced 85 inch 8K Monitor. Make sure to already start saving some bucks, though.
Strangely, the trend of the past years seems to be in decreasing the pixel resolution on the displays (since there are mostly mobile screens deployed). We can expect a pixel bump in 2012 though, since the upcoming iPad 3 (and it is said also MacBook Air and MacBook Pro) will most possibly have Retina Screens with 2880x1800 pixel resolution (source: ArsTechnica).
Recommended Reading: make sure to read "The Truth About 2K, 4K and The Future of Pixels" for some background information on pixels and sensors.
Magic Lantern Unified looks promising: High Dynamic Range VIDEO for Canon cameras:
============== UPDATE ================
available for download now!
Demonstration of the new and free High Dynamic Range VIDEO feature for control over ultra contrast situations.
Discussion, workflow, RAW footage, FAQ:
Magic Lantern is a custom firmware add-on for Canon dSLR cameras. It is not a hack, or a modified firmware, but it runs alongside Canon's own firmware, booting from the card every time you turn the camera on. The only modification to the original firmware is the ability to boot software from the card.
HDR Video: what does it mean? It does not output pre-processed HDR video from the camera, rather it blends the alternative high ISO / low ISO frames together in post (see this discussion thread at Vimeo). There is of course a difference if you use two Canon 5D MKII for generating a HDR movie (as this guy did) compared to this "hack", although the development of Magic Lantern continues to impress!
Keep on rocking! We can't await clean HDMI output for the 5DMKII to use it with the Atomos Ninja (if this hack is possible at all...)
Just as Canon announced the C300 DSLR Video Camera - RED, the company behind the legendary RED EPIC camera, announces the RED SCARLET-X with Canon EF or Arri PL mount: a 4K camera with a price starting below 10.000US$. While the Canon C300 is a 1080p camera that uses 4:2:2 sampling, (50 Mbps MPEG2) and captures a total of 3840x2160 pixels with its Super 35mm image sensor, the RED has other specs: 440Mbps RED REDCODE RAW format at 444 , 12fps at 5K, 25fps at true 4K, 30fps in 3K and 60fps in 2K.
Canon also announced a real 4k Camera to be available somewhere in the next year. So 2012 could become the real year of DSLR Video.
Here is the original press release from RED.COM
RED STUDIOS HOLLYWOOD, Hollywood, Calif., November 3, 2011 – RED Digital Cinema has officially released its third industry-changing camera, the Scarlet-X. With burst modes up to 12 fps at full 5K resolution alongside 4K motion capture from 1-30 fps, the camera allows professional photographers and cinematographers to simultaneously capture motion footage and still content. Never miss a shot. Ever. Scarlet-X’s compact design, endless modularity and advanced feature set provide a future-proof solution catering to every shooter’s needs, leaving one-dimensional DSLRs and 1080p camcorders in its wake. Priced at under $10,000, Scarlet-X advances RED’s vision to democratize superlative cinema and professional photography.
Scarlet-X comes standard with a Canon EF or PL mount, which can be swapped easily using Scarlet-X’s interchangeable lens mount system. Panavision, Anamorphic, and Nikon lenses are also compatible with the camera, providing ultimate freedom when it comes to creative decision-making. The addition of HDRx reaches up to 18 stops of dynamic range, bringing digital images closer than ever to the natural perception of the human eye.
With the innate ability to capture 5K REDCODE RAW stills and true 4K motion footage, Scarlet-X produces visually lossless files that can easily be graded and finished. Combining all of the finest qualities of cinema and photography into one camera, Scarlet-X allows the customer to have the best of both worlds. Compromise nothing. Shoot everything.
“The future is dependent on those who push… not those who react,” said Jim Jannard, founder of RED Digital Cinema.
RED is now taking orders on RED.com for Scarlet-X.
Since delivering their first camera – the RED ONE – in 2007, RED Digital Cinema has jumped ahead of the pack over camera companies that had dominated the market for decades. Feature films shot with RED cameras such as the Academy Award-winning movie “The Social Network” and the more recent “Contagion” have contributed to a lineage of cinematic success. Since the 2011 introduction of DSMC (Digital Still & Motion Camera) technology, photography icons like Bruce Weber, Greg Williams and Inez + Vinoodh have used RED cameras to shoot covers and spreads for the some of the most influential fashion magazines in the world.
Follow the announcement at REDUSER.net/SCARLET.
[Update 20.11.2011] Philip Bloom posted a balanced take on the Scarlet. Worth a read.
Recommended reading on this topic: The Truth About 2K, 4K and The Future of Pixels
RAW Video for DSLR with Magic Lantern and Black Magic Hyperdeck Shuttle (vs. Atomos Ninja): 5D MKII, 550D, Rebels
[Update] Black Magic Hyperdeck Shuttle 2 as well as the Atomos Ninja 2 Recorder are already out. We are reviewing them shortly, as we have used both already in production. Both are capable of DNxHD as well as Apple ProRes.
SLR Film making got even more exciting: with the availability of HDMI recorders, RAW Video footage can be recorded to get the maximum out of your Canon 5D MKII or other camera compatible with Magic Lantern. Standard Firmware does not output a "clean" HDMI signal, at least not for Canon cameras; the Panasonic GH2 produces a clean HDMI output, as noted by Philip Bloom (!).
What are currently recommended HDMI field recorders?
1. Black Magic Hyperdeck Shuttle (RAW Video)
2. Atomos Ninja - Portable HDMI Recorder (ProRes)
Unless you are super-rich and have tons of money to spend for Solid State Drives and a RAID Array, you should get the Atomos Ninja. Besides the actual device, you also get a monitoring solution and have a true portable device, that creates files usable with normal hard drives. Overall cost is much lower and there should not be a really visible difference from ProRes to RAW footage. If you are into Bokeh Porn, you might want to spend your money in the Black Magic Hyperdeck Shuttle.
Keep in mind, there are currently some issues with HDMI out an Magic Lantern: there is a video on the 5D MKII's 1080i out and also some discussions going on in the Magic Lantern Forums, because some processing needs to be done to get actual usable files. Actual resolutionis 12-19% less (depending how you do it) but still the results are awesome - especially in low light situations. Maybe we will get real clean HDMI out with the Canon EOS 5D MKIII.