Have a close look at this video clip. It’s an advert for a high-end kitchen worktop manufacturer. Watch it in 720p, and look as closely as you can at the camerawork, the clever use of depth of field, the lighting, and particularly the fresh fruit.
And then reflect on the fact that no cameras - or indeed fruit - were involved in the making of this at all.
We may be reaching the point where the tools, gadgets and gizmos that we love to buy are simply good enough. This is the first of two articles (the second will be by RedShark Technical Editor Phil Rhodes) about what happens when our technology simply gets to the point when we don't actually need any improvements.
These days you often find that the most cutting-edge technology is in our smartphones and not our cameras. But the professional and the consumer markets do cross-fertilise, and it benefits us all
You wouldn’t expect the video business to take lessons in innovation from a company that makes low-cost mixing consoles. But, in the case of the Mackie DL1608, it probably should.
The ARRI Alexa has become hugely popular due to the intelligent processing and the delicious image it creates.The company’s latest camera, the Amira, thus has an exceptional pedigree and, in this review of the first Amira in Australasia by Kiwi cinematographer Donny Duncan, proves to be a pretty exceptional camera too.
Why do people put video from one of the world's top cameras on YouTube with the expectation that we can judge the quality of the material? Just to make it perfectly clear: video on YouTube is highly compressed.
The paralysis of choice: The modern camera has a vast array of available features, but too often we find ourselves having to jump through hoops to get basic usability via add-ons, or standing in front of a bewilderingly long and involved menu scratched our heads trying to work out what it is we actually want. Just like buying a coffee. As Simon Wyndham writes, this needs to change.
There is always a frisson of excitement generated by big chip cameras, but that doesn’t mean they are always the best answer to the job in hand.
Ultra slow motion cameras, the sort that will run above 10x, had a bit of a field day at the Olympics, with nigh on 50 units from various different manufacturers deployed during London 2012 alone. Their next task: getting to places that ultra slo mo has never been before, with NAC’s Hi-Motion II leading the way. Andy Stout observes.