He's the CEO of the most talked-about company in the industry. His NAB booth is the size of an airport terminal. He doesn't give many interviews. How does the mind behind Blackmagic Design work? Dave Shapton finds out
Products like the Blackmagic Cinema Camera and the upcoming Digital Bolex D16 - not to mention Magic Lantern-hacked EOS cameras are all capable of producing raw video. Just a few years back, virtually no-one had encountered this strange new format. Now, it's all over the place. Peter Haas looks at how you deal with this stuff in the real world
Blackmagic Design yesterday released an update for its $345 Hyperdeck Shuttle 2 recording device enabling recording of Apple ProRes HQ files.
A recent global firmware update for all Blackmagic cameras boosts the top Prores recording option on the URSA and introduces other fixes and improvements for the rest of the lineup.
There's a downside to new operating system upgrades: incompatibility. But Blackmagic already has their software ready to go with Mavericks
Here's another chance to read Peter Haas's epic article on when you should use raw. (It's over a year old, so you may find some of the references outdated, but it's still an important read).
I may be the editor of RedShark but until today I haven't actually had a chance to get my hands on a Blackmagic Cinema Camera other than at trade shows. Well, we do have one now and I was in London helping Phil Rhodes shoot some scenes for an upcoming article - so I just thought that, even though I'm probably the last person on earth to see the camera properly, I'd write some first impressions
Apart from colour saturation, contrast, and a a shallow depth of field, one of the most cinematic things you can do to your images is to film them in a cinematic aspect ratio. And since most sensors come in 16:9, which is widescreen but nowhere near as wide as 2.35 to 1, for example, then the only way to shoot in this format is to use an anamorphic lens, which squashes the image horizontally to fit it onto a narrower sensor