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
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
This will be the year when everyone realises that our industry (and, for that matter, every industry - but especially ours) is on an incredible journey. It's as if you only have to wait a year or so for your wildest technology dreams and fantasies to come true
The world changed again today when Blackmagic introduced two more cameras. A 4K camera for $3,995, and - a total surprise a "pocket" digital film camera for $995. An excited Freya reports
If you're one of the people who's preordered a Blackmagic Cinema Camera, unless you're very lucky, you will probably have noticed that you don't actually have one yet. RedShark, in common with the rest of the world’s media, is eagerly awaiting the arrival of a camera to put through its paces.
Here's our post IBC show in its entirety. It's a long one - over an hour, so if you haven't got time for all of it in one session, we've indexed it below so you can jump straight to the parts that interest you
Whenever a popular new camera (or class of cameras in the case of DSLRs) bursts onto the scene, you can guarantee that a small industry will grow up around it supplying accessories and paraphernalia that wraps around the camera, giving a standardised and flexible system to mount external gear on