Modern cameras have incredible dynamic range - but you can only access it if you use a "log" or "Cine-style" mode when you record. RedShark Technical Editor, Phil Rhodes, explains how this works, and wonders why there are so many non-standard ways to do it!
Craig Marshall visits RØDE's headquarters in Sydney for RedShark and finds out what it takes to make high quality microphones that sell worldwide
Much has been made of the upcoming Canon 70D’s new autofocus system. Panasonic’s been working on its own revolution in autofocus. But where is it?
I recently encountered a thread on one of my favourite forums in which someone was asking for opinions on a Canon EOS-60D package he'd seen on ebay. This package included the 60D body and extras including three lenses including a battery, charger, flash cards, various filters and diopters, cleaning kit, tripod, and more. All of this was neatly photographed and posted for sale on Ebay by a vendor we'll call, in order to protect the guilty, Pretty Cheap Digital, based in New York
The Panasonic Lumix GH3 keeps amazing us with the quality of the video it can create in capable hands. Regular RedShark contributor Mark McCarthy of Sparky Media Productions takes us to Abu Dhabi, capital of the United Arab Emirates, where the clear skies, geometric patterns and striking buildings are the perfect way to test a camera
Developments in the field of magic lantern raw video continue to grow with news that developers have managed to get raw video support up and running on the Canon 50D, a 5 year old camera that predates the Canon 5D Mark II and which shipped without any video capability at all!
The new Panasonic Lumix GH3 builds on its predecessor's video-friendly credentials, offering better compression and an all-round improved package. RedShark regular contributor Mark McCarthy of Sparky Media Productions bought one, and put it through its paces
Peter J. Haas outlines how to go about planning a shoot that utilizes RAW image capture, including a file size comparison between DSLR formats and CinemaDNG , a discussion of shooting ratios and how this translates into storage requirements for a secure post-production environment
We’re in a really odd place at the moment in the evolution of camcorders. Nothing seems straightforward any more