RedShark News

Vintage lenses for large-sensor cameras - Part 1

Published in Production

In this meticulously detailed feature, Uli Plank shows us how to look for lenses up to 50 years old, and use them with our modern, large-sensor cameras.

Video comparison between Canon 1D C and Sony F55

Published in Production

Two very different cameras with the same claim: very high quality 4K footage

First 5D mk III RAW videos appear

Published in Technology

We're taking this at face value. If this is what it says it is, it's the first proper video from a Magic Lantern-modified 5D mk III showing actual raw video

This new device from Atomos is what DSLR users have been waiting for - and its half the price we expected!

Panasonic GH3: Amazing new footage from this $1,300 camera

Published in Production

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

Opinion: Is the DSLR dead?

Published in Production

With the ever-increasing choice in video cameras, some strong opinions are emerging. Craig Marshall reports

In Pursuit Of Excellence: The RØDE Microphone Story

Published in Audio

Craig Marshall visits RØDE's headquarters in Sydney for RedShark and finds out what it takes to make high quality microphones that sell worldwide

Panasonic's GH4 has exceeded all expectations. It's a 4K professional video camera in the guise of a still camera. It has stuff never before seen on a still imager. Here's our in-depth look at this stunning new camera

Is the move towards large-sensor cameras completely one-way? Simon Wyndham doesn't think so

Preparing to shoot RAW

Published in Post

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

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