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It’s been quite a year for digital cinema cameras. We’ve seen new models of all sizes and form factors, from the hugest to the smallest, from still cameras that take amazing-looking video to video cameras that also shoot high-resolution stills. Here are some of the new and improved cameras of 2012. . . . CONTINUE READING: Camera Gallery 2012 
San Francisco rock musician Chuck Prophet has released a new video—Part II of a musical tour of San Francisco, named for his newest album, “Temple Beautiful.” After recording his last album in Mexico City, says Chuck, “I was looking to make a record closer to home.” Part I of Chuck’s Temple Beautiful video tour was released in February. In Part II we visit Chuck’s home and studio and many of his old haunts in the Mission and North Beach. . . . CONTINUE READING: Temple Beautiful—Part II of Chuck Prophet’s Musical Tour of San Francisco 
I’ve got the best view in the house. I’m poised on a folding chair in a photographer’s dugout just below ground level, at the edge of the diamond at AT&T Park in San Francisco. It’s the bottom of the ninth inning, and the Giants are losing to the San Diego Padres 6-3. My camera is less than two feet above field level. As I look straight out through protective netting, I am focusing on Giants infielder Joaquin Arias at the plate, no more than 50 feet in front of me. A right-handed batter, Arias faces away from my vantage point on the third-base side of the field, but I can clearly see his body language throughout the at-bat and see his face during his follow-through. . . . CONTINUE READING: Shooting Giants: Photographing Baseball from the Diamond’s Edge 
Rock musician Chuck Prophet has released a new video, Part I of his musical tour of San Francisco. The video features scenes of Chuck playing cuts from his new Temple Beautiful album and chatting about songs inspired by various iconic settings in the City by the Bay. “If ever Cain and Abel went into business together, it would probably be something like the O’Farrell Theater,” he says in front of the Mitchell Brothers’ porn paradise (for “The Left Hand and the Right Hand”). Other locations include the Geary Street site of both Jim Jones’ People’s Temple and former Punk club The Temple (“Temple Beautiful”), Harvey Milk Plaza at Castro and Market (“White Night, Big City”), and various downtown corners (“Who Shot John”). . . . CONTINUE READING: New Video from Rocker Chuck Prophet: ‘Temple Beautiful’ Tour of San Francisco 
The amazing little GoPro HDHero cameras can record full 1080p HD video, as well as timelapse and single shots. They’re tiny and easy to rig anywhere, as in the setup below where we used them on a corporate shoot, mounting six on laptops for a video chat, instead of the built-in iSight cameras. But camera movement is where the GoPros shine. The HDHero comes with helmet mount, auto mount, body mount, or wrist mount, with both waterproof and non-waterproof housings. I recently bought the HDHero camera, helmet rigging, suction cup for autos, tiny clip-on LCD monitor, extra batteries and clip-on battery pack. In Timelapse mode on the GoPros, you can only control the interval between shots (2, 5, 10, 30, or 60 seconds). Everything else is automatic—shutter, aperture, video gains, etc. . . . CONTINUE READING: Traffic Study—Timelapse with GoPro & 5D 
I shot a one-day HD job this week for a Silicon Valley company … in Paris. Another shoot with two Canon 5D Mark II cameras, mine plus one belonging to the production company. All in all, I was in the air about 22 hours, and on the ground for about 48. I did have a couple of hours to prowl around through the heart of Paris on our arrival day with my camera and director Dan Smith. . . . CONTINUE READING: Prowling Through Paris 
Less than an hour after my last post (Brazil: Some Days the Bear Eats You), my friend The Dave Mitchell responded on my Facebook page: “Nice, Bill. Easy days are completely forgettable.” Isn’t that the truth? “But,” added The Dave, a freelance gaffer/key grip, “I’m available if you’ve got any coming up.” If only! After our tough time at the tower, the next couple of days shooting in Brazil were smooth as silk. Just as The Dave said, I can remember little about those shoots except for what we did and where we did it. I always find it amazing that I can easily spin out 1500-2000 words describing a bad day, but smooth shoots leave me with less material. That’s why OO stories (Overcoming Obstacles) are so popular in movies. It’s hard to find a narrative arc in a yarn about happy professionals cheerfully moving apace from setup to lovely setup. . . . CONTINUE READING: Brazil: Smooth as Silk 
On my first day in Brazil, I visited the rental house with Mush and Heeka. I brought my Canon 5D, a slew of lenses and two GoPro cameras with me from the States, but we’ve arranged to rent a second 5D camera body, two tripods, a small monitor, a wide angle lens, and some accessories from Universo Imagens here in São Paulo. Visiting the rental house is a time-honored ritual on international shoots. The most interesting rental house experience I can recall was in India several years ago. In a small warehouse crammed with a variety of battered and somewhat obsolete lighting instruments, a dutiful staff brought out each light we were renting, then plugged in and turned on each one. I’d seen this ritual before and was impressed that almost every light actually worked. Then I noticed that, because of rain pouring in under the rollup door, the floor was wet. In fact, the staff members were standing in puddles, barefoot, as they plugged in and demonstrated their lights. I backed cautiously away, nodding approval at the demonstration, but a bit cowed by the unholy mix of water and electricity. On another shoot in Taiwan, the staff demoed . . . CONTINUE READING: Brazil: Visiting the Rental House 
On my first trip to Brazil in 1993, I was shooting for a Japanese high-tech company. We arrived in São Paulo and went out to scout at our client’s manufacturing facility nearby. We met with the general manager of the company, a Brazilian who was impressed by this visit from corporate headquarters. “What can I do for you?” he asked our clients from Tokyo. “Where would you like to film?” “We are here to film the manufacture of our cellular phones,” they responded. A frown crossed the general manager’s face. “Cellular phones?” he asked, then consulted in Portuguese with several of his colleagues. “We have not made cellular phones here for three or four years now.” Somehow, the geniuses in our client’s PR department hadn’t gotten the word that the cell phone manufacture had been moved to the Philippines a while before. We did some filming in the factory anyway, but we still needed a compelling story. Through our local production company, we found a sports radio reporter who used a cell phone to issue soccer game reports from the sidelines. Pretty advanced for 1993! Last year I returned to Brazil, this time to the smaller city of . . . CONTINUE READING: Back to Brazil 
This Seagull right-angle viewfinder offers great flexibility of camera angles for my Canon 5D Mark II, but only when shooting stills. It’s solidly made, sharp, lightweight, inexpensive (about one-third the cost of the equivalent Canon product), and includes the unique Usage Manual below. . . . CONTINUE READING: Seagull Right-Angle Viewfinder’s Unique Usage Manual During the recent NAB Show in Las Vegas, I attended a panel discussion and screening of a series of tests called the Single Chip Camera Evaluation. The SCCE shootout, produced by an independent, ad hoc group named Image Quality Geeks, compared 11 single-chip digital cinema cameras, along with two 35mm film emulsions. These extensive tests, designed for “apples-to-apples” comparisons, provided a comprehensive look at the following cameras. . . . CONTINUE READING: NAB 2011: Digital Cinema Camera Shootout The National Association of Broadcasters annual trade show takes place next week at the Las Vegas Convention Center. I’ll be there for a couple of days to check out the new cameras, among other things, and I’ll post several reports from there. Here are some announced/rumored items I’ll be taking a close look at: A prototype for the next (and most advanced) addition to Sony’s Cine Alta line, a new camera for digital cinematography with a sensor greater than 4K. Jon Fauer, in an article in Film and Digital Times, says the new camera will shoot from 1-72 fps in normal mode, and 1-120 fps in High Frame Rate mode. . . . CONTINUE READING: NAB 2011: Show Preview |
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