If you want to survive in the digital cinematography future as a camera assistant, there are a few things you’re going to need change. These adaptations may be easy for you, others may not, but all of them will play a crucial role in your career path.
Articles Tagged with "Digital Cinema Filmmaking"
Award-winning cinematographer Roger Deakins, ASC BSC has been shooting with the Arri Alexa recently and posting about it on his web forum. Deakins seems to be quite fond of the camera and defends it from those who decry the digital revolution by stating that digital cinema workflows “seem to me to have tipped the equation.”
On any professional set, it’s always the camera assistant’s responsibility to take care of the equipment and whether you’ll be working your first RED gig or your 100th, seeking out tips and advice can never hurt.
I have featured Timmy Rubensteiner, the self-proclaimed DP Red Wizard, on my blog before when he released a useful video explaining how to use the RED Camera Magic Movie Input Machine. But Rubensteiner, surprisingly, is willing to share even more of his knowledge of RED, cinematography, and set etiquette on Facebook where he posts intermittent pieces of advice.
Digital cinema’s favorite color coded company is now taking orders for the Mysterium-X equipped RED One cameras. Mysterium-X sensors were previously only available as an upgrade and in the forthcoming Epic and Scarlet cameras. The sensor’s main draw is it’s ability to be more sensitive to light and handle color better, as Pete Jackson found out. But while the Mysterium-X being up for purchase is good news, it doesn’t come without a price…
Reading off Engadget, found at the comprehensive Reduser.net forums, Jim Jannard (founder of RED) has apologized for the “embarrassingly late” production delays on the Epic and Scarlet cameras. He explains the cause of the delay was a bug that took months to find and put a “bullet in the back of it’s head.”