Thinking about buying the camera but want to get more familiar with it? Here’s your chance…..
“Adam Savage steps into the Sound Recordist Ben Osmo’s audio mixing truck on the set of Alien: Covenant to learn how environment and creature audio is used during filming to aid in actors’ performances.”
Couldn’t have described it better myself. God I wish I had the access granted to the Tested boys and girls, it sure would make getting original content easier. Adam has a lot of “street cred” with some of the people I’d love to talk to.
ARRI has released a new Matte Box. I always regret saying this, but if you need a 4×5.65 matte box, this appears to have all the bases covered. I say regret because in trying to please everyone, inevitably there is always some needed feature left out. In my opinion, ARRI and Bright Tangerine are competing for the top of the matte box world. Interestingly on that front, ARRI is featuring a Bright Tangerine accessory in their video, but then they’ve never been shy about making accessories for other cameras too, not just Alexas.
So, clip-on with one, two or three stages and all common lens sizes. All three rod standards from the bottom or the top. 138mm bellows. Swing away. Tilting stages. Full 360 stage rotation. Flags on all 4 sides that fold flat and can stay on the unit for storage. Top and bottom mounts for a Cinetape or other accessories. Insertable mattes. Up-down and side-to-side fine tuning. Ability to use some pre-existing parts from other ARRI matte boxes. I think the only area lacking (and I’m just guessing here, I haven’t seen one in the wild) may be vignetting with super wide lenses and multiple stages. That is more a limitation of the 4×5.65 size standard than anything any manufacturer does, not just ARRI. Pretty comprehensive.
I’m sure it won’t be cheap, but then quality gear never is.
If you liked the show Mythbusters, you may be wondering what the hosts are up to now. Jamie seems to be keeping a low profile, but Adam Savage has a home on the internet at Tested.com, and is as gleefully geeky as ever. I’m a subscriber to their channel, and I highly recommend it if you are at all geeky or part of the “maker” community.
Joey Fameli is (I think) the main shooter for the Tested channel. I have to say, as someone who is now doing original video content for this blog, I am constantly amazed at the shear volume and length of videos that the cats at Tested put out, day in and day out. I would say that Adam is doing far more content with Tested than he ever did at Mythbusters.
Joey tests and reviews the Fujinon MK 18-55 zoom lens which we had a look at at NAB. Not a highly technical review, but great because he approaches it from the aspect of a working cameraman. I also think he is exactly the market Fuji was targeting with this lens: someone who is using large sensor cameras because of their price and capabilities, but who has come from a camcorder background with their parfocal zoom lenses. He explains a few terms that a novice may not be aware of and gives some context on why they are important.
On behalf of No Film School, Timur Civan heads to B&H with a Sekonic C700-U colour meter and a RED Helium and does the most comprehensive LED focused light test I’ve seen. Doing the tests at B&H gave them access to 28 different models of light. For a change in these kind of tests (in general, not just with NFS), I actually agree with their testing methodology, neutrality and rationalizations. A good read and view, and an invaluable resource if you are looking at buying (or even just renting).
Note: I just realized that my explanation is almost exactly the same as their title. Oh well, clichés are clichés for a reason…
The Post audio guys I know say they couldn’t do their job without the software tools provided by iZotope. For those of you who don’t know, their software visualizes audio as a “spectrogram”. Rather than just a loudness waveform, a spectrogram looks at frequencies and loudness over time. The upshot of this is that problem audio can be visually isolated. What’s that mean? You can see a visual representation of the audio, and edit it visually. Even simpler? Draw a circle around the problem audio in the visual realm, and RX 6 will cut that specific part out of the audio realm while leaving the rest of the signal pretty much untouched. It’s magical to watch in action and has saved editors countless hours. Up until now it’s been fairly tailored to video professionals (that’s a broad statement I know, anybody can use any software for anything) but in this latest release, they are throwing in a few music related features. Canadian (yay!) Geoff Manchester demos the latest changes for Sweetwater Sound.
So, let’s recap. A solution that is essential to anybody serious about doing audio for Pro video. Blackmagic Design has decided to get serious about audio for Pro video in their latest Resolve release by integrating their Fairchild purchase. BMD virtually took over the color timing world by making Resolve free. How long do you think it will be before BMD buys iZotope, integrates it into Resolve and “forces” everyone to give up Pro Tools? I could see such a move taking them to the top of the audio for video market virtually overnight, especially considering the collaboration and editing tools they’re building into the latest Resolve.
I have zero inside knowledge, I’m simply speculating. But I could see it happening…..
A week ago, I happened to be in San Luis Obispo, California. I was happily surprised to find out that SLO is home to Photo & Video accessory maker Really Right Stuff. I had a contact from NAB, called them up, and they were nice enough to invite me down to have a look at their facility.
RRS is very well known in the Photographic world, but they’ve been making Video specific products for a few years now too. As you’ll see in the video, they are now expanding into the Cinema accessories world. They are making a “mini dovetail” system that builds on their Photographic mounts and clamps. Does the world need another standard to join the ARRI dovetail and 3 different rod standards? I think there is a possible niche there for smaller rigs, and they undeniably make beautiful
gear stuff. I’ll let you be the judge.
On a side note, these are the kind of reports that I hope to do more of for this blog. I thank Holly, Joe and the rest of the crew at RRS for the access.