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  • + mychentw Michelle Chen 5 months ago
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Camera Overview - Presentation Transcript

  1. Digital Camera Class © 2004 Digital Filmmaking Institute, Inc. TIP For more Information see our websites www.DukeCityShootout.org www.FilmNM.com & www.UNM.edu Presented by: John Grace and the Digital Filmmaking Institute
  2. The Format Wars
    • FORMATS:
    • 16mm Film & 35mm Film
    • DV & DV Cam (Mini or Standard)
    • HDV & Digital Beta
    • High Definition
    • Digital Cinema
    The Myth “ Film is for professionals and digital is for amateurs.”
  3. The Format Wars
    • FORMATS:
    • 16mm Film & 35mm Film
    • DV & DV Cam (Mini or Standard)
    • HDV & Digital Beta
    • High Definition
    • Digital Cinema
    The Myth “ Film is for professionals and digital is for amateurs.” The Truth?
  4. The Format Wars
    • FORMATS:
    • 16mm Film & 35mm Film
    • DV & DV Cam (Mini or Standard)
    • HDV & Digital Beta
    • High Definition
    • Digital Cinema
    The Myth “ Film is for professionals and digital is for amateurs.” The Truth? “ Film is for fossils and digital is for auteurs.”
  5. The Format Wars
    • FILM ADVANTAGES vs.
    • More Forgiving
    • DIGITAL ADVANTAGES
    • Immediacy WYSIWYG
  6. The Format Wars
    • FILM ADVANTAGES vs.
    • More Forgiving
    • Higher Resolution
    • DIGITAL ADVANTAGES
    • Immediacy WYSIWYG
    • Easy & Convenient
  7. The Format Wars
    • FILM ADVANTAGES vs.
    • More Forgiving
    • Higher Resolution
    • Wider Contrast Ratio
    • DIGITAL ADVANTAGES
    • Immediacy WYSIWYG
    • Easy & Convenient
    • Smaller Crews
  8. The Format Wars
    • FILM ADVANTAGES vs.
    • More Forgiving
    • Higher Resolution
    • Wider Contrast Ratio
    • Better Equipment
    • DIGITAL ADVANTAGES
    • Immediacy WYSIWYG
    • Easy & Convenient
    • Smaller Crews
    • Edit on Location
  9. The Format Wars
    • FILM ADVANTAGES vs.
    • More Forgiving
    • Higher Resolution
    • Wider Contrast Ratio
    • Better Equipment
    • More “Professional”
    • DIGITAL ADVANTAGES
    • Immediacy WYSIWYG
    • Easy & Convenient
    • Smaller Crews
    • Edit on Location
    • Huge Cost Savings
    • COMPARABLE RESOLUTIONS
    • DV & DV Cam 720X480 .5 MP
    • Super 16mm 1024X620 .75MP
    • HDV 1080X640 .80MP
    • High Def 1920X1080 2.0MP
    • 35mm Film 2048X1556 3.2MP
    • Digital Cinema 2288X1715 4.0MP
    Format Comparisons
    • SPEEDS
    • 24P
    • 30P
    • 30i
    • 60i
    • COMPARABLE RESOLUTIONS
    • DV & DV Cam 720X480 .5 MP
    • Super 16mm 1024X620 .75MP
    • HDV 1080X640 .80MP
    • High Def 1920X1080 2.0MP
    • 35mm Film 2048X1556 3.2MP
    • Digital Cinema 2288X1715 4.0MP
    Format Comparisons
    • SPEEDS
    • 24P
    • 30P
    • 30i
    • 60i
    • COMPARABLE RESOLUTIONS
    • DV & DV Cam 720X480 .5 MP
    • Super 16mm 1024X620 .75MP
    • HDV 1080X640 .80MP
    • High Def 1920X1080 2.0MP
    • 35mm Film 2048X1556 3.2MP
    • Digital Cinema 2288X1715 4.0MP
    Format Comparisons
    • SPEEDS
    • 24P
    • 30P
    • 30i
    • 60i
  13. Brave New World
    • DIGITAL ACQUISITON to PRESENTATION
    • Pristine Presentations in Digital Format
  14. Brave New World
    • DIGITAL ACQUISITON to PRESENTATION
    • Pristine Presentations in Digital Format
    • Security Issues with Digital Distribution
  15. Brave New World
    • DIGITAL ACQUISITON to PRESENTATION
    • Pristine Presentations in Digital Format
    • Security Issues with Digital Distribution
    • Instant Dailies on Location - Pros & Cons
  16. Brave New World
    • DIGITAL ACQUISITON to PRESENTATION
    • Pristine Presentations in Digital Format
    • Security Issues with Digital Distribution
    • Instant Dailies on Location - Pros & Cons
    • Producing Features within Anyone’s Grasp
  17. Brave New World
    • DIGITAL ACQUISITON to PRESENTATION
    • Pristine Presentations in Digital Format
    • Security Issues with Digital Distribution
    • Instant Dailies on Location - Pros & Cons
    • Producing Features within Anyone’s Grasp
    • 4 Walling Indie Films - “A Level Playing Field”
  18. The Camera Department
    • Director of Photography
    • Camera Operator
    • First Assistant Camera
    • Second Assistant Camera
    • Film Loader/Clapper
    • Camera P.A.
    TIP
  19. The Camera Department
    • Director of Photography
    • Camera Operator
    • First Assistant Camera
    • Second Assistant Camera
    • Film Loader/Clapper
    • Camera P.A.
    TIP Keep your eyes and ears open. You will learn more from your co-workers than you ever could in film school
  20. The Mechanics of Cameras
    • The IMAGING SENSOR is at the heart of any digital camera or camcorder
    • In 3-CCD cameras, light enters the camera lens, passes through a prism and is separated into its three components of Red, Green and Blue.
    • One CCD or Charge Coupled Device is devoted to capturing each of the three colors thereby tripling the potential resolution.
    3 CCD Cameras
  21. The Mechanics of Cameras
    • Single CCD Cameras are usually cheaper and often have a larger CCD to offset lower inherent resolution. The larger the CCD, the shallower
    the Depth of Field. Our eyes naturally have shallow depth of field, so larger CCD’s replicate reality in a more realistic manner. The largest CCD’s used are about the size of 35mm film frames. Therefore, shallow Depth of Field is generally considered to be more cinematic. Single CCD Cameras
  22. The Mechanics of Cameras
    • Resolution
    • Resolution is measured
    • in several ways:
    • Storage System
    • Tape, Memory Card,
    • External Drive
    • Horizontal vs. Vertical lines
    • A 640x480 image is low resolution while 1920x1080 is HD
    • Size of Imaging Sensor
    • Sensors come in ¼, ⅓, ½, ⅔, 1” & 35mm - larger imagers capture more information
    • Compression Ratio (compression algorithm)
    • To optimize storage, most cameras use compression. The
    • lower the compression rate, the higher the resolution
  23. Filters and Depth of Field
    • Clarifying
    • Diffusion
    • Focus Control
    • Depth of Field
    • Exposure Control
    • Color Modification
  24. Overriding the Options
    • Manually Control:
      • Setting the Exposure
      • Override the Autofocus
      • Lie to the White Balance
      • Manually Setting the Volume
      • Setting the Zebra Levels
      • Using the Internal ND Filters
  25. Digital Cinema Cameras
    • Thompson Viper Camera
    • Sony CineAlta Cameras
    • Panasonic Varicam Cameras
    • Dalsa Origin and Evolution Camera
    • Arriflex D-20 Digital Cinema Camera
    • Panavision HD and Genesis Cameras
  26. Thompson Viper HD Camera
  27. Sony CineAlta F900 Camera
  28. Sony CineAlta HDC-F950
  29. Sony CineAlta HDC-F23
  30. Sony CineAlta HDC-F35 Too early for pix
  31. Panasonic Varicam AJ-HDC27
  32. Panasonic AJ-HPX2700 Varicam Panasonic P2 HD Under $30,000.
  33. Panasonic AJ-HPX3000 Panasonic P2 HD Under $50,000.
  34. Dalsa Origin Cinestream
  35. Dalsa Origin II
  36. Dalsa Evolution Camera
    • Planned Features:
    • 30-40% smaller than the Origin II
    • Roughly 25 pounds in current prototype form
    • Can be completely un-tethered and battery powered including the Flashmag
  37. Arriflex D-20 Digital Cinema
  38. Panavision HD-900F Camera
  39. Panavision Genesis Camcorder
    • 12.4 Megapixel
    • 35mm DOF
    • Removable Drive
    • 1-50 fps
    • 400 - 1600 asa
    • Pana-peripherals
  40. RED Digital Cinema - Red One The RED ONE™ body - designed for flexibility and functionality. Weighing in at under 7 lbs, a streamlined package designed specifically to maximize your shooting options, along with a 35mm PL lens mount allows you to take advantage of the worlds best optics. Modular and upgradeable, the RED ONE™ camera is a future-proof acquisition system you can build upon. RED ONE™'s modular design means you can upgrade with us as we add new features, accessories and improve system specifications. RED One - $17,500 MSRP
  41. Camera Support
    • Tripods - Heads & Legs
  42. Camera Support
    • Tripods - Heads & Legs
      • Friction Heads, Fluid Heads, Gear Heads
  43. Camera Support
    • Tripods - Heads & Legs
      • Friction Heads, Fluid Heads, Gear Heads
      • Standards, Baby Legs, High Hats, Spreaders
  44. Camera Support - Tripods
    • Manufacturers
      • Cartoni
      • O’Connor
      • Sachtler
      • Vinten
    • Types
      • Standard Legs
      • Baby Legs
      • Sawed Off
      • High Hat
  45. Camera Support - Heads
    • Fluid Heads
      • Cartoni
      • O’Conner
      • Sachtler
      • Vinten
    • Geared Heads
      • Arriflex
      • Panavision
      • C.P. Worrall
  46. Camera Support
    • Tripods - Heads & Legs
      • Friction Heads, Fluid Heads, Gear Heads
      • Standards, Baby Legs, High Hats, Spreaders
    • Dollies
  47. Camera Support - Dollys
    • Manufacturers
      • Chapman
      • Fisher
      • Lousmandi
      • Matthews
    Western and Doorway Dollys
  48. Camera Support
    • Tripods - Heads & Legs
      • Friction Heads, Fluid Heads, Gear Heads
      • Standards, Baby Legs, High Hats, Spreaders
    • Dollies
    • Steadicams & Immitators
  49. Support - Steadicams
    • Manufacturers
      • Steadi Systems (Cinema Products)
      • Hollywood-Lite
      • Glidecam
      • Promax
      • Sachtler
      • Varizoom
  50. Camera Support
    • Tripods - Heads & Legs
      • Friction Heads, Fluid Heads, Gear Heads
      • Standards, Baby Legs, High Hats, Spreaders
    • Dollies
    • Steadicams & Immitators
    • Jibs, Cranes and Automated Systems
  51. Support - Cranes & Jibs
    • Manufacturers
      • Cartoni
      • Chapman
      • Fisher
      • Libec
      • Matthews
      • Miller
      • Sachtler
  52. Camera Support
    • Tripods - Heads & Legs
      • Friction Heads, Fluid Heads, Gear Heads
      • Standards, Baby Legs, High Hats, Spreaders
    • Dollies
    • Steadicams & Immitators
    • Jibs, Cranes and Automated Systems
    • Specialized Mounts
  53. Support - Specialized Rigging
    • Speed Rails
    • Gyro Mounts
    • Camera Cars

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