Tiny Cinema - Giant Results

By now a lot of people are familiar with tiny cinema.

No, I don't mean those boutique multi-cimemas that they cram into basements - where you get 6 seats and a slushy machine and pay $24 for a ticket to a movie for French people sitting around a table eating*...I mean machinery to let you make your own motion pictures via video. Without having to have a Technicolour camera and a crew of fifteen to operate. Little cameras.

Some people use handicams. Some people use compact cameras. Some people use DSLRs. All good, but not many of them can produce images and operating streams that are good enough to go on a really big screen - professional work.

Black magic make a big camera that can do just this. It's big, sleek, takes Canon lenses and lots of audio feed. They also make a very small camera that can do this - the Black Magic Pocket Cinema Camera.

Get a largish pocket if you want to keep the micro 4/3 lens on it, but if you don't mind demounting the optics you can indeed slip it into a shirt pocket. The illustration has a beautiful Panasonic Lumix 12-35 lens but remember that you could put an Olympus or Sigma lens on as well. And it needn't be a zoom - a pancake 18 or 20mm is available.

Whaddaya get in the camera? 1080P. Lossless CinemaDNG RAW files, and SDXC recorder,Apple ProRes 422 (HQ). High resolution monitor.Super 16 sensor with 13 stops of dynamic range.

And a particularly simple menu interface in the screen for the cinema adjustments.

There are 1/4" threaded sockets top and bottom on the metal chassis - tripod and mic mounting is easy.

Quite frankly, it looks like it blows your average handy cam corder out of the theater.

We've got 'un for rent and we're gettin' 'em for sale. Come see what then next generation of  tiny cinema will look like.

* And smoking. Eating, smoking, and sneering at the bourgoisie. I'm glad they did not make " Mary Poppins " in France, as it would have been ghastly.

Gapping The Generations - Or Not Poking The Bear

I was scrapping for a topic this morning until I talked to Ernest, our chief technician. He mentioned that he had read a request from me for information - I had put it out on the internet. When I expanded on what I wanted to know and why, he had a word of caution for me.

I tend to take Ernest's words of caution seriously. I remember he once advised me NOT to stick my fingers into a live light socket and this proved to be quite correct. I wish I had listened then - at least I can listen now.

The question I posed was what the new operating system for my Macintosh computers was like - I was looking at the advertisement for the OSX Maverick. It seems to be three steps on from the one that is in the computers now. The underlying reason for this is the advent of some new cameras that attract me - if I am to use RAW files from them I need to upgrade the ACR rating...and in turn this means a later operating system.

At this point the image of a beagle chasing its tail in a circle comes to mind, but read on...

Ernest mentioned that the newer operating systems are now involving themselves with information storage elsewhere in the electronic universe - the "cloud" system. Call me paranoid, but by accepting the benefits of the new software I think I might  be sending my images who knows where and in turn they might not come back to me. They might come back to other people. Hmmmm.

Personal data? I don't mind mine going everywhere, except I don't want people to know exactly what I think in case I don't agree with me. I had a garlic curry that didn't agree with me and that was unpleasant enough...I think I have come to terms with the thought that whatever I write or look at is noted down in Langley, Virginia or somewhere in Russia. I can only hope that when I become feeble-minded with age they can send some of it back to me.

Ernest said it best - if what I have now does what I need now, I would be a fool to chase the electronic rainbow on the basis of a colourful advert from Apple or the pressure of the next camera. If I change my computer to a new one, I can go in clean with a new system and all the current ACR keys will be good - and a considerable number of ones for the future. But if what I got ain't broke...don't fix it.

Authentic Photography

A few years ago I decided to be an Authentic Photographer. So I went out and bought things to make myself look like I was living in the 1950's. It was an easy choice - I still had a number of inherited articles of clothing from the time in my wardrobe and they were not worn-out yet so all I needed to add was the camera and film and darkroom equipment and film and chemistry of the period.

I chose a Crown Graphic camera and a Graphic View with lenses and shutters from the same company - I think the glass was by Wollensack. I chose Ilford HP5 and Kodak Portra 160 sheet film. I used Rodinal developer and Fuji's version of C-41 chemicals. the paper was Ilford Multigrade IV. I ate pastrami sandwiches and drank cups of tea.

I include the last reference because I haven't have a big breakfast and I'm hungry. It is equally authentic and equally false. The photography of the 1950's had nothing to do with me - any more than it had to do with C-41 chemistry from Fuji or Multigrade IV. I never encountered pastrami in the 1950's - we called it corned beef - and I didn't drink tea. The whole attempt at being authentic was actually playing at being someone else.

So I sat and thought what would be " authentic ". I could go out and capture the universe on a Kodak Starflash camera if I care to - you can find them at junk sales and on eBay. I could wind the clock forward to 1966 and get myself an Asahi Pentax SV and some Plus X and  Kodachrome II. Or not, as the Kodak case may be...

Would my pictures look better? Would I be able to go to the hot rod show and bring back certain results? Would I spend 5 x the amount of money and time getting 1/5 of the results? I think I know the answer to that question...

This train of thought was occasioned by seeing a van on the road this morning with the sign " Authentic Bathroom Renovations ". It caused me to ask myself what an inauthentic bathroom renovation would look like...probably a lot like me with a Crown Graphic camera.

Cinematographers' Consumables

That's bits for moom pitchers to the rest of us - the accessories that make professional video and film shoots go smoothly. If you are a cameraperson or art director or set or props expert you may well need to tape up something, or clean something, or mark something for sound - or just find something to throw at the actors to get them moving.

If you need to mark spaces or bits of gear we have multicoloured tapes. If you need to string something p or tie something down we have all sorts of super gaffer tapes. If you need to clean screens or filters or other surfaces we have all sorts of wipes and polishes. If you just need to get the actors to behave we have a bag of professional-quality rocks.

There's clapper boards. padded eyepieces for video cameras, and X-Rite colour cards to let you get the same look in each shot. You might advance from making inadvertent art to  crafting deliberate science...

Here's a celebration of goodies on offer right now:

Black Or White - There Or Here - You Choose

We're just about to launch into the Christmas and holiday season and people are thinking about their vacation travel and their holiday snaps. The wise ones are, at any rate - and I am including the readers of this blog in that august group. Indeed - the smartest ones would have been starting to plan about August...

Let us not think about those who will pull a dead compact camera out of laundry cupboard, come down here to ask the technicians to fix if for free and claim that they never, ever had it at the beach - despite the dribble of sand and out of the lens and a starfish stuck on the LCD screen...Their vacation pictures will be fine, as long as they buy postcards.

If you're gearing up to do it right and to make the most of your chances on a domestic or overseas holiday, consider one of the Big Two from Fuji. Big Two? The X-Pro 1 and the X-100s. The black and white cameras in the picture. Please note that white is really silver but it reads better as white - I had my poetic licence renewed.

Okay, what do you get with the X-100s? An APS-C sensor, a lens exactly matched to it - 35mm focal length in the old filmspeak, and you get enough processor power and options in the computer functions to make it perform perfectly. The business of matching that lens to that sensor is really the key to it all. As well, you get a number of options in the way that you see the image - optical or electronic, and a precise framing for close-ups. It has a fill-flash and computer control that leads to confidence in any interior situation - you get a balanced result no matter what the backdrop is doing.

You can switch it to auto and give it it's head or do aperture and shutter speed via good big traditional dials. You can command a MF on the lens ring. Do it old or do it new, but do it.

Want to do it with interchangeable lenses? The X-Pro 1 really is pro. A superb set of Fujinin lenses made for the system all the way from 14mm to 200mm, zooms and macro in there as well. Superbly sharp with MF direct drive for a number of them. More automation and manual than its direct competitors. Excellent Q display to assist with settings. The basis of a thoroughly professional system of optics - a money-earner.

Both of these are in good supply right now and you can get up to speed with what they can do before you fly. Tip: If you're going to be doing closeup urban holidays pick the X-100s. If you're going to Churchill, Manitoba to see the bears, pick the X-pro 1. And the 55-200 lens. And a Mauser. Black bears are one thing but white bears are a whole different deal...

Snap!

I knew it. I knew I had seen that camera somewhere before. It has been bugging me for months, but I knew I had seen it.

Then I googled the Kodak Retina Reflex IV. Snap. Olympus are channelling the German Retina Reflex. Okay the original is a leaf-shutter mid-quality plastic-bodied 35mm SLR camera and the Olympus is a metal-bodied micro 4/3 mirrorless that can turn out 1000% better photos...they have obviously been designed by the same person. Now as the Retina Reflex was produced 50 years ago, it begs the question where they hid the designer in the interim.

Questions must be asked.

You've Got 60 Days To get Outta Dodge...

Which makes it the slowest posse on record.

No, no, what we really mean is remember that you can recover the GST that you pay on your new DSLR or other fine camera here at Camera Electronic if you are going to travel out of the country.

You have 60 days from purchase to departure, you must have your tax invoice and the equipment with you, and it must be a total of $ 300 or more - you can combine invoices from different shops, though we would prefer if you would only shop with us...

Yo visit the desk at the airport or seaport that deals with the TRS. They say on their brochure that you must give them adequate time to do he computer entry so it is no good running in with your underwear dragging out of your suitcase and the Boeing warmed up at the end of the runway. Arrive at a sensible time.

It's a nice bit of change to recover on the price of that new camera you've coveted.