In-Depth: 4K Mirrorless Cameras: Sony A7 Series, Panasonic GH4, and More
•
3 gefällt mir•1,051 views
Looking to add an affordable 4K camera into your workflow? You'd be wise to consider the Panasonic GH4 or Sony a7 Series. This class takes an in-depth look at these two popular cameras and the surrounding ecosystem. Join director Richard Harrington and DP Eduardo Angel as they explore the complete workflow. You'll lean how to choose lenses, extend your camera's capabilities with professional accessories, and set up your camera to capture the right file formats for your production.
Empfohlen
Weitere ähnliche Inhalte
Ähnlich wie In-Depth: 4K Mirrorless Cameras: Sony A7 Series, Panasonic GH4, and More
Ähnlich wie In-Depth: 4K Mirrorless Cameras: Sony A7 Series, Panasonic GH4, and More (20)
Mehr von Richard Harrington
Mehr von Richard Harrington (20)
Kürzlich hochgeladen
Kürzlich hochgeladen (20)
In-Depth: 4K Mirrorless Cameras: Sony A7 Series, Panasonic GH4, and More
- 1. twitter.com/ rhedpixel twitter.com/ EA_photo In-Depth: 4K Mirrorless Cameras: Sony A7 Series, Panasonic GH4, and More
- 2. Session Overview Looking to add an affordable 4K camera into your workflow? You'd be wise to consider the Panasonic GH4 or Sony a7 Series. This class takes an in-depth look at these two popular cameras and the surrounding ecosystem.
- 3. Session Overview Join director Richard Harrington and DP Eduardo Angel as they explore the complete workflow. You'll lean how to choose lenses, extend your camera's capabilities with professional accessories, and set up your camera to capture the right file formats for your production.
- 4. Objectives ๏ An understanding of mirrorless interchangeable lens cameras ๏ Evaluating the impact of sensor size ๏ Recording in-camera and with an external recorder ๏ Choosing lenses and accessories for 4K cameras ๏ Adapting 4K cameras with cage and rail systems ๏ Improving recording quality ๏ Using LOG recording
- 5. Richard Harrington I'm a visual storyteller exploring the fusion of photography and video. I'm all a husband & father
- 6. Vital Statistics Author 40+ Books Author 100+ Video Courses Publisher of 2 Websites Adjunct Professor Conference Speaker Business Owner Photographer
- 8. Eduardo Angel Emmy Award winning Visual Storyteller | Tech Consultant | Cofounder http://TheDigitalDistillery.com | SVA & ICP Faculty | SCAD Mentor | http://Lynda.com Author
- 9. Vital Statistics Emmy Award winning Visual Storyteller Tech Consultant Cofounder TheDigitalDistillery.com SVA & ICP Faculty SCAD Mentor Lynda.com Author
- 13. Ultra HD ๏ UHD is a resolution of 3840 pixels × 2160 lines with an aspect ratio of 16:9 ๏ It’s image totals 8.3 megapixels ๏ It’s one of the two resolutions of ultra high definition television targeted towards consumer television ๏ UHD has twice the horizontal and vertical resolution of the 1080p HDTV format, with four times as many pixels overall
- 14. Digital Cinema Initiative 4K ๏ The Digital Cinema Initiatives consortium established a standard resolution of 4096 pixels × 2160 lines with an aspect ratio 256:135 for 4K film projection. ๏ It’s image totals 8.8 megapixels ๏ This is the native resolution for DCI-compliant 4K digital projectors and monitors.
- 15. Digital Cinema Initiative 4K ๏ Pixels are cropped from the top or sides depending on the aspect ratio of the content being projected. ๏ DCI 4K does not conform to the standard 1080p Full HD aspect ratio (16:9) ๏ 4K digital films may be produced, scanned, or stored in a number of other resolutions depending on what storage aspect ratio is used In the digital film production chain.
- 16. Streaming Video ๏ YouTube and Vimeo allow a maximum upload resolution of 4096 × 3072 pixels ๏ This means 12.6 megapixels if using an aspect ratio 4:3) ๏ High Efficiency Video Coding should allow the streaming of content with a 4K resolution with a bandwidth of between 20 to 30 Mbps.
- 17. Format Resolution Aspect Ratio Pixels DCI 4K (CinemaScope cropped) 4096 × 1716 2.39:1 7,028,736 DCI 4K (flat cropped) 3996 × 2160 1.85:1 8,631,360 DCI 4K (native resolution) 4096 × 2160 1.90:1 (256:135) 8,847,360 Ultra-high-definition television 3840 × 2160 1.78:1 (16:9) 8,294,400 Ultra-wide television 5120 × 2160 2.33:1 (21:9) 11,059,200 WHXGA 5120 × 3200 1.60:1 (16:10) 16,384,000
- 18. What are the Benefits of 4K? twitter.com/ rhedpixel twitter.com/ EA_photo
- 19. What are the Benefits of 4K? ๏ Footage is “Future-Proofed” ๏ Drastically Improved Image Quality ๏ Consumer Demand ๏ Increased Distribution Options ๏ Easily Down Converted – Universal Master
- 20. Post Production Benefits ๏ Fix Jitter ๏ Reframe ๏ Digital Dolly ๏ Zoom In/Out ๏ Fix Tilt
- 21. For Your Consideration ๏ Film has resolved at 4K for nearly100 years ๏ Companies like RED and more recently Blackmagic Design have pushed 4K to becoming a standard with wider adoption by media professionals ๏ Broadcasters are dragging their feet on 4K due to costs involved.
- 22. For Your Consideration ๏ Cameras Change five times faster than our editing tools ๏ Remember that RED is only 10 years old. ๏ Tapeless Production is only 13 years old ๏ Raw or Log workflows always generate more data on set and more work in post
- 23. For Your Consideration ๏ Bigger image equals more costs ๏ We prefer flexibility in our workflow ๏ Add 4K when budget allows, longevity is important, or recomposing the frame is needed ๏ Moving 2-3 Terabytes of data per camera, per day, is now common
- 24. The Rise of Affordable 4K twitter.com/ rhedpixel twitter.com/ EA_photo
- 25. Selecting Cameras for this Class
- 26. Selecting Cameras for this Class
- 27. Selecting Cameras for this Class ๏ Mirrorless ๏ Affordable ๏ Shipping ๏ Rich lens system ๏ LOG support ๏ Multiple shooting styles ๏ Internal 4K ๏ External recording options
- 29. A Quick Look at the Sony a7S and a7SII
- 30. Sony a7S ๏ Favors video recording ๏ Trades resolution for lowlight performance ๏ Picture profiles that are video oriented ๏ High Frame Rate = 720p: up to 120fps
- 32. Sony a7S II ๏ Internal UHD 4K Recording ๏ Slog 2 and Slog 3 gamma functions ๏ Gamma display assist (View in Rec 709) ๏ 5 axis image stabilization ๏ 120fps @ 1080P quality (results in 2.2x center crop of image)
- 34. Sony a7S II ๏ Native ISO 1600 in 4K and Full HD ๏ Reduced rolling shutter ๏ Cleaner in low light situations than A7R ๏ APSC lenses will vignette in 4K (can only use them in HD) ๏ Has the low pass filter
- 35. A Quick Look at the Sony a7RII
- 36. Sony a7RII ๏ Slog 2 only ๏ Gamma display assist ๏ Up to 120fps in Full HD ๏ APSC Super 35 in crop mode in 4K ๏ A7R doesn’t have the low pass filter, which makes it good for timelapse ๏ More Auto Focus Points (399 vs 169)
- 38. Sony a7RII ๏ Slightly more rolling shutter ๏ It can produce 42MP still images, a resolution almost 4x higher than the a7S II. ๏ The option of a great crop mode in 4K besides the full frame (FF usable if you have sufficient light). ๏ Good lowlight in crop mode. ๏ Image quality drops at 6400 ISO
- 39. A Quick Look at the Panasonic DMC-GH4
- 40. Panasonic DMC-GH4 ๏ Records Cinema 4K (@24.00 fps) — 4096x2160 ๏ Ultra HD (23.98fps) — 3840x2160 ๏ Rolling Shutter minimal at 60 & 30fps (Due to new CMOS and VENUS Engine) ๏ Image quality drops at 3,2oo ISO ๏ 100 mbps | IPB compression (INTERFRAME) ๏ 200 mbps | All Intra compression (INTRAFRAME)
- 43. Panasonic DMC-GH4 ๏ Unlimited continuous recording (64GB card is approx.. 80 mins in 4K) ๏ Sony has a 30-minute limit ๏ HDMI out is 4:2:2 10 bit color (4K video via HDMI) ๏ Internal recording is 4:2:0 8-bit
- 46. Interface Unit (AG-YAGH) ๏ Cost is $2,000 ๏ 4K HD-SDI output w/ time code, XLR audio ๏ For professional audio video interfaces ๏ Use this if micro HDMI scares you ๏ SIMULTANEOUS Internal/External Record
- 50. Factors that Affect the Quality of the 4K Video File twitter.com/ rhedpixel twitter.com/ EA_photo
- 51. Understanding the Impact of Sensor Sizes
- 53. Full Frame Sensor Cropped Sensor
- 57. Choosing Internal or External Recording
- 58. Internal Recording ๏ Newer models offer internal 4K recording ๏ When using a camera rig or usage requires taking advantage of compact size of camera ๏ Less chance for error ๏ Less power needed ๏ Embraces compact size
- 60. Understanding Speed ๏ Pay close attention to the class of card and your needs for shooting ๏ Carry a mixture of brands and sizes ๏ SD 5.0 Memory Cards will support 8K, 3D, and 360° video
- 62. External Recording ๏ When frame rates higher than 30 fps at 4K resolution ๏ With older cameras that don’t offer internal 4K recording ๏ Models like Atomos offer external monitoring, focus assist, waveform ๏ Can record deeper color depth (10 bit) ๏ Records Uncompressed 4K and audio (internal is always 4:2:0) ๏ Longer record times, on affordable media like SSD drives ๏ Records to familiar codecs like Pro Res, Avid DnX
- 64. Atomos Shogun 4K ๏ 1920x1200 IPS Touchscreen Display ๏ Records 4K (3840x2160) up to 30 fps ๏ Records 1080p up to 120 fps ๏ ProRes and DNxHD 10-Bit, 4:2:2 Encoding ๏ 12G-SDI Input and Loop-Output
- 68. Odyssey 7Q Atomos Shogun SmallHD DP7
- 70. Understanding the Role of a Low Pass Filter
- 71. The Role of a Low Pass Filter ๏ No filter is good for stills, landscapes ๏ Filter blurs the image at the pixel level ๏ Landscape photographers don’t need them as much, as moire occurs in fine, repeated patterns…less likely to encounter this in landscapes ๏ Some sensors minimize color moire and aliasing without filters ๏ Post-processing can correct some of this (spot correcting) ๏ New to Mirrorless cameras to not have AA filter ๏ When the pixel count is high enough, Mirrorless cameras can do away with the AA filter
- 75. The Role of a Low Pass Filter ๏ NO FILTER ๏ Canon 5DS-R removes the low pass filter ๏ Sony RX1R II has a VARIABLE low pass filter ๏ Sony a7R II has no low pass filter ๏ LOW PASS FILTER ๏ Sony a7S II has low pass filter ๏ Panasonic GH4 has low pass filter
- 78. 4K Shooting Tips
- 79. Focus Peaking
- 80. Focus Peaking
- 81. Timelapse is 4K+
- 83. Shoot Log or Film Space
- 84. Sony S-Log Panasonic V-Log Canon C-Log Flat profiles provide more flexibility during post processing, but usually requires more time.
- 87. Impact of Light and Motion on Focus ๏ If you’re shooting a lot of motion, pay close attention to both the amount of light as well as the quality of light ๏ The less light that’s available, the larger an aperture you’ll have to use in order to record a properly exposed image. ๏ This means that your depth of field will decrease and it will be much harder to keep your subject in focus. ๏ If you or your subject are moving, it get’s even more tricky
- 91. The Window ๏ Imagine your camera is a window with shutters that open and close. ๏ Aperture is the size of the window. If it’s bigger more light gets through. ๏ Shutter Speed is the amount of time that the shutters are open. The longer they’re open, the more that comes in. ๏ Inside the room and are wearing sunglasses. Your eyes become desensitized to the light that comes in (like a low ISO).
- 105. Resolution Requirements for 4K Lenses
- 107. Use a Target Combine with Focus Peaking to check
- 108. Olympus M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO ๏ Focus Type Stepper motor ๏ Item Weight .84 pounds ๏ Lens Design Telephoto Zoom lens ๏ Maximum Aperture ƒ/2.8 ๏ Minimum Aperture ƒ/22 ๏ Number of Diaphragm Blades 7 ๏ Number of Elements 14 ๏ Number of Groups 9
- 109. Olympus M.ZUIKO DIGITAL ED 40-150mm F2.8 PRO ๏ Focus Type Stepper motor ๏ Item Weight 1.94 pounds ๏ Lens Design Telephoto Zoom lens ๏ Maximum Aperture ƒ/2.8 ๏ Minimum Aperture ƒ/22 ๏ Number of Diaphragm Blades 9 ๏ Number of Elements 16 ๏ Number of Groups 10
- 111. Working with Cinema Lenses
- 113. Sony 28-135mm FE PZ F4 G ๏ G-series optical design ideal for HD and 4K moviemaking ๏ Minimized angle of view variation (breathing) while focusing ๏ No focus shifting or axial displacement while zooming ๏ Independent Zoom, Focus and Iris rings for superior control ๏ Constant F4 max aperture maintains exposure / depth of field
- 114. SLR Magic 25mm T0.95 Hyperprime Cine II Lens ๏ Focus type: Manual ๏ Focal length: 25mm (50mm MFT) ๏ Maximum aperture: T0.95 ๏ Minimum aperture: f/16
- 115. Working with Specialty Lenses
- 117. Lensbaby Velvet 56 ๏ Creative Effect: Soft and Velvety ๏ Focal Length: 56mm ๏ Aperture: f/1.6 ๏ Minimum Focusing Distance: 5" ๏ Format Compatibility: APS-C and Full Frame ๏ Diaphragm Blades: 9 ๏ Elements/ Groups: 4 Elements/ 3 Groups
- 118. Lensbaby Composer Pro System Kit ๏ Creative Effect: Sweet 35 and Sweet 50: Sweet Spot of Focus; Edge 80: Slice of Focus ๏ Focal Length: Sweet 35: 35mm; Sweet 50: 50mm; Edge 80: 80mm ๏ Aperture: Sweet 35 and Sweet 50: f/2.5; Edge 80: f/2.8 ๏ Minimum Focusing Distance: Sweet 35: 7.5"; Sweet 50: 15"; Edge 80: 17"; Macro Converters: from 1.63" ๏ Angle of Tilt: 17.5° ๏ Diaphragm Blades: All: 12 ๏ Elements/ Groups: Sweet 35: 4/3; Sweet 50: 2/1; Edge 80: 5/4
- 120. Lomography Experimental Lens Kit ๏ Standard 24mm lens ๏ Wide angle 12mm lens ๏ Fisheye ๏ Plastic lenses with unique character
- 121. SLR Magic 'Toy' 26mm f/1.4 Lens ๏ Focus type: Manual ๏ Focal length: 26mm (52mm) ๏ Maximum aperture f/1.4 ๏ Min aperture f/16
- 122. Criteria When Choosing Lens Adapters
- 123. Lens Adapters ๏ Lens mount vs. camera mount ๏ Sensor size ๏ Smart adaptor that retains electronic communication with the camera/lens ๏ Adaptors that convert full frame to APS-C ๏ Adaptors that convert 4/3 to Full Frame ๏ Lens support, weight, rail support ๏ Some adaptors offer increased stop (speed booster)
- 125. Supporting the Lens
- 127. Supporting the Lens ๏ Camera mounts not designed for larger lenses ๏ Can place strain on bayonet mount ๏ Poor support can result in back-focus issues ๏ Leads to soft images ๏ Especially true for cinema lenses, without rail support system ๏ 15mm rail support most common
- 130. Specialty Lenses for 4K Workflow
- 131. Specialty Lenses for 4K Workflow ๏ Many choices in adaptors now allow for wider variety of lens choices. ๏ Includes specialty lenses from used in other systems ๏ Macro ๏ Tilt Shift ๏ Lens Baby ๏ Fisheye ๏ Anamorphic
- 132. Lensbaby Velvet 56 ๏ Creative Effect: Soft and Velvety ๏ Focal Length: 56mm ๏ Aperture: f/1.6 ๏ Minimum Focusing Distance: 5" ๏ Format Compatibility: APS-C and Full Frame ๏ Diaphragm Blades: 9 ๏ Elements/ Groups: 4 Elements/ 3 Groups
- 133. Lensbaby Composer Pro System Kit ๏ Creative Effect: Sweet 35 and Sweet 50: Sweet Spot of Focus; Edge 80: Slice of Focus ๏ Focal Length: Sweet 35: 35mm; Sweet 50: 50mm; Edge 80: 80mm ๏ Aperture: Sweet 35 and Sweet 50: f/2.5; Edge 80: f/2.8 ๏ Minimum Focusing Distance: Sweet 35: 7.5"; Sweet 50: 15"; Edge 80: 17"; Macro Converters: from 1.63" ๏ Angle of Tilt: 17.5° ๏ Diaphragm Blades: All: 12 ๏ Elements/ Groups: Sweet 35: 4/3; Sweet 50: 2/1; Edge 80: 5/4
- 134. Lomography Experimental Lens Kit ๏ Standard 24mm lens ๏ Wide angle 12mm lens ๏ Fisheye ๏ Plastic lenses with unique character
- 135. SLR Magic 'Toy' 26mm f/1.4 Lens ๏ Focus type: Manual ๏ Focal length: 26mm (52mm) ๏ Maximum aperture f/1.4 ๏ Min aperture f/16
- 137. Variable Neutral Density Filter
- 138. Tiffen Variable Neutral Density Filter ๏ Provides 2 to 8 stops of light control ๏ Thin profile ring .9mm ๏ Wider outer optic to help reduce vignetting ๏ Padded black nylon pouch ๏ Made in the US with high quality optical glass using Tiffen's ColorCore Technology ๏ Tiffen 10-Year Warranty
- 141. Match The Lens To The Shot
- 142. When To Use Prime Lenses ๏ Most DPs choose primes both on feature films as well as independent projects for two main reasons: speed and sharpness. ๏ A quality prime lens with a wide aperture of f/1.2 to f/2 will allow you to shoot in existing light or low- light environments more easily. ๏ Primes are universally faster than a zooms due to the way they are manufactured.
- 143. When To Use Prime Lenses ๏ Prime lenses have less moving parts, and fewer elements than zoom lenses. The result is a sharper image. ๏ Primes are great for videos where you have control of the environment. You are stuck with the focal length ๏ If you can block out any movement in the scene in advance, control the lighting and want that nice short DOF that these lenses deliver, then prime lenses are a good choice.
- 144. When to Use Zoom Lenses ๏ When you need to change focal length quickly and/or you need the versatility of those different focal lengths ๏ Zooms are generally slower than a fast prime, so you’ll need to raise your ISO higher to match the exposure ๏ Many documentary shooters use zooms because there isn’t any way to stop the event or subject just to change lenses ๏ Able to go from a 50mm standard shot of the interviewee to a 200mm close-up
- 145. Adapting the 4K Camera with a Cage or Rail System twitter.com/ rhedpixel twitter.com/ EA_photo
- 146. When to Use Rails
- 147. When to Use Rails ๏ Follow Focus ๏ Matte box ๏ Battery adapters ๏ Heavier lenses
- 148. When to Use a Cage
- 150. When to Use a Cage ๏ Sometimes you need to build camera out with a cage for accessorizing ๏ External recorders, monitors, viewfinders, lens control motors , cable locks ๏ Protection from impact ๏ More attachment points for rigging shots
- 156. Extending the Battery Life
- 157. Powering the Camera ๏ When shooting video, your camera will need much more power than you usually use when just shooting stills. ๏ First, you’ll be using the Live View function of the camera – which means powering the LCD continuously ๏ Second, to record video, your camera’s processors and memory card are working all the time.
- 158. Powering the Camera ๏ Your camera’s default settings for the live view mode includes shutting it off after a couple minutes. Leave this as is. ๏ It’s essential to have additional batteries with you when shooting video. ๏ Pack five batteries per shooting day for each camera body. ๏ If charging batteries is an easy option, you can get by with less (3 per camera)
- 159. Using a Battery Grip ๏ Two batteries are in use. ๏ Sometimes one is contained in the grip and one in the camera body. Other times, two are in the grip itself. ๏ This added power is great for shooting video because you’ll be using the live view mode on your camera all the time. ๏ A battery grips often allows you to change batteries quickly since the battery door is located on the rear or side of the grip.
- 160. Tethered Power ๏ If you are in a studio or other location where AC power is available for a longer period of time, an AC power adapter is a good alternative ๏ The only downside to them is that it limits camera movement, especially if you are on a jib or dolly. ๏ We'll often power a camera with AC power for stationary shots (like interviews), then switch to a battery when on the go.
- 161. Atomos PowerStation ๏ Continous power ๏ Two USB ports ๏ Battery plates for many devices ๏ Charge then go
- 162. Tether Tools Case Relay ๏ More cost effective than purchasing multiple proprietary camera batteries ๏ Power sources are non-proprietary. Power your camera with the same 5V battery you use to charge phones or tablets. ๏ Never need to charge camera batteries again. And never run out power. ๏ Compatible with most Canon, Nikon, Sony, Panasonic, Fuji, and Olympus cameras. ๏ A Relay Camera Coupler (sold separately) is required to use Case Relay Camera Power System.
- 164. Managing Cables and Avoiding Port Strain
- 167. Other Support Gear
- 168. Camera Rails ๏ Really Right Stuff ๏ Length: 18" / 457mm ๏ Width: 1.5" / 38mm ๏ Height: 0.9" / 23mm ๏ Weight: 1.5 lb / 684g
- 170. StrapMoore ๏ The StrapMoore is a handy contraption that secures to the leg of any tripod, light stand, pole, beam, table, chair and much more. Use it to secure a laptop power brick, charger, phone, off-camera flash, transmitter/receiver, microphone, battery, external hard drive or anything else that's handy to have nearby during a photo or video shoot.
- 171. RapidMount Accessory Extension 8″ ๏ The Rock Solid Extension Bar 8″ (200mm) accessory rail allows the mounting of multiple pieces of photography or video gear (microphones, recorders, transmitters, Look Lock, lights, flashes, etc.) to a camera or arm in a secure, convenient, and compact manner. ๏ Works with the hot shoe
- 172. Suction Cups ๏ FilmTools ๏ Gripper 3025 - The Filmtools 6" Suction / Vacuum Cup Camera Mount ๏ Filmtools 6" Suction Cup w/ Baby Spud Mount Kit ๏ 4.5" Suction / Vacuum Cup with 3/8-16 Spud
- 174. Platypod Pro ๏ Shoot low angle, table top or uneven surfaces ๏ Travel tripod that fits in your pocket ๏ Compatible with your ball head to support up to 90 lbs. of photography equipment ๏ Includes: Platypod Pro base, screw set, ¼” to 3/8” spigot adapter, and travel case
- 178. TriggerTrap ๏ Requires an adapter for smartphones and tablets ๏ Use a camera specific cable ๏ Recommend attaching tablet or phone to tripod ๏ Use airplane mode to avoid calls and emails which can trigger the device.
- 179. TriggerTrap ๏ Sensor modes: ๏ Sound sensor - clap, whistle or tap ๏ Vibration sensor - vibrations and earthquakes ๏ Motion sensor - detects movement. Catch people with their hand in the cookie jar! ๏ Peekaboo - facial recognition
- 180. TriggerTrap ๏ Timelapse modes: ๏ Timelapse - travel through time ๏ TimeWarp - timelapse with acceleration ๏ DistanceLapse - perfect for road trips ๏ Bramping - bulb ramping timelapse to keep your exposure smooth ๏ Star Trail mode - extreme exposure control to create stunning images of the night sky
- 181. TriggerTrap ๏ HDR modes: ๏ LE HDR - Long exposure HDR sets with up to 19 exposures ๏ LE HDR Timelapse - create timelapses with all the detail of HDR
- 182. Triggertrap Timelapse Pro ๏ Timelapse Pro lets you create sequences using the building blocks of timelapses - intervalometers and delays. ๏ Timelapse Pro’s intervalometers allow you to set your interval between shots, as well as when you’d like the intervalometer to stop; either by the number of shots or after a set amount of time has passed. ๏ Save and name your timelapses so you can quickly access them again later. ๏ Control with an Apple Watch or a Pebble Smartwatch
- 183. Panasonic Image App ๏ Use your smartphone to remotely control the shooting and playback functions of a Wi-Fi-compatible digital camera/digital video camera ๏ Watch the same image as on the Live View screen ๏ Control shooting and other camera operations as with a wireless remote controller. ๏ Play back and delete still pictures and videos recorded on your smartphone. (*2) (*3) You can also copy them to your smartphone, ๏ Add location information acquired with your smartphone to pictures recorded using your digital camera.
- 185. PlayMemories Mobile ๏ Send photos and videos to your smartphone ๏ Remote shooting from your smartphone ๏ Control the camera, making it useful when taking a photo or video in situations where you don’t want to be holding the camera directly: such as night scenes or macro photography. ๏ Using the smartphone’s location information service, ๏ Operate various settings of the camera from your smartphone: viewing, shooting, zoom, touch-AF, etc.
- 188. The Use of a LOG color profile
- 192. Understanding In-Camera Recording Options
- 209. Selecting the Right Memory Cards for In-Camera Recording
- 210. Using an External Recorder for Uncompressed Recording
- 211. Essentials When Monitoring 4K Cameras
- 212. Tether Table Aero System ๏ The Tether Table Aero Standard provides photographers with a stable portable tethering platform, perfect for daily studio use and the ideal out-of-studio workspace. ๏ Made completely of T6 Aerospace aluminum, the stunning brushed silver or non-reflective black textured platform was conceived by professional photographers and designed by aerospace engineers. This supremely functional platform is unsurpassed in stability & durability.
- 213. Dell Ultra HD 4k Monitor 27-Inch LED ๏ Screen Size 27 inches ๏ Max Screen Resolution 3840 x 2160 pixels ๏ With 99% sRGB color coverage ๏ Ultra-wide viewing angle at 178°/ 178° ๏ $699.99 (list) $540 (street)
- 214. Studio Vu-2 Monitor Mount ๏ TetherTools ๏ The Studio Vu-2 Monitor Mount holds monitors up to 85lbs and can be mounted to common C-stands and Light stands utilizing the standard 5/8″(16mm) Baby Junior pin. ๏ The VESA Compliant mount is made of aerospace aluminum and features dual 5/8″ studs for mounting in portrait or landscape orientation.
- 215. Additional Equipment to Benefit the 4K Camera twitter.com/ rhedpixel twitter.com/ EA_photo
- 217. Post Requirements ■ What are you doing determines some of your Workflow (Industrials, Commercials, Episodic, or Features) ■ Planning for an Offline / Online workflow? ■ Project Versioning ■ Graphics and VFX as well as Rendered Media ■ Finishing and Grading are at a new level
- 218. On Set Workflow
- 219. Studio Workflow
- 220. Studio Workflow
- 221. Studio Workflow
- 222. EQUIPMENT Hard Drives CalDigit MINI Gtech Gsafe RAID Gtech Gdrive MINI WD My Book Duo READ http://bit.ly/HDdeadNowWhat Samsun SSDs G-Technology All-Terrain Enclosure with Thunderbolt
- 223. Post Workflow
- 224. Post Workflow
- 225. Post Workflow ■ Offline vs. Online ■ Work with proxy media or just drop preview quality? ■ Cutting in 4K or using 4K sources ■ Performance Storage
- 226. Stills from 4K
- 228. Getting In Touch with Rich twitter.com/rhedpixel facebook.com/ RichHarringtonStuff plus.google.com/ +RichardHarrington/ linkedin.com/in/ richardharrington RichardHarrington.com vimeo.com/rhedpixel
- 229. Getting In Touch with Eduardo twitter.com/EA_Photo facebook.com/ Eduardo-Angel-Visuals- plus.google.com/ +EduardoAngelVisuals linkedin.com/in/ eduardoangel eduardoangel.com
- 231. www.Photofocus.com
- 232. Bookstore
- 234. eduardoangel.com
- 235. www.lynda.com
- 237. Bookstore
- 238. Win a Copy of Perfectly Clear Complete for Photoshop and Lightroom www.Athentech.com
- 239. twitter.com/rhedpixel twitter.com/drobo Win a Drobo 5D or 5N Follow Tweet I want to win a @Drobo from @rhedpixel at #NABSHOW
- 240. twitter.com/ rhedpixel twitter.com/ EA_photo In-Depth: 4K Mirrorless Cameras: Sony A7 Series, Panasonic GH4, and More