Last year, the American Society of Cinematographers and the Producer's Guild of America orchestrated a follow up to 2009's Camera Assessment Series with the Image Control Assessment Series. Unlike a shootout where the relative strengths and weaknesses of the selected cameras were pitted against one another, ICAS was an attempt to unify the different camera systems under a single workflow: the Academy Color Encoding System, or ACES.
While residents in the New York Region were stumbling (or kayaking) out of their dwellings after the semi-apocalyptic Sandy on Tuesday, Sony gifted area filmmakers with a bit of solace as they tried to ignore that tree branch through the window and the water sloshing in the basement. Even a storm closing the NYSE two […]
Last week a cadre of film industry professionals joined us in our fifth floor event space for a special Sony FS700 presentation. Tom Cubby of Sony gave a nuts-and-bolts breakdown of the hot new camera’s features and addressed audience members’ unanswered questions. After the presentation, guests were given an opportunity to go hands on with […]
ARC’s Nathan Lee Bush had a chance talk with Sony about its new FS700 4K-ready cinema camcorder. With built-in ND filters, sturdier handle construction than its FS100 sibling, 3G-SDI out and absurdly high framerates, the camera packs pro cinema features at a very affordable price. We find out how Sony managed to include so […]
Last week Andrew Reid of EOSHD rumorized a 4K FS100 offshoot from Sony for NAB. It seemed too good to be true, as the very popular E-Mount pro camcorder from Sony was only a year old, and had already firmly established itself in the midrange between the DSLR and F3/EPIC price points, with incredible low-light […]