The website Cameratown has compiled a guide to the various loupes available on the market for HDSLR cameras, such as the Panasonic GH1, Canon D5, Canon D7 and the Nikon D90. Loupes made for HDSLR cameras weren't available when I shot Rejouer, but the GH1 has a flip out LCD screen which helped with certain camera position where a loupe couldn't have been used. However, while shooting in the bright sun outdoors it would have been very useful. If any has used any of these loupes let me know your thoughts.

http://www.cameratown.com/articles/dslr_cinematography.cfm

Studio Daily's Debra Kaufman writes about the Digital Cinema Society's discussion on HDSLR moviemaking at the 2009 DV Expo. You can read about it here: http://www.studiodaily.com/blog/?p=2018

I'll be giving the keynote address at the 2009 Digital Video Expo on Thursday, September 24th at 12:00 pm in the Presentation Theater. Come and see never-seen-before footage from my movie, Rejouer.


During the session, "Big Movie, Little Camera: How HDSLR Moviemaking Will Make You An Independent Studio," Finn will present never-before-seen footage from Rejouer, the first HDSLR movie shot entirely on the Panasonic GH1 using cinema lenses. Writer, producer and director Finn will share how you can make your own big movie with a little camera. Come join the new wave of moviemaking and learn how you can become your own studio.

Here's the full length article from the September 2009 issue of Digital Video magazine on my movie, Rejouer.

http://www.dv.com/article/86306

It's been around awhile, but if you haven't updated your firmware for the Panasonic GH1 here's the link to do it.

http://panasonic.jp/support/global/cs/dsc/download/fts/dl/gh1.html

Panasonic GH1 is used to shoot a Heineken commercial. If you thought the camera wasn't ready for prime time, think again.

http://www.psyop.tv/o.php?id=103|0

Here's a wrap up of day two of the first Image Mechanics Collision Conference on hybrid filmmaking that I and Illya Friedman spoke at on Sunday, August 30, 2009. The article was written by Tito da Costa who was in attendance and did a super job condensing the day.

Thanks Tito!

http://radraven.com/2009/09/05/collision-conference-day-2/

I had need to do some macro photography in my movie. My camera operator, Carl Ratajski (who also provided additional cinematography) pulled the lens off the camera and used black wrap to make a tunnel to cover the exposed section between lens and camera. The effect, it made the lens a macro lens that allowed for a very close image of an eye that is a recurring image in the movie. Since the operator was holding the lens in his hands, the image was shakey, however we were able to stablize the image in post.

Since a DSLR can use still lens, here a more efficient and economical solution instead of renting specialty lenses:

http://www.komamura.co.jp/e/CVL/index.html

I found this color correction posting by David Guva, who, "did some color correcting just to see how the [GH1 codec] AVCHD-codec handles it using Magic Bullet Colorista and Vignette."

Unfortunately, there is no identicification of what software was used for each shot. Also, no comparison of original footage to color corrected footage. Still worth a look. Thanks for sharing David.

http://www.vimeo.com/5550518

Check out the Panasonic GH1, Canon 5D Mark II and Red One camera shootout held by rental company Birns and Sawyer in August 2009. The GH1 used in the test is the very same camera we shot our movie Rejouer on. DP Byron Shah who shot the footage also did some additional photography on our movie.

All shots are identified so you can make your own comparison.

http://staging.vimeo.com/groups/8432/videos/5981422

Here's a video from Camera Labs showing various shots of 1080 HD video with explanations of each shot. It's worth a look. Thanks Camera Labs.

http://www.youtube.com/watch?v=QYoKSv7uuQc

Here we go. This fledgling HDSLR format is about to heat up before the Christmas season. It seems Panasonic is going after the consumer market by having a 720 camera and compact body and lens. While Canon's D7 is going straight for the heart of the Red and movie makers. Funny, when I started shooting Rejouer, Panasonic had the superior camera and are now releasing a lesser camera while Canon started with a camera full of limitations and is now releasing the better camera with the D7.

Here's Panasonic's newest release - the Panasonic GF1.

Finally, Canon has answered my prays by making a variable frame rate camera. This just shows how fast this marketplace is moving. Today's announcement (Sept. 1st) is a game changer. Check it out at http://www.usa.canon.com/templatedata/pressrelease/20090901_eos7d.html. Thank you Canon.