I was very excited last week to hear that Convergent Design had finally released the highly-anticipated firmware update for the Odyssey7Q that added ProRes422 and 4K RAW recording. I’ve been a proud owner of the FS700 for over a year and have loved shooting with the camera, but always wished for an escape from the 8-bit limits of the output and internal recording. The Sony-branded 4K RAW recording solution is large and expensive, but the Odysssey7Q offers similar functionality in a more versatile, compact and affordable package.
I quickly arranged to conduct a test with the help of my good friend and fellow cinematographer John Tran. John also has a couple FS700s in his inventory and was one of the first in the city to receive an Odyssey7Q.
We had both updated our FS700s to v3.0 firmware last summer (required for 4K RAW output) and have been waiting all this time to actually record 4K RAW to the Odyssey7Q. Camera assistant Chris Goll kept us organized during the test.
We decided that our test of different recording formats (including the internal AVCHD) would focus on these aspects: latitude/dynamic range of available gamma curves and recording formats, bit-depth, chroma-subsampling, and resolution/scaling. Continue reading
Tim Dashwood will be presenting a FREE live webinar on Moviola January 7th at 11:30AM Pacific/2:30PM Eastern. The live stream is available for free to all registrants as it is broadcast and the archive will be made available for paid streaming later in the week. All attendees will be eligible for a draw for licenses for Editor Essentials ($49) and FxFactory Pro ($399). This webinar will be hosted by LAFCPUG’s Michael Horton.
To register for the webinar simply click the image above to go to Moviola’s website, and then click “Register.” If you are not already a Moviola member then click “Become a member” and register as a Basic Member (free of charge.) You will be sent a link by email that will allow you to download the free webinar streaming software.
The award-winning Stereo3D CAT calibration and analysis system adds the prestigious Lumiere statuette for technical achievement to its growing list of accolades, and offers a limited-time 20% discount on all Stereo3D licenses
Los Angeles, California – Sept. 24, 2013 – Dashwood Cinema Solutions, developer of film & TV production software tools for the Mac, was awarded the International 3D & Advanced Imaging Society’s prestigious Lumiere award at a special event at Paramount Pictures Studios in Hollywood on September 18th.
“We are very honored to be recognized by The International 3D and Advanced Imaging Society for Stereo3D CAT” said Tim Dashwood, founder of Dashwood Cinema Solutions. “I must thank DSC Labs, Noise Industries and the dedicated team at Dashwood for their tireless effort in bringing this valuable tool to market. It’s very rewarding to know that something I selfishly designed just to make my own job as stereographer a little easier has been embraced by so many 3D filmmakers in Hollywood and around the world.”
To commemorate this special honor, for a limited time Dashwood is offering 20% OFF Stereo3D CAT and Stereo3D Toolbox licenses with the coupon code “i3ds“. This offer expires September 30th, 2013. Continue reading
An editorial by Tim Dashwood
The Hobbit has finally been released in 2D and 3D at the traditional 24 frames per second (fps) as well as 3D High Frame Rate (HFR) at 48 fps. If the posts on social media are a fair indication, it seems that audiences have not reacted as positively to the 3D HFR version as the industry had hoped. Why not? Industry leaders like James Cameron, Douglas Trumbull and Peter Jackson have been been telling us why HFR is a better choice for 3D (and 2D) by overcoming one particular technical issue that may cause viewer discomfort, and they are absolutely correct in that respect. However, HFR will not solve all the potential eye-strain problems associated with a 3D presentation, and the film-going public has become accustomed to the aesthetics of 24 fps as a key contributor to the cinematic look of their favourite films. To most, the hyper-realism of 48 fps seems like a strange intruder in the context of an epic fantasy film like The Hobbit. Battle-lines are being drawn between the technical improvement of HFR and the aesthetic “feel” of the traditional 24 fps film standard.