The new Sony Alpha A77 is getting a lot of DSLR-video buzz lately, and Dan Chung found an interesting little bit of info on the difference between European and US camera models. From Sony Alpha Rumors:

I just got this from a third trusted source: “US version is 24,30,60p, European 25 and 50p. There is no difference between 24 and 25p visually. You can play 25p at a speed of 24p and vice versa. Problem is sound, but video editors have no problem in converting the sound speed digitally.”

Raging Bull is an icon of American Cinema, directed by Martin Scorsese, and featuring Robert Deniro. This film offers a strong sense of visual language and shot composition. When I initially saw this film there was one scene I particularly didn’t like, it felt stiff and just off somehow. After going back viewing it a second time I realized it was exactly how I was supposed to feel. It was the brilliance of Scorsese’s direction that controlled my emotional response to the scene. What I would like to do is give my simple analysis of a few scenes from this film. I want to build off my previous article on shot composition, and look at this as a case study. This is not intended to be a comprehensive look at the language of the film, as there is a lot there to unwrap. Rather we will limit our discussion to a few select elements. We will look at how Scorsese uses shot composition, lens choice, and, surface division to enhance the tone and mood of the film. Continue reading ‘Visual Language of Raging Bull’

I own a SmallHD DP6 monitor, and love it. It’s a fantastic monitor, and it works equally well with HDMI DSLRs as well as cameras like the HD-SDI equipped EX3, or the HDMI and HD-SDI equipped RED camera.

I’ve discovered that I can perfectly shoehorn the complete DP6 monitor kit (and accessories) into an affordable Pelican 1150 case. Here’s a Gear In 60 Seconds video that shows you how. Watch below…

GearIn60Sec_smallhd_case.mov

Gear List:
* SmallHD DP6 with HD-SDI
* Pelican 1150 hard case
* Zacuto Zicromount III
DP6 accessories that fit into this case with the monitor: Removeable screen protector, neoprene monitor case, neoprene sun hood, HDMI passive pass-thru box, Mini-HDMI to HDMI cable, power cable, 2x SmallHD batteries, battery charger & cable.

As a side note, the SmallHD DP4 + accessories also fits snugly into this case, providing that you include a little extra foam on the top or bottom.

In addition to this monitor kit, I’ll generally bring a Zacuto Zamerican arm and a Zaffer clamp in another one of my bags, so I can easily mount the monitor to 15mm rods, or in some cases on the audio boom stand for my director (who is often the interviewer). See the following photos for an example of that setup…

As you can see, I’m using a Zaffer clamp mounted on the top of a c-stand to clamp onto the audio boom. On the side of the Zaffer is a Zud fitting that accepts a Zamerican arm, which is supporting the SmallHD DP6 monitor. You could use other varieties of arms and clamps as well, like the Bogen Magic Arm/Super Clamp kit. For this interview setup, the DP6 is hooked into a Sony EX3 via HD-SDI cable, and my interviewer now has a monitor to quickly check and see what the frame looks like, and whether the camera is moving or re-framing while our talent may be answering a key question. It’s also very helpful for me as a DP…I can turn the monitor around and quickly adjust my lights without having to run back to the camera.

Special thanks to the ever-creative Jesse Rosten for conceiving and building our GearIn60 logo intro.