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Film Fridays: Thinking about spending a stack of cash on a film camera? Read this first!

14 Mar

We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing an article from our film friends over at 35mmc on Fridays. This week’s article addresses the ever-inflating second-hand film camera market and the realities of what you get for your hard-earned cash. So don’t drop $ 300 on an Olympus MJU II before reading this first!

Thinking about spending a stack of cash on a film camera? Read this!

Articles: Digital Photography Review (dpreview.com)

 
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Canon confirms the EOS R5 will capture internal 8K/30p video, offer ‘advanced animal AF’

14 Mar

In an uncharacteristic move, Canon Australia has published a press release revealing a number of new details pertaining to the specifications of its upcoming EOS R5 mirrorless camera, in what appears to be an effort to quiet the ongoing speculation regarding what ‘8K’ capabilities the camera will offer. Spoiler alert: Canon’s video-limiting days may be over.

Canon confirms in the press release the EOS R5 will offer 8K internal video recording using the full width of the sensor at up to 30 frames per second (fps). In addition to no crop shooting, Canon notes all 8k modes for the EOS R5 will support Canon’s Dual Pixel CMOS AF technology.

Canon also says the R5 will support ‘advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.’

Historically, Canon has been suspected to limit the video capabilities of its non-cinema camera products in order to minimize cannibalization, a name given to the problem of losing sales within a company’s own product lineup by putting what’s considered premium features and capabilities in lower-cost products.

These new details don’t confirm Canon has taken an entirely altruistic approach to its EOS R camera development, but it does show Canon is getting serious about video in its mirrorless lineup and is determined to make a statement in the market compared to the likes of the Sony’s a7 III and Nikon’s Z7, two full-frame mirrorless cameras that have, until now, been above and beyond what Canon has offered with its EOS R and RP mirrorless cameras.

Sydney, AUSTRALIA, 13th March 2020: Canon INC has today released further development specifications for its recently announced Canon EOS R5, the next-generation full-frame interchangeable lens camera in the company’s EOS R System. These additional details come exactly one month since Canon released the development announcement of the EOS R5 and shut down speculation that some of its revolutionary specifications are ‘a fantasy’.

Signalling a new phase of Canon 5-Series imaging and a revolution in the mirrorless full camera category, Canon’s EOS R5 will offer every photographer – not just professionals – access to high-quality imaging, cutting-edge 8K movie recording, new approaches to in-body image stabilisation, and revolutionary subject detection and tracking performance features.

New possibilities for movie performance
Unleashing new possibilities, Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market1. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest Canon EOS R camera is set to redefine mirrorless with its market-leading features. In addition, in all 8K modes the EOS R5 will support Canon’s renowned Dual Pixel CMOS AF.

A beast for subject detection and tracking performance for animals and people
Canon Inc. also confirms the EOS R5 supports advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.

Jason McLean, Director – Consumer Imaging & Services, Canon Australia, said: “Our EOS 5-Series was developed fifteen years ago to make full-frame cameras accessible to consumers, not just professional shooters. Today, that purpose remains steadfast as we continue achieving the ‘impossible’ to deliver the hybrid needs of content creators who are demanding uncompromised performance to generate more still and motion visual content than ever before.”

“With its game changing 8K movie capabilities, new approaches to image stabilisation, revolutionary subject detection, and compatibility with Canon’s full suite of EF2 and RF lenses, the EOS R5 represents a category revolution as opposed to product evolution in the interchangeable-lens camera market.”

The EOS R5 specifications previously confirmed by Canon include:
• The EOS R5 offers a step-change in performance with an incredible 12fps using the mechanical shutter and the electronic shutter offering 20fps
• The EOS R5 takes Canon’s cutting-edge image stabilisation technology to the next level, by including a newly Canon-developed, in-camera image stabilisation system – which works in combination with the lens stabilisation system
• With content delivery just as important as image and video capture, the EOS R5 supports automatic transfer of image files from the device to the image.canon cloud platform3
• The highly anticipated EOS R5 will feature dual card slots
• Upon launch, the Canon EOS R5 will also be supported by Canon Australia’s 5-year warranty when purchased from an authorised local dealer4.

To stay up to date with the latest news and information regarding the EOS R5, register here: www.canon.com.au/preference-and-settings/in-focus.

1 As of 13th March 2020
2 When used with Canon’s EF-Series lens mount
3 Automatic file transferring, available for cameras equipped with the automatic file transfer function, beginning with the currently-in-development EOS R5 (announced on 13 February 2020), requires users to connect the camera to a Wi-Fi access point that has been registered in advance
4 For full details on Canon Australia’s 5 year warranty, visit https://www.canon.com.au/support/warranty

Articles: Digital Photography Review (dpreview.com)

 
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Video: Fotodiox tutorial transforms portable scanner into a 4×5 digital camera back

14 Mar

Photography gear company Fotodiox has published a new video showing viewers how to turn a portable scanner into a 4×5 digital scanner back for use with large format cameras. The video tutorial is based on a concept published by Randy Sarafan on Instructables.

In Fotodiox’s version of the project, the team uses a Flip-Pal Mobile Scanner, which costs around $ 180 on Amazon; other models could also be used, video host Sean notes in the tutorial. The scanner is paired with a CameraDactyl 4×5 camera ($ 200) and a 5×7 Fresnel sheet ($ 5).

Sean notes that the digital back cannot provide the same level of quality as 4×5 film, but he says that it’s ‘such a cool idea, I had to try it.’

The project kicks off with Sean grinding the scanner’s glass using 600 grit silicon carbide and a small piece of glass. This transforms the panel into ground glass, which is then paired with the sheet of Fresnel glass for more even light distribution. The ground glass is reattached to the projector and the Fresnel is attached to it using ordinary duct tape.

The camera was then duct-taped to the projector, as well, with Sean noting that he used the CameraDactyl model partly because it is very lightweight.

After opening the aperture and focusing the image, Sean covered the back of the camera with a dark object to keep light out, then hit the ‘scan’ button on the digital back. The scanning process took about 20 seconds and the result was a ‘4×5 film look’ from a digital scanner.

As far as downsides go, Sean notes that this scanner arrangement can’t capture color images and that the image is captured off the ground glass, which means the texture from the glass results in grainy images. Photographers may also have to deal with scan lines in some images.

Ultimately, though, Sean explains: ‘I get a really shallow depth of field. It just has this really nice vintage 4×5 film look.’

Articles: Digital Photography Review (dpreview.com)

 
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New firmware brings improved AF usability: Read our updated Nikon Z6 and Z7 reviews

13 Mar

Nikon’s release of firmware 3.0 for its Z6 and Z7 cameras is significant. Not just for the changes it brings, but the significance of those changes in the context of the company’s history. Like Canon, Nikon has historically brought DSLR cameras to market that you could be sure would work exactly the same in ten years as the day you bought it. There simply wasn’t any expectation that you would gain additional features, refinements or enhancements over the life of the product.

But times have changed, and with the Z6 and Z7, Nikon has clearly taken industry feedback to heart. Of course, this isn’t the first major firmware update for these cameras – firmware 2.0 brought us eye detect autofocus – but 3.0 changes some of the autofocus system’s fundamental operation in an attempt to make it more familiar to users of the company’s DSLR cameras.

Alright, enough with the pontificating. Here’s what firmware 3.0 brings to the table.

Refined autofocus tracking implementation

The most significant change in FW 3.0 (to us, anyway) is the refinement in the behavior of the Z6 and Z7’s tracking autofocus. Up until now, you had to hit the ‘OK’ button while in the Auto AF area mode to bring up the tracking box. You could place that over your subject and initiate autofocus, and it would track around the frame. But when you released the shutter button (or AF On button), the box would continue to track your subject until you canceled it with the ‘OK’ button, and then the tracking box would reset to the center of the frame, regardless of whether you’d moved it around before initiating autofocus. You then exited tracking with the ‘Zoom out’ button.

You can now have either the Fn1 or Fn2 buttons initiate tracking AF. Our opinions on staff differ, but I personally find these buttons fall naturally under my middle and ring fingers, and are easy to press.

Now, with FW 3.0, you have the option to assign Tracking mode to one of the Fn buttons on the front of the camera, which are easier to manipulate with the camera to your eye. And once you’ve initiated tracking, releasing the shutter or AF On buttons will see the camera cease tracking, and the box return to wherever it was when you initiated tracking.

It actually makes a remarkable difference in everyday shooting, and we’ve found that we can use the Z6 and Z7 more comfortably, and in a similar way to how we’re used to shooting with Nikon’s DSLRs.

It’s not quite perfect though. Firstly, if you enter playback or menus, or power-cycle the camera, you’re back into non-tracking Auto area AF mode. We’d love to see it remember your chosen mode or, better still, be offered as a distinct AF area mode. Secondly, initiating tracking on a face does not switch to face and eye-detection, as it does on Sony and Canon cameras with the latest firmware.

But on the whole, it’s a welcome improvement and makes the Z6 and Z7 much more usable, further improving on cameras that already had great ergonomics and handling. We discuss how this new behavior interacts with the cameras’ other AF features in our Nikon Z7 review.

Pet eye detection and CFExpress

Firmware 3.0 also brings the ability to focus on the eyes of pets, for all you pet portraitists out there. Depending on the pet (in essence, on how similar their eyes looked to human eyes) some Z6 and Z7 users with the old firmware might have found that their cameras already did a decent job of this, but now it’s official. With Firmware 3.0 you get more reliable and stable pet detection tracking, when you enable the requisite menu function.

Lastly, the Z6 and Z7 cameras are now compatible with CFExpress cards. This won’t impact you too much if you already have a bunch of XQD cards laying around, but CFExpress is the future, and broader compatibility is always a plus.

The reviews

Our reviews of both the Z6 and Z7 now have updated autofocus sections, updated conclusions, and we made tweaks to the scoring. Neither received a higher overall numerical score – they both scored very highly to begin with – but the ‘metering and focus’ category of the scoring widget has received a noticeable boost on both. We’ve also updated our Pros and Cons lists at the top of the conclusion pages to reflect the changes.

To see all the changes for yourself, hop on over to our full Nikon Z6 and Z7 full reviews.

Read our Nikon Z6 review

Read our Nikon Z7 review

Articles: Digital Photography Review (dpreview.com)

 
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C-4 Precision Optics releases $39,000 4.9mm F3.5 Hyper Fisheye lens for Sony E mount

13 Mar

For $ 39,000 USD, you can now purchase a 4.9mm F3.5 Hyper Fisheye lens for Sony’s full-frame E mount. This wild lens offers a 270-degree field of view, meaning that it can photograph the area behind the focal plane. For the curious photographers and videographers without nearly $ 40,000 burning a hole in their pocket, the lens can be rented from Lensrentals for around $ 1,250 a week.

The 4.9mm F3.5 Hyper Fisheye lens has unique origins. Back in 2015, Roger Cicala and the Lensrentals team announced the launch of C-4 Precision Optics as an April Fools’ Day prank of sorts. There were various lenses discussed in the article, including a 66.6mm F0.666 Micro Four Thirds lens, a 150mm F1.0 full-frame prime lens and a full-frame 4.9mm F3.5 270-degree fisheye lens.

The lattermost lens was nicknamed ‘The Light Bender’ by Cicala and the C-4 Precision Optics team. Unlike most April Fools’ Day pranks, however, this one is no longer a laughing matter. Of the lens, Cicala wrote on the Lensrentals blog, “That means this lens not only shows everything from one side to the other (for the mathematically challenged among you, that would be 180 degrees), it actually shows stuff that’s behind you.”

In February 2019, Cicala and the Lensrentals team including Aaron Closz, Brian Caldwell and Wilfried Bittner, assembled a prototype version of the fisheye lens. You can see a video of this process below.

The lens is now out of prototype stage and available for preorder and rental. This specialty manual lens for Sony E mount delivers a 270-degree field of view and weighs a hefty 12.97 kilograms (28.6 pounds). Optically, it includes five extra-low dispersion lens elements. To help put into perspective what a 270-degree field of view looks like, you can see a sample image via Lensrentals below.

Sample image captured using the C-4 Precision Optics 4.9mm F3.5 Hyper Fisheye lens. Image credit: Lensrentals.

Comparing the 4.9mm F3.5 Hyper Fisheye lens to other fisheye lenses, Cicala says it most closely resembles Nikon’s legendary Nikkor 6mm F2.8 fisheye, which is very rare and can sell for upwards of six figures (USD). The Nikon lens captures images with a 220-degree field of view.

Physically, the lens is very different from most other lenses. It includes built-in extendable tripod legs and you mount the camera to the lens inside the tripod array. The lens has been designed with immersive video applications and specialty applications in mind. Accordingly, it cannot be set up and used as simply as other more traditional fisheye lenses.

The C-4 Precision Optics 4.9mm F3.5 Hyper Fisheye lens shown with an attached Sony mirrorless camera. As you can see, the camera mount to the lens inside of the built-in extendable tripod legs. Image credit: LensAuthority.

For those interested in learning more about the lens, we recommend heading to Lensrentals to read a full recap of the prototype assembly process, which includes dozens of detailed images. It’s very neat to see a hand-built lens come to life.

The C-4 Precision Optics 4.9mm F3.5 Hyper Fisheye lens is available for Sony E mount and can be ordered via LensAuthority for $ 39,000 USD. You can also rent the lens from Lensrentals. This will cost $ 1,246 USD for a week.

Articles: Digital Photography Review (dpreview.com)

 
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Opinion: Stop worrying about new cameras and love the one(s) you’ve got

13 Mar

I’ve recently found myself in the following situation: Over the course of just a couple months, the two main digital cameras I shoot with have both been replaced by new models. This includes my everyday, ‘personal’ camera in the Fujifilm X100F and my ‘gig’ camera in the Nikon D750.

With the announcement of the X100V and D780, in the blink of an eye my kit suddenly went from feeling fresh to feeling like last night’s leftovers. But the more I dig into the differences between these modern generations of cameras and the generation which I own, the more I feel relieved. If you’re in a similar situation, let me assure you, it gets easier. Here’s why.

Pixel counts are leveling out

The megapixel wars have largely wound down and most brands aren’t fixating on increasing the number of pixels in a camera with each subsequent generation, as they have in the past. This is a trend we’re starting to see across the board from multiple brands. Case in point: my D750 has the same number of pixels as the D780, and the X100V offers only a modest 2MP gain over my X100F.

This is not to say neither brand has improved the image quality in these updated models. Indeed the D780 has far nicer JPEGs than the D750. That’s an important improvement, but not one that necessarily matters to me as a Raw shooter.

With the Fujifilm, I tend to stick to JPEG shooting and there’s no real difference between the two cameras there. The only real image quality difference comes down to the lenses: the X100V’s updated lens should provide better corner sharpness and close focus. I certainly can appreciate both of those improvements, the latter especially for portraiture. But then again doesn’t that just mean my X100F’s lens has more ‘character’ by comparison? I can live with that.

Double exposure shot in-camera on the Fujifilm X100F and edited in Adobe Photoshop.
ISO 2000 |1/125 sec | F2

New features are nice but perhaps not necessary

So if camera companies aren’t making huge strides in image quality with the current generations coming out, where are they concentrating their efforts? The answers lie in usability refinements, autofocus improvements and video/feature additions. These are nice-to-haves, but for me, not need-to-haves.

Both my cameras have signs of a life well-lived. But they’re still as capable as ever – in fact more thanks to firmware updates – even if they’re not as beautiful as they once were. Just like me.

Sure, a tilting touchscreen would be a nice addition to my X100 camera, especially for street candids. But then again, I’ve already trained myself to shoot from the hip, while zone focusing with my X100F, so do I really need a tilting screen? The same goes for touch capability; yes, a touchscreen is handy for quick point placement, but the AF joystick on the X100F is also rather speedy.

Similarly, am I tempted by the D780’s excellent live view mode? Heck yes I am. But is it enough to make me want to replace my D750? No. The same goes for video. As a primarily stills shooter who dabbles, I’d definitely appreciate the D780’s movie-making features. But not enough to trade up.

Shot on the Nikon D750 and edited in Adobe Camera Raw.
ISO 12,800 | 1/250 sec | F2.2 | Nikon 20mm F1.8G

Simpler can sometimes be better

I’m not trying to get all philosophical here, but when it comes to getting creative, simplicity can often be refreshing. Because even though my D750 and X100F offer limited usability compared to their updated counterparts, specifically when shooting with the rear LCD, those limiting factors streamline how I use these cameras.

Moreover, other comparative limitations just mean I’ll have to come up with creative workarounds, not unlike learning to shoot from the hip blindly due to the lack of a flip-out LCD. And creative workarounds spawn even more creative thinking – the secret sauce of good photography.

‘Shiny and new’ is overrated

We’ve all brought home a shiny new gadget, whether it be a camera, a smartphone or some other device, and babied it like we’d birthed it ourselves. But shiny new things aren’t meant to stay shiny and new forever – a fact that can take a while to sink in.

On the other hand, there’s something to be said for the comfort of time-tested, worn-out gear. Both my cameras show signs of a life well lived, complete with love and some hard knocks. But they’re still as capable as ever – in fact more so thanks to firmware updates – even if they’re not as beautiful as they once were. Just like me. Which means I don’t hesitate to grab my X100F to tag along for a night on the town, out of fear it may sustain some sort damage. But with a brand new X100V, I might be more cautious.

Shot on the X100F and edited in Adobe Lightroom.
ISO 400 | 1/1600 sec | F5.6

Happiness is accepting the inevitable

Aging is inevitable: just as a new car loses its value once driven off the lot and your camera’s shutter starts to wear after the first shot, we too begin to age the moment we are born. That may sound depressing, but it’s not! Here’s a lyric by the folk singer Jeffrey Lewis to explain why…

‘Time is going to take so much away, but there’s a way that you can offer time a trade. Because your looks are gonna leave you. And your city’s gonna change too. And your shoes are gonna wear through. So you gotta do something that you can get smarter at, you gotta do something you might just be a starter at. You better do something that you can get better at, because that’s the thing that time will leave you with.’

So don’t worry about having last generation’s model, instead invest that energy in your own photographic passion and betterment. Because just as your camera will inevitably fall out of vogue, your time behind it too will one day come to an end. Get out there and shoot!

Articles: Digital Photography Review (dpreview.com)

 
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World Press Photo cancels 2020 Photo Contest award show, festival due to COVID-19 concerns

13 Mar

The World Press Photo Foundation has announced it is canceling its awards show and festival, originally planned to take place in Amsterdam from April 16–18, due to COVID-19 (the coronavirus).

The decision comes after following the assessments of the European Centre for Disease Prevention and Control and coming to the conclusion that World Press Photo ‘can not hold events where international guests are invited to join local participants in a mass gathering.’ Due to ‘on-going uncertainty about the scale of the COVID-19 virus,’ World Press Photo has decided to altogether cancel the event rather than postpone it until later in the year.

Despite the two events being cancelled, the show will go on. The winners of the 2020 Photo Contest and the 2020 Digital Storytelling Contest will still be announced on April 16, 2020, and shared online for the world to view. The nominees will also continue to be shown as part of World Press Photo’s worldwide exhibition tour, with the next exhibition set for a showing at De Nieuwe Kerk in Amsterdam on April 18, 2020.

To see the nominees for the 2020 World Press Photo awards, visit our previous gallery.

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World Press Photo Foundation cancels the Awards Show and Festival because of COVID-19

We have decided, after intense deliberations, that the global situation surrounding the COVID-19 virus, requires us to cancel the World Press Photo Awards Show 2020 and the World Press Photo Festival 2020, due to be held in Amsterdam on 16-18 April.

We are devastated that we will not be holding two of our major events that honor and showcase this year’s contest winners in person. Both events have become pivotal occasions for the visual journalism community to come together and we are all going to miss this moment.

We were well advanced with the planning for these events and to bring that to a stop is not an easy decision. Combined with the on-going uncertainty about the scale of the COVID-19 virus, this means it is not possible for us to postpone the events until later in the year.

However, the safety of our community, staff and society outweighs all other considerations.

We have been following the assessments of trustworthy sources such as the European Centre for Disease Prevention and Control, and they report that in the coming weeks there is a moderate to high risk of more countries reporting more cases and clusters. ‘Social distancing’ is the way the risk of the COVID-19 virus is being managed, and we have concluded we can not hold events where international guests are invited to join local participants in a mass gathering.

The winners of the 2020 Photo Contest and the 2020 Digital Storytelling Contest – including the winner of the World Press Photo of the Year and the three other major awards – will be announced on the evening of 16 April 2020 (under embargo until 22:00 CET) and presented to our global audience through a wide range of online and media channels.

We will be working hard to give those winners the recognition they deserve. The nominees for those awards can be seen now at worldpressphoto.org, the worldwide exhibition tour continues, and we are also looking forward to finding new ways of fulfilling our mission: connecting the world to the stories that matter.

Important dates

  • 16 April 2020 22:00 CET: 2020 Contests winners announced
  • 18 April 2020: World Press Photo Exhibition 2020 starts its worldwide tour at De Nieuwe Kerk in Amsterdam. See all confirmed exhibition locations at worldpressphoto.org/calendar. More locations are added regularly.

Connecting the world to the stories that matter.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: With new firmware, Nikon Z6 and Z7 autofocus gets closer to 3D AF tracking

12 Mar

Editor’s note: We have updated our reviews of both the Nikon Z6 and Nikon Z7, including scoring, to reflect both cameras’ performance using the new firmware.

Nikon recently announced firmware update 3.0 for its Z6 and Z7 mirrorless cameras. Most notably, it includes AF system improvements that designed to replicate Nikon’s class-leading 3D-tracking mode for DSLRs. We put it to the test to see how well it works.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
  • Introduction
  • The new tracking interface
  • Animal-detect autofocus
  • Eye detect performance
  • Other improvements
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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Video: Ferrari sports cars, Formula 1 cars captured on-track with a Super 8 cameras from the 1960s

12 Mar

Nick Shirrell, a motorsport filmmaker known for using old school film cameras to capture auto races, recently received an invitation from Ferrari to travel to Italy and film a race using 50-year-old Super 8 cameras with 8mm film. The result is a 10-minute video featuring a retro production style and classic voiceover narration that recently went viral on the /r/Formula1 subreddit.

DPReview spoke with Shirrell to ask about his experience with Ferrari and the gear he used to capture the race, as well as the events that led up to this moment. The project wouldn’t have been possible without support from Reddit, according to Shirrell, who explained that his first Super 8 race video went viral on the /r/cars subreddit, resulting in articles from publications like Jalopnik and, eventually, a private message from Ferrari.

Following the initial video, Shirrell filmed an IndyCar video at Road America, which likewise was popular on Reddit and with automotive media. He explains:

‘Not long after the IndyCar video went viral, I got DM’d on my Instagram by Ferrari asking if I’d like to talk to them about doing some filming. Little did I know the phone call that would follow would be an invitation to Italy to make the great film released this week! Ferrari was amazing to work with and they made it clear they wanted no hand in the creative process or in the final content, they only wanted to enable me to create something amazing and give me the opportunity to do what I do with these films.’

Shirrell used a variety of gear to capture the race, including three Super8 cameras: a 1966 Canon 814, 1968 Canon 1218 and a 1971 Beaulieu 4008 ZM2 with Kodak Vision3 50D and 200T motion picture film stock. These models were joined by a RadioShack-brand Realistic 14-1029 handheld mini-cassette recorder featuring a Smith-Victor supercardiod condenser shotgun microphone.

Shirrell said his narrator Alan Baxter used a modern microphone to record the voiceover, which was later edited using software. As well, he relied on the natural lighting available at the filming locations. Shirrell explained:

‘For post-processing the voiceover audio, I use EQ and distortion filters within Adobe Premiere Pro to mimic the sound of an older microphone recording onto tape as accurately as I can. For ambient track sounds of V10s, Challenge cars, etc recorded onto mini-cassettes the old fashioned way I didn’t have to add any filtering.’

As for processing the film, he said:

‘I do develop my own 35mm and medium format still photos with C-41, E-6, and black and white chemicals, but for a professional project like for Ferrari I didn’t trust myself to not ruin the film on my first ever attempt at developing 8mm. 8mm is challenging to develop because it’s 50 feet long and very small and fiddly compared to a roll of 35mm or 120 film that is 4-6 feet in length.’

This isn’t the end for Shirrell, who has plans for other projects involving his retro equipment:

‘For what I want to shoot next, I’d love the opportunity to film Formula 1 if the opportunity presents itself, but I also have ideas for shooting drag racing, rally, and other motorsports.’

Shirrell’s work can be found on his YouTube account and on Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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NAB Show cancelled due to COVID-19, but alternative options are being considered

12 Mar

National Association of Broadcasters (NAB) President and CEO Gordon Smith has confirmed the NAB Show has been called off, at least for the time being, due to ongoing concerns surrounding COVID-19 (the coronavirus).

In the announcement shared on the NAB Show website, Smith says:

‘In the interest of addressing the health and safety concerns of our stakeholders and in consultation with partners throughout the media and entertainment industry, we have decided not to move forward with NAB Show in April. We are currently considering a number of potential alternatives to create the best possible experience for our community.’

Later on in the post, Smith notes NAB is ‘still weighing the best potential path forward’ and is ‘committed to exploring all possible alternatives.’

The five-day event was set to take place in Las Vegas, Nevada starting April 18, 2020. In addition to CP+ and The Photography Show being canceled or postponed, Adobe, AJA and Nikon all confirmed they wouldn’t be attending the NAB Show, putting a damper on the already doubtful event.

Articles: Digital Photography Review (dpreview.com)

 
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