A decade ago the BBC natural history series, Planet Earth, mesmerized viewers worldwide with some of the world’s most amazing wildlife footage and HD imagery of any kind yet broadcast in HD.
One of the benefits of downsizing broadcast and digital cinema cameras is the size and cost of much of the support gear needed to make them fully functional can also be downsized.
These days it isn’t unusual to use several different cameras on a production, each with its own codecs and media.
Getting ahead of the technology curve is tough enough under the best of circumstances, let alone 37,000 feet under the sea, in a submersible only 43-inches in diameter.
A couple of years ago when Blackmagic Design first announced their original Cinema Camera that captured raw 2K imagery for only $2,000 it seemed like a tough act to follow, value-wise.
Once upon a time (barely a decade ago), it wasn’t unusual to shoot many projects—large and small— with a single, medium-to-large video camera and tripod.
There are multiple sets of prime lenses now available for use with DSLRs and large sensor digital cine cameras at various price points.
For some two decades, Steadicams and their imitators have been the cutting edge of mobile, off-tripod camera support with little challenge from new technology.
At the 2013 Jackson Hole Wildlife Film Festival, “Earthflight,” a six-part series produced for the BBC and aired on PBS last Fall, received a special jury award for technical achievement.
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