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The new PMW-F3 camcorder is designed for a range of digital production applications — from commercial, documentary, television and feature film production to markets such as education, corporate and government and more.
The new F3 camcorder is based on Sony’s XDCAM EX workflow and uses Sony’s SxS™ ExpressCard-based recording media format.
The PMW-F3’s PL mount adapter can accommodate both PL and upcoming Sony’s zoom lenses, and offers compatibility with a variety of cine lenses such as Cooke, Fujinon and Zeiss. As with all its digital motion picture production technologies, Sony is also planning to introduce a compatible SR Memory Portable Recorder for the PMW-F3 camcorder.
The camera will also support Look-up Table (LUT), unique for dailies and on-set color management. The PMW-F3 is just the latest stop on Sony’s digital 35 mm roadmap, continuing the leadership position in digital motion picture production that was solidified with “film style” cameras like the F23 and F35, and most recently with the first camcorder to integrate the HDCAM SR format, the SRW-9000PL. The PMW-F3 camcorder will be available in February 2011, for a suggested list price of $16,000 (PMW-F3L, without lens) and $23,000 (PMW-F3K (with PL Lens kit). DVi — The Digital Video Information Network — is a technical and creative resource for learning about digital video technology, and applying that information in a wide variety of creative applications. NewsletterSubscribe to our newsletter for site updates, highlights and exclusive content from DV Info Net. The films made at the beginning of the 20th Century in the Soviet Union offer us a window onto the possibilities of cinema from a different ideological perspective, one that is free of the narrative formulas and conventions of Hollywood, and capitalism. According to Vertov’s philosophy (he created the doctrine of the Kino-oki, or Kino-eye) narrative fiction films are the opiate of the people; cinema’s mission should be to show reality, not hide it. Man with a Movie Camera is a great example of this philosophy in action, and was voted best film of all time by critics and filmmakers interviewed by the British cinema magazine Sight & Sound, which is operated by the British Film Institute (BFI).
Dziga Vertov, like Sergei Eisenstein and Lev Kuleshov, experimented with the expressive possibilities of filming, joining fragments of film with no concern for narrative continuity or temporal logic, seeking only a poetic effect. The cinema of Dziga Vertov was not well received by the Soviet government, despite being closely aligned with their agenda. Taking advantage of the fact that all of Vertov’s work is now in the public domain, the portal Open Culture has created a list of his films that are available to view online. If you are shooting your home movie on digital video, you have three basic choices for a camera: a dedicated video camcorder, a still camera with video capabilities, or a smartphone (or tablet) that can capture video. For years, the tool of choice for videographers and home video enthusiasts was a dedicated video camcorder (camera and recorder in one body). One of the major advantages with the professional camcorders was the ability to interchange lenses, similar to a movie camera.
Many of these camcorders like the Canon XF305 ($8000) also include XLR microphone connections, which allow you to use higher fidelity mikes than the ones often integrated in the camera. But these professional and advanced camcorders usually cost anywhere from $1500 to $15000, not particularly in the home movie budget.
Video camcorders have fallen out of favor lately and have been replaced on the cool scale with other, dual purpose, alternatives like mirrorless cameras and smartphones.
They have been designed first and foremost to capture video and not to shoot still images or text friends. For example, the new Panasonic HC-V700M HD Camcorder ($599) captures 1080p video and features a 21x optical zoom lens. Also, as a reference to what is possible in a small form factor video-only camera, keep your eye out for the new Sony HXR-NX30.
For those trained on traditional film cameras, video camcorders never have been able to recreate that cinematic look, which has a softer, narrower depth of field. A fundamental difference between these still cameras and the consumer video camcorders is the size of their sensors. Bigger sensors usually are more light sensitive allowing you to shoot in low light situations and record video with less noise. Indeed, models like the higher end Canon still cameras evoke fond memories of film school days.
If you are on a tighter budget, you can interchange lenses on a more moderately priced DSLR like the new Nikon D3200 ($700 with the kit zoom lens) or the Canon Rebel T2i (also $700 with the kit zoom lens). Most of the newer mirrorless cameras fall into the $500 - $1000 price range and can capture 1080p video. Of course, you void the warranty by hacking the camera, therefore I would never condone it.
The GH2 was first released in 2010, but continues to hold its value ($900 with 14-42mm Hybrid Lens). Though the low budget short film below used a basic iPhone (with some inventive gadgets) and was edited with the phone's iMovie software.
Most new smartphones are definitely capable of shooting high definition video, but the quality of the image is often limited by the optics of the camera's lens.
But if you are walking down the street and you encounter a flash mob dancing to Wake Me Up Before You GoGo, you'll be glad you have your smartphone. Writer-editor Jack Kroll interviews filmmakers Albert and David Maysles in 1969 about what they called at that time a "new technique of natural movie making, direct cinema." Conversation topics include how the Maysles actually filmed, how they got the subjects to agree to being filmed, and their reaction to being innovators.
Hollywood's version of the news was sanitized until a program called March of Time, a theater newsreel program, established the standards still used in the industry today. Traces the history of the filmed-news industry from the development of the movie camera in 1895 which quickly led to newsreels shown in vaudeville and then in movie theaters twice a week. A film biography of Marlon Riggs, the gifted, gay, black filmmaker who produced documentary films addressing issues of identity among Afro-Americans and gays.
This program provides an in-depth look at the film work of Jean Rouch and his associates from Niger who participated in production of many of Rouch's Niger-based films.
Ken Burns has revolutionized the art of making documentaries, bringing American history to life in a very personal way. Jayasinhji Jhala, professor of Anthropology at Temple University, interviews filmmaker, educator and visual anthropologist, Timothy Asch, in his Los Angeles home. Follows the film crew of "Madame l'Eau" and provides a glimpse behind the scenes as director Jean Rouch and his four friends from Niger make their film. During the 1960s, filmmakers came to Appalachia to document the dire conditions of the region's poorest residents. Australian documentary filmmakers explore the issues and pitfalls of filming across cultural boundaries through interviews and samples of their films of Papua New Guinea including Trobriand Cricket, First Contact, The Shark Callers of Kontu, Joe Leah's Neighbors, Black Harvest, Cannibal tours, and others.
Interviews with Leni Riefenstahl, now in her nineties, flash-backs and modern film sequences tell the story of the most famous woman film director of all time.

The findings came as no surprise to the FBI, as they have always denied the existence of snuff films. Retired police officer Linda Flanders describes her experience with the Charles Ng and Leonard Lake case.
On the whole, though, each interview brings something interesting to the table, either through personal experience or knowledge of the subject in general. Paul von Stoetzel has put together one hell of a film with Snuff: A Documentary About Killing on Camera. Anyone who has an interest in the controversial snuff film should check out Snuff: A Documentary About Killing on Camera. A four-time Emmy Award-winner and former IDA President, Wilkman scoured film archives and private collections, and interviewed 70 subjects--many of them direct descendents of Hollywood's founding moguls--in writing and directing his comprehensive history of the motion picture industry spanning from 1889 to 1969. Episode Two, for example, explains that Samuel Goldfish, one of the founding moguls, arranged a business partnership with Edgar Selwyn that ultimately led to Goldfish adopting a surname that would become synonymous with motion pictures: Goldwyn. Also in the premiere episode is the story of how William Fox fell off the back of a dairy wagon and broke his arm in several places. That appreciation for films and the men and women who made them likely influenced the ultimate decision not to employ Fair Use doctrine in acquiring the clips. The series even shows viewers samples of the forerunner of motion pictures such as the magic lantern of the 1650s and the colorful glass slides used to entertain people gathered in a dark room to view them.
Airing in December, Episode Six explores the impact television had on the film industry, how Hollywood fought back against the small screens, and how the post-World War II political climate led to the creation of the infamous Black List of alleged communist sympathizers.
The final episode explores the landmark films of the 1960s including the five Best Picture nominees of 1967--The Graduate, Doctor Doolittle, Bonnie and Clyde, Guess Who's Coming to Dinner, and eventual winner In the Heat of the Night. Mark Harris' 2008 book about those five 1967 films, Pictures at a Revolution, and Peter Biskind's 1999 book Easy Riders, Raging Bulls are just two of the countless books on the personal bookshelves of film lovers everywhere--including Wilkman--that examine the birth of Hollywood's modern era.
Likewise, Wilkman found historical context by tying the founding moguls, studio bosses and stars to the rise of new independent-minded filmmakers and stars in the 1960s and 1970s. Wilkman also sought out an ideal voice for the series to guide the audience as narrator throughout the seven hours. Christopher Bosen is a freelance writer based in Nashville, TN, where he lives with his wife and two children. Would you like to receive event invitations, news, and updates from the International Documentary Association?Sign up Now!
8, 2010 – Representing a breakthrough for independent producers and filmmakers in terms of features, performance and price, Sony Electronics is unveiling its first professional handheld digital production camera with a Super 35mm imager. For example, it is ideal for use as a 2nd unit 35mm camera to complement to Sony’s F35 and SRW-9000PL, which are also PL Mount, S-35mm cameras. SR Memory, Sony’s new high-speed, high-capacity card format will give users the ability to record directly to the industry standard HDCAM SR codec using the SR Memory Portable Recorder connected to the F3 camera’s single-link and dual-link output.
Up to four LUT’s can be stored in the camera and stamped onto the footage on the SxS card, simultaneously using the camera’s dual link output with S-Log for the unprocessed image. One of the most important figures in the history of Soviet cinema is documentary pioneer Dziga Vertoz (whose birth name was David Abelevich Kaufman) and his most celebrated work, Man with a Movie Camera (1929), is now available to watch online. On their official website, Sight & Sound suggests that Vertov’s work shows that documentary cinema can survive the digital age’s destruction of the integrity of the image, and make it even more relevant. I say most movies because with today's 2D and 3D computer programs you can create a full length film without ever touching a real camera. I know that this is heresy to film purists, but shooting on celluloid is beyond the scope of this discussion. Though now often the units feature an integrated zoom with a range from wide angle to telephoto. To reduce the cost, today's consumer camcorders do not offer the ability to interchange lenses and are equipped with a non-detachable powered zoom lens. With the advent of DSLR's that shot video, some of the limitations of video camcorders began to fade out. Also, camera bodies with larger sensors that are coupled with the right lenses can recreate that narrow depth of field look. In fact, the Canon 5D Mark II ($2200) and 7D ($1700) cameras were recruited for close quarters shooting of some of the action scenes in The Avengers movie.
Like almost all of the new DSLRs in this price range, both models feature 1080p video recording.
In the category often labeled mirrorless or compact system cameras, some of the models, like the Sony NEX-5 and the Pentax K-01, sport APS-C sized sensors that are comparable. Of course, if you dig beyond the headlines, you'll find that some of those productions included attaching expensive lenses to the phone. Program includes excerpts from their feature length film "The Salesman" in which they followed the salesmen around in an early example of "cinema verite." 52 min.
As World War II progressed it provided a forum for competition between numerous news agencies.
Clips from his films show how he evolved a unique experimental documentary style, mixing poetry, criticism, the personal and the political. Rouch, Philo Bregstein and Niger cameramen discuss filmmaking and filmmakers who have had historical influence in the field. In this program, he discusses the painstaking research, hands-on techniques and limitless energy that have won him fame.
Asch, expresses his views on his life and work and reveals intimate perspectives on confronting his death from cancer. This outsider's view of "Madame l'Eau" provides insight into how Rouch approaches his films. The use of the striking images of poverty raised questions about whether media-makers with otherwise good intentions exploited and perpetuated long-held stereotypes of Appalachia.
It also covers the work of indigenous Papua New Guinea filmmakers and their own experience making sense of film and culture. Known for her films made during the Third Reich, Riefenstahl's story is a controversial one.
Brubaker as himself Todd Cobery as himself Linda Flanders as herself Michelle Lekas as herself Nathan Paulson as himself Mark L. After a brief investigation, it was found that the "snuff" film Sheen had in his possession was not a snuff film at all, but Flowers of Flesh and Blood, the second film in the Japanese "Guinea Pig" series. Does Thomas Edison's electrocution of an elephant — one of the earliest scenes of death on camera — count as a snuff film?

A serial killing team, Ng and Lake videotaped the sexual torture and abuse of women by their own hands. The documentary genre is a tough one to edit because when done well it's not noticed, but when done poorly the suck stands out. Instead of concentrating on trying to prove or disprove the existence of snuff films, he did what a true documentary filmmaker should do: He put his cards on the table and lets the viewer makes the ultimate decision — there is no agenda here. While you will need a strong stomach to watch some of the graphic images (and, ironically, the more disturbing parts were the things you didn't see), you will get a well-rounded and unbiased film to draw your own conclusions from. Mayer, the Warner brothers, Carl Laemmle, William Fox and other dreamers whose vision formed the cornerstone of the movie business. As told in the series, the name Goldwyn had a nicer ring to it than the alternative combination: Selfish. Because his parents were too poor to afford proper medical care, Fox lived with the resulting deformity the rest of his life. Previous articles for IDA include last year's look at The Good Soldier, and a cover story on The Devil and Daniel Johnston.
S-Log is Sony’s unique approach to the raw “Digital Negative,” allowing access to the full dynamic range of the Super35mm imager for maximum flexibility in image manipulation during post production.
This creates the perfect off-line, on-line workflow combining the SxS and SR codec, with the SR Memory Portable Recorder connected to the F3 and recording to the SR codec. All the newer models can also shoot still images, but their primary function is as a video camera. But a camera like this shows you what sort of features you are sacrificing, (like professional audio inputs), when you opt for a lower priced model. As a class, the bodies are smaller than a DSLR, which allows the lenses to be more compact, making the whole assembly more portable. Add in a cast and crew and the budgets begin to top $100,000 - not really a home movie unless you live in a mansion.
Rich in excerpts from verite classics with commentary by filmmakers, this is the first film to capture all the excitement of a revolution that changed movie-making forever, with its influences on everything from TV news to music videos to Webcams. Includes newsreel footage of World War II and of D-Day, with commentary by war correspondents. It also documents his long battle against AIDS until his death in 1994 and includes interviews with family, friends, and co-workers.
Segments from several of Rouch's earlier film works are interspersed with the filming in Niger and interviews. Biographical details such as how he got his start, who influenced him, and where he finds inspiration offer an illuminating glimpse of this remarkable artist.
Excerpts from Asch's films representing his groundbreaking fieldwork with the Yanomamo and the indigenous peoples of Indonesia are woven into the dialogue. Includes a cross-section of Rouch's work with clips from his documentary Les Maitres Fous, his cinema verite classic, Chronique D'ete, and his pioneering masterpiece Moi, Un Noir(Treichville). In most of his films, Jean Rouch has used his four African friends; Damoure Zika, Lam Ibrahim Dia and Tallou Mouzourane as actors and Moussa Hamidou as sound man. In 1967 this tension between media and community led Kentuckian Hobart Ison to kill filmmaker Hugh O'Connor. Featuring: Gary Kildea, Dennis O'Rourke, Chris Owen, Bob Connolly, Robin Anderson, Steve McMillan, Martin Maden, Ian Dunlop, Kuman Kolain. Best known for her "Triumph of the Will," the film made of the 1934 Nazi Party Congress, it proved to be her undoing.
Incredibly knowledgeable, Rosen's sometimes emotional interviews are engrossing as hell as he is a plethora of knowledge.
His interviews concentrate mainly on the film side of snuff, with movies such as Faces of Death and Cannibal Holocaust, and he is a much needed part of the movie, as often his passion and energy lighten the at times very dark documentary. Why he is named Anonymous, I don't know, as there seems to be nothing shady on the need for not providing his name.
The film superbly mixes photos, interviews and video clips so you are never bored looking just at talking heads. While I wish he had more interviews from those in the law enforcement field, he easily made the most of what he had. The experience had a profound effect on the boy who as a man founded the studio that still bears his name--something we learn from Fox's granddaughter, one of many descendants Wilkman interviewed for the series.
This capability combined with the widely used SxS format lets users take advantage of already well-established XDCAM EX and HDCAM SR workflows. Vertov’s influence can be found in the work of experimental filmmakers like Chris Marker, Jean-Luc Godard and Stan Brakhage, as well as in subsequent popular ideologies like the cinema verite of Jean Rouch and Edhar Morin, or the Dogme 95 manifesto, formed by Lars von Trier and Thomas Vinterberg. Film clips from his documentaries underscore the power of his methods and the passion of his vision. Throughout the interview Diawara places Rouch's films in the context of the on-going struggle of Africans to construct their own vision of modernity.
Rouch has been their friend for more than forty years and this complex bond of friendship serves as the theme for this documentary. Through of series of interviews with film experts, college professors, and a retired FBI agent and police officer, Snuff: A Documentary About Killing on Camera tries to answer these questions.
Or is it something even more sinister: The taking of an innocent life simply for the profit of selling the film. He discusses two of the most disturbing parts of the documentary: The case of Dmitri Kuznetsov, a Russian child pornographer who is suspected of making child snuff films, as well as something he discusses for the first time on camera. Even within the actual interviews, the framing is mixed so you don't get the same shot of just a head and shoulders. I have to commend the cinematographer Matt Ehling and editor Nicholas Bochek for doing it right.
He doesn't add much to the documentary (his interviews are kept to a minimum) and I can't quite grasp why he's in it at all. Far too often a documentary on a fascinating subject is completely ruined by poor planning in these two very important processes.

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