Google to announce Android TV

Google is reportedly planning to announce a next generation for its television plans, dubbed Android TV.

According to GigaOm, the platform will be built into set-tops and smart TVs like the existing Google TV offerings, with access to variety of over-the-top services. But, two new evolutions will mark the launch: for one, Android TV will have significant gaming capability. And, it will also reportedly include a content discovery feature called Pano, which organises ‘cards’ that recommend specific content and allows users to browse movies, TV shows and other types of media.

Google to announce Android TV

Detailed look at TIFFEN Filters on the Sony F55 Camera

Sony have created a highly detailed look at the Tiffen filter system on the F55 camera

TIFFEN demonstration video presenting a comprehensive range of filters, shot with the Sony F55 camera and Panavision Primo spherical prime lenses in 4K.

See Sony and Tiffen for more

Detailed look at TIFFEN Filters on the Sony F55 Camera

A Look at the Free Color Vibrance Plug-in

Make Colors that Stand Out in Adobe After Effects: A Look at the Free Color Vibrance Plug-in

Andrew Kramer of Videocopilot takes us through his new (and free) Color Vibrance plugin for Adobe After Effects (Compatible with After Effects CS5, CS6 & CC):

Intense bright colorization can be tricky so we created a plug-in that makes it easy to achieve HOT colors instantly. We even added some helpful matte tools so you can generate alpha channels from stock footage like SHOCKWAVE and give you more compositing control.

Plug-in Features:

Add Hot Colorization with ease

Create Alpha Channels (unmultiply)

Works on Pre-Matted Clips

Eliminate the faded colors when using mask feathering

You can download the plugin here.

A Look at the Free Color Vibrance Plug-in

Sony F55 vs Arri Alexa Skin Tone Reproduction Test

Sony USA compares the Sony F55 to the Arri Alexa for skin tones: This is not a camera comparison, it is a simple demonstration of the skin tones reproduction shooting LOG with the native ISO settings and applying the corresponding LUT’s provided by both manufacturers. No color grading was applied, only matching levels.

ALEXA: LOGC to Rec709 LUT

F55: SGamut3.Cine/SLog3 to LC709 TypeA LUT

 

Sony F55 vs Arri Alexa Skin Tone Reproduction Test

Review of The Padcaster - Turn your iPad into a Production Camera

Here is a quick review of one of the more extreme video rigs available for the iPad.  In this video the guys at The Slanted Lens check out this one-stop rig to turn your iPad into a complete production kit: You can mount it on a tripod, attach microphones, lights, lenses, or other accessories.

Review of The Padcaster - Turn your iPad into a Production Camera

Panasonic GH4 vs Blackmagic Production Camera 4K Dynamic Range Comparisons

Here’s a comparison of the dynamic range between the Panasonic GH4 and the Blackmagic Design Production Camera 4K, by Phil Hover:

Testing the two cameras for dynamic range and color. Left is GH4, Right BM. Both UHD, download for full res. Almost no color correction – only saturation added to the BM and one shot had exposure off and was corrected. Before I started I assumed the GH4 would be a little sharper, BM would have more dynamic range, better color, smoother tone. Both cameras were matched for exposure in camera not in post but the BMPC4k looks a little less exposed – could be lens or maybe 400iso on the BM is closer to 320iso.

Conclusion. I’m seeing more dynamic range from the GH4 specifically with cineD. I like the noise performance and look of Natural. CineV dialed down is slightly more contrasty then Natural. CineD slightly better then Natural at the cost of shadow noise. BM has more accurate color but not significantly even with 10bit 4.2.2.

Here’s another test:

Captured on 4-28-14 with the GH4 & BMPC4K for comparison. Slo-mo shots are 1080 @ 96fps and there is a clear resolution loss for those shots. Highlight rolloff seems to be better on the GH4 in the shots around 4:40. I could have under exposed the BMPC4K shots a little more to help.

GH4: CineD UHD, +2 master ped, -2 sharpness, normal curve.

BMPC: Prores 4K film.

Which camera does Phil prefer? He says:

That is a good question. If I had to choose one, the GH4 is more versatile, lighter, better low light, better battery life, great screen & EVF. CineD is fantastic. The color straight out of the camera is wonderful, significantly better then the GH3. Panasonic finally has taken the mojo from their video cams and put it into the stills side. But, I will be keeping both cams because…

The BMPC4K seems to have more detail. The global shutter makes a big difference when you watch the footage at 100%. The GH4′s rolling shutter looks bad when you see micro jitters (wind blowing on the cam in a few shots). I have also seen the rolling shutter issues with helicopter footage posted. Image stabilization might help, using a bigger rig or MOVI type devices. The BMPC4K has shallower DOF from the larger sensor and you can create a better look with the LOG footage. I feel like the BMPC4K is for more controlled shoots where you can rig up or be on sticks (very easy to shoot on support). GH4 is a camera you can grab run with in any environment assuming the rolling shutter isn’t an issue.

Panasonic GH4 vs Blackmagic Production Camera 4K Dynamic Range Comparisons

RagLite to Kickstart World’s First Flexible LED Light Panel

With LED lighting systems growing in popularity for both video and photo use, it’s inevitable some interesting variations of such setups are going to come out. Case in point: behold the RagLite, or as its creators prefer to call it, “the first-ever flexible LED light bank.”

Developed by Chad Soderholm and engineered by Sin Cohen, RagLite uses a flat, lightweight design that is both waterproof and virtually indestructible. By combining a versatile mounting setup with a heat-free design, RagLite seems to offer a much more flexible option for lighting up scenes.

Color-matched to daylight or tungsten, the RagLite should work in almost any environment.

 

As of this writing, the team is just short of halfway to their $25,000 goal,

 

RagLite to Kickstart World’s First Flexible LED Light Panel

Adobe: Next Evolution of Creative Cloud To Be Announced on June 18th

It’s reported that the next evolution of Creative Cloud will be revealed during a live keynote on June 18th at 1pm Eastern time, and it promises to be a big announcement.

Adobe have already teased… “all-new desktop and mobile apps, new creative hardware, hundreds of new features and other surprises.” We are also expecting to hear more about a touch-friendly Photoshop CC version.

Save the date for the live stream: head over to the Creative Cloud website to sign up for a reminder.

Adobe: Next Evolution of Creative Cloud To Be Announced on June 18th

Samsung: Get a Free NX30 if You #DitchTheDSLR

It’s reported that Samsung are set pull off a huge publicity stunt in order to convince DSLR users to swap out for a mirrorless camera – they are handing them out for free!

On June 4th between the hours of 12pm and 6pm in Times Square NYC, Samsung will giving away free NX30 cameras if you’re willing to hand over any DSLR in exchange.

 

The stunt is part of their #DitchTheDSLR campaign. The campaign is caveated with a “while supplies last” footnote so if you want a free NX30 you’d better turn up early!  Samsung has said that there will be “a sizable amount of NX30s,” present.

 

Samsung: Get a Free NX30 if You #DitchTheDSLR

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Epic 10-Year Timelapse Shows the Construction of the 9/11 Memorial

The 9/11 Memorial Museum opens officially this week. It is the final piece of the decade-long effort to memorialize the victims and location of the deadliest terrorist attack to ever take place in the USA.

The above time-lapse, shared by EarthCam, documents the almost ten-years of construction, from October 2004 to May 2014, of the 9/11 Memorial and Museum being built.

 

Epic 10-Year Timelapse Shows the Construction of the 9/11 Memorial

Commercial Drone-Flight Permits Possible by November 2014

Good new for aerial filmmakers as U.S. aviation regulators, the FAA, said they are considering a streamlined approval process for flights of small unmanned drones for film making, utilities inspections, farming and other low-risk operations.

With the first regulation allowing commercial drone flights at least a year away, the Federal Aviation Administration is looking at ways to grant approvals for limited applications before then. While such flights aren’t yet permitted, filmmakers and production companies have already been using drones to capture aerial shots and film events.

It’s estimated that the unmanned aircraft industry will generate 100,000 jobs and $82 billion in economic impact once the FAA begins approving commercial operations. So far, the agency hasn’t granted any approvals for commercial flights in the U.S. as it weighs appropriate safety standards for construction of drones and qualifications of pilots.

It expects to propose a rule allowing commercial drones weighing less than 55 pounds (25 kilograms) by November, according to a schedule of rulemaking efforts.

Commercial Drone-Flight Permits Possible by November 2014

Adobe Premiere Pro CC - 10 Things Beginners Must Know

Terry White takes us through 10 things that every beginner must know about Adobe Premiere Pro CC:

See how to edit a video from start to finish even if you’ve never used Premiere Pro or edited a video before.

 

Adobe Premiere Pro CC - 10 Things Beginners Must Know

How to Work with RAW and Log Footage in Adobe Premiere Pro

Rich Harrington shows us how to work with RAW footage and log footage in Adobe Premiere Pro:

Rich shows you how to work with log footage by using color correction and Look Up Tables, or LUT’s.

How to Work with RAW and Log Footage in Adobe Premiere Pro

Adobe Creative Cloud Down for nearly 24 hours

Subscribers to Adobe’s Creative Cloud have been unable to sign in and access the company’s suit of applications  since Wednesday Evening. The technical error has left many who depend on the company’s offerings in the lurch.

Adobe stopped offering standalone versions of their popular Creative Suite last year, forcing those who wished to upgrade to the newest edition to purchase it on the Creative Cloud subscription model. Many users criticized that decision, often citing potential scenarios much like this one.

Problems began to pile up for Creative Cloud beginning around 3:00 p.m. Eastern Standard Time on Wednesday, when some users found themselves unable to download applications. That was followed by an issue with modifying team accounts, failures affecting the ability to purchase new Creative Cloud subscriptions or create new Adobe IDs, and finally the sign-in problem. 

Adobe has been largely silent on the subject since Wednesday evening, save for a handful of apologetic tweets and a promise to “restore as soon as possible.” The root cause appears to be a failure of the Adobe ID system, which is to Adobe’s products what the Apple ID is to Apple devices and services. 

Because Creative Cloud applications require users to be online to verify their subscription, subscribers who already have the software installed may be able to work around the authentication problems by taking their computer offline before opening the applications.

Adobe Creative Cloud Down for nearly 24 hours

Canon Bring Us Two New Lenses: EF 16-35MM F/4L & EF-S 10-18MM F/4.5-5.6

Off the back of an unusually quiet NAB 2014, Canon have just announced two new lenses, the full-frame EF 16-35mm f/4L IS USM and the APS-C EF-S 10-18mm f/4.5-5.6 IS STM. While both lenses are slower than some other Canon options in this range, they both have image stabilization, and the APS-C lens is designed with the quieter STM motors that should work better with autofocus during video.

16-35mm f/4L lens:

The Canon EF 16-35mm f/4L lens, basically a slightly slower, optically stabilized, cheaper version of the f/2.8L zoom lens Canon offers at the same focal length. The IS gives shooters four stops worth of shake reduction.

Full-frame Canon shooters will be able to pick up this lens in June for $1,200,  $500 cheaper than the non-stabilized 16-35mm f/2.8L USM.

Performance of the 16-35mm f/4:

And more on the 10-18mm:

Next up is the EF-S 10-18mm f/4.5-5.6: a lens for APS-C shooters or, more specifically, users of the Canon 70D and T5i (700D) who picked up those cameras in large part for the video capabilities. Compared to the EF-S 10-22mm f/3.5-4.5 USM wide-angle lens, the EF-S 10-18mm f/4.5-5.6 IS STM ultra wide-angle zoom lens is nearly 20% smaller and 38% lighter. The compact four-group zoom optical system provides a maximum magnification of 0.15x at the telephoto end. The wide-angle zoom range of the new EF-S 10-18mm f/4.5-5.6 IS STM is a perfect complement to the currently available EF-S 18-55mm IS and EF-S 55-250mm IS STM zoom lenses. At $300, the 10-18 is about half the price of the Canon 10-22 lens, though it is a little slower. It, too, is scheduled to arrive in June

• Price: $300


• Availability: June 2014

Canon Bring Us Two New Lenses: EF 16-35MM F/4L & EF-S 10-18MM F/4.5-5.6

How to Make a Pinhole Camera from a Pringles Can

This young photographer’s name is Fresley, and for a recent science experiment she decided to show YouTube how to turn a Pringles can into a pinhole camera in just over 8 minutes. Give it a shot!

How to Make a Pinhole Camera from a Pringles Can

Blackmagic Studio Camera VS Blackmagic Pocket Camera

Kicapiproduction takes us through the features of the Blackmagic Studio Camera:

This is a quick overview of the latest Blackmagic Studio Camera. We do not have a complete STUDIO system (ATEM, Switcher, Multiple Studio Cameras, etc.) to test all the camera functions at the moment (maybe in future we will come back with a more thorough review).

Here’s Part two, which compares the Studio Camera with the Blackmagic Pocket Camera:

This is a simple comparison between the Studio Camera with Pocket Camera.

All footage are not color corrected in any way and straight out of camera.

Blackmagic Studio Camera VS Blackmagic Pocket Camera

Make a DIY Video Wireless Monitoring System for Less than $300

Tom Antos shows us how to build a DIY wireless monitoring system for less than $300:

If you want to have a video for your director or clients without having to drag long and messy video cables then you should get a wireless video system. You can buy a system like that for a few thousand dollars or you can make your own for less than $300 dollars. In this video I show you how I built one.

 

Make a DIY Video Wireless Monitoring System for Less than $300

Panasonic GH4 vs Canon 5D Mark III vs Blackmagic Pocket Cinema Camera

Camera Zone tests the Panasonic GH4 with the Canon 5D Mark III (ALL-I) and the Blackmagic Pocket Cinema Camera (RAW):

 

Panasonic GH4 vs Canon 5D Mark III vs Blackmagic Pocket Cinema Camera

Panasonic GH4 vs. RED Epic vs. 5D Mark III Raw

Since the Panasonic GH4 started shipping last week we’ve been getting an influx of videos putting it to the test against existing cameras of all shapes and sizes. Now you may think it’s slightly unfair to put a $2,000 GH4 up against a $20,000 Red Epic but the results in this video by Luke Neumann are very  interesting. Watch as Luke compares the Panasonic GH4 to the RED Epic to the Canon EOS 5D Mark III with Magic Lantern RAW video.

GH4 

Nikkor Ai-s 50mm f 1.2 @ f 5.6

Shutter at 180

CineLikeD: Contrast and Saturation to -5, Sharpness to -2

RED Epic

Nikkor Ai-s 50mm f 1.2 @ f 5.6

5K/FF/3:1

RedLogFilm: Contrast and white balance adjusted to match GH4 as close as possible.

Download original shots here:

www.mediafire.com/download/4896xisqqge9m9r/NF_GH4_Tests.zip

Music by Neumann FIlms from “The Drama Toolbag”

400% Epic (left) vs. GH4 (right) for those that think we may have missed focus on one.

www.mediafire.com/view/eq6xb387r8lthxf/GH4_vs._Epic_400%25.jpg

Check out our website or like and follow on Facebook and Twitter:

www.neumannfilms.net/

www.facebook.com/NeumannFilms

twitter.com/Neumannfilms

 

Panasonic GH4 vs. RED Epic vs. 5D Mark III Raw

Shock Report Finds 18% of People Unwittingly Bought Fake Gear in 2013

It seems that counterfeit gear it’s just limited to the world of fashion and watches, a recent study by Canon has found that it’s also rife in the world of consumer electronics. According to the report, it’s estimated that some 18% of consumers have purchased counterfeit goods without knowing it.

 

Surveying 1,069 consumers who purchased electronics in 2013, Canon found out that 30% of them bought counterfeited goods, with Canon specifically noting the following statistics in their accompanying press release:

• In 2013, 12 percent of the U.S. consumers surveyed knowingly bought fake consumer electronics, while 18 percent bought them unknowingly.


• 40 percent of U.S. consumers surveyed were unaware that counterfeit consumer electronics may harm them.


• 45 percent believed that counterfeit consumer electronics do the job just as well as genuine consumer electronics.


• 97 percent wanted more information so they can identify counterfeits.


• Millennials surveyed were five times more likely than the Baby Boomers surveyed to purchase fake goods.


• While the majority of millennials (72 percent) surveyed consider themselves very knowledgeable in identifying a counterfeit consumer electronics product, about one in four continues to unknowingly buy one.

Canon hasn’t shared the full report yet, so it’s not clear how they specifically came up with that 18%. PopPhoto speculates that maybe Canon took into account the number of overall counterfeit sales and subtracted the number of consumers who knowingly purchased this third-party gear. However, that is yet to be confirmed. The best advice is to always buy from reputable dealers, using a guaranteed credit card may also help limit the risk.

(via PopPhoto)

Shock Report Finds 18% of People Unwittingly Bought Fake Gear in 2013

How to set up the new Panasonic GH4 for Filmmaking

Griffin Hammond explains how to set up the Panasonic GH4 camera and its important settings:

THIS VIDEO COVERS

-How to use the Panasonic GH4

-All the important settings in the Motion Picture, Custom and Setup menus

-How to change the system frequency and activate Cinema 4K (C4K) mode (4069×2160)

-How to change the exposure mode and focus settings

-How to optimize dynamic range

-How to use Cinelike D and Cinelike V photo profiles

-How to turn on rule-of-thirds guidelines and zebra stripes

-How to adjust mic levels using the menus or the touch screen

-How to turn off the annoying eye sensor (which interferes with the LCD)

-How to turn on the level (hit DISP twice on the main screen)

How to set up the new Panasonic GH4 for Filmmaking

Sony A77 II Anounced - Press Release, Price, Specification and Videos

The long rumored Sony A77 Mark II OR MII announced today, finally we know that its real name is Sony A77 II, the newly announced A77 II features newly developed 24.3MP APS-C Exmor CMOS Sensor with SteadyShot INSIDE sensor-shift type image stabilization, newly developed Phase Detection: 79, 15 cross-type, latest BIONZ X Image used and newly developed image decoding algorithm.

The A77 II also supports Full HD 1080i/p video recording at 60 and 24 fps frame rates, on the rear side we have 3.0″ 1,228k-Dot 3-Way Tilting LCD Screen and 0.5″ 2,359k-Dot XGA OLED Tru-Finder, the A77 II also features built in WiFi and NFC, with the help of NFC you can control the camera with your smartphone or tablet.

The SLT-A77 II will be available in June and is priced at $1199 body only and $1799 with an 16-50mm F2.8 lens.

Sony A77 Press Release

Sony Electronics Introduces the Speedy New α77 II Interchangeable Lens Camera with Record-breaking 79-Point Autofocus System

Impressive New “Action Shooter” features 79 Phase Detection AF Points, 12 fps shooting for up to 60 frames, 24.3 MP APS-C sensor and more

SAN DIEGO, May 1, 2014 – Sony Electronics’ new α77 II camera delivers an impressive combination of speed, versatility and efficiency in a tough, weather-resistant design, making it a perfect choice for fast-action photography and videography.

Building on the heritage of Sony’s much-loved original α77 and α700 cameras, the α77 II gives advanced amateurs a string of exciting enhancements including the world’s highest number of AF points in a new phase detect autofocus system1 with 79 focal points and 15 cross points. Utilizing Sony’s unique Translucent Mirror Technology, the α77 II also has the ability to shoot at up to 12 fps for 60 total frames with continuous AF.

The speedy new camera is equipped with a high-resolution 24.3 MP image sensor and powerful BIONZ® X processor, ensuring that still images and full HD videos are captured in sharp focus and incredible detail. Image quality compared to the original α77 has been boosted, and sensitivity has increased by approximately 20% as well. There is also a variety of new pro-friendly video functions for movie makers.

“The new A77 II is yet another strong statement for Sony in the interchangeable lens camera space” said Neal Manowitz, director of the α interchangeable lens camera division at Sony. “In addition to this camera’s impressive imaging credentials and unprecedented focusing system, it reinforces our dedication to the A-mount camera lineup and shows that we are pushing the limits of innovation in all aspects of the industry.”

New-generation 79 point phase detection AF system

The advanced AF system on the new α77 II camera features 79 phase detection AF points – the most of any dedicated AF sensor in market today – and includes 15 cross points within the central area of the sensor. Additionally, metering data from all 79 focus points is processed by a brand new AF algorithm that predicts the subject’s movement. These impressive new features combined with Sony’s powerful Translucent Mirror Technology ensure that fast-moving people, animals or any other relevant object can be tracked quickly and accurately in all types of shooting conditions.

The α77 II camera also has a centrally mounted dedicated phase detect AF sensor that supports apertures up to F2.8, ensuring maximum AF precision when using large-aperture lenses. In low light, the AF system of the camera performs admirably, accurately locking on to subjects in scenes with illumination levels as low as EV-2 (ISO100), where even the human eye has trouble discerning details.

There’s a suite of sophisticated new AF functions on the α77 II model that make the most of the unique 79-point system. Expanded Flexible Spot mode maintains focus even if the selected AF point loses track of the subject, activating eight surrounding AF points that recognize the subject. Lock-on AF mode lets users select one of four AF area modes (Wide, Zone, Flexible Spot or Expanded Flexible Spot), and can recognize and track a subject’s form based on its color and its position within the frame, automatically selecting the appropriate AF point from the 79 available

For even greater control, the degree of subject-tracking duration can be fine-tuned in five steps (when shooting still images in AF-C mode). A low setting is ideal for slow-moving subjects with predictable movements, while high settings deliver more responsive focusing for shooting different subjects at different distances, such as wildlife or sports photography. AF Tracking Duration can also be selected between High, Medium and Low during Full HD movie shooting.

Other new features include an Eye AF function that precisely detects and focuses on the subject’s eyes when photographing people. There is also AF Range Control, which allows AF to be limited to a specified range, and a Balanced Emphasis mode that provides the ideal balance between focus and release timing. Users can manually select any of the various focus modes to match the shooting situation and their creative objectives.

Shoot a continuous burst of 60 full-resolution frames at up to 12 fps

Continuous shooting stamina on the α77 II camera outpaces nearly all cameras in its class as well as many professional cameras. The new model can capture a non-stop burst of up to 60 full-resolution JPEG images at a maximum continuous shooting speed of approximately 12 frames per second with continuous AF (in Continuous Advance Priority AE mode).

24.3 megapixel Exmor® CMOS image sensor with enhanced sensitivity

A showcase of Sony’s leading image sensor technologies, the new 24.3 megapixel Exmor® CMOS image sensor in the α77 II camera features the same gapless on-chip lens structure as used in the acclaimed α7R and α6000 models. Thanks to an array of latest-generation imaging innovations, the sensor now offers 20% greater sensitivity than its predecessor (α77), and ensures flawless image detail and low-noises performance across the wide sensitivity range of ISO 100 to 25600.

The high-resolution sensor is partnered by the same evolved BIONZ X image processor introduced in the α7 and α7R models. Around three times faster than Sony’s previous BIONZ engine and optimized for the α77 II camera, it employs detail reproduction, diffraction-reducing and area-specific noise reduction technologies that contribute to amazing image definition and rich colors for still images and Full HD videos.

OLED Tru-Finder™ and 3-way tilting LCD

The new camera features a crisp, bright XGA OLED Tru-Finder with 2,360,000 dot resolution. With about three times higher contrast and resolving power compared to the original α77, the EVF on the new α77 II shows the effects of all settings adjustments in real-time, accurately displaying what the final image will look like. A wide viewing angle and high eye-point are complemented by a newly-expanded choice of brightness settings, and shooters have the ability to manually adjust color temperature for comfortable, accurate composition.

As featured on the full-frame α99 camera, the α77 II model also features a detail-packed 3.0-type (7.5 cm) Xtra Fine LCD that moves three ways for added convenience. The LCD also features WhiteMagic™ technology, which significantly improves screen visibility, even outdoors in direct sunlight.

Expanded Control and Customization

Evolved from the original α77 model, there are separate control dials on both sides of the grip for simpler control settings adjustments. In total, the α77 II camera has a total of 11 customizable buttons with up to 51 assignable functions.

Further, up to three frequently used groups of shooting modes and other settings can be stored in memory and recalled easily via the mode dial, and an exposure mode dial lock function has been inherited from the a99 model to prevent accidental mode changes.

Tough enough for serious enthusiasts

The tough, light magnesium body of the α77 II camera is engineered to withstand the demands of the most serious enthusiasts. It features a dust and moisture sealed design and a large, contoured grip for comfortable handling. In addition, the camera’s durable shutter unit is rated for 150,000 total shots.

Pro-style movie shooting with continuous AF

The α77 II camera can record Full HD 60p and 24p movies using the AVCHD 2.0 format. As with still shooting, Translucent Mirror Technology enables full-time phase-detection AF, ensuring accurate focus tracking with fast-moving subjects during video capture.

The camera has a number of additional features for serious movie makers, including three-level AF tracking sensitivity adjustment, a pro-style Zebra function and audio level metering. There’s also the addition of a clean HDMI® output that allows viewing on an external monitor and recording to an external storage device without compression

Wi-Fi® and PlayMemories™ Connectivity

On-board Wi-Fi allows one-touch connection for easy shot sharing with your Xperia®, NFC-compatible Android™ smartphones, tablets and VAIO® computers. A single touch also activates Smart Remote Control, linking the camera to your mobile phone enabling you to fire the shutter from a distance.

For devices without NFC one-touch capabilities, users can wirelessly transfer images and videos and activate Smart Remote Control through Sony’s free PlayMemories Mobile™ application, available for the iOS and Android platforms.

Sony α Lenses, Accessories and New “α Library” App for Tablets

Covering focal lengths from wide angle to telephoto, a family of 32 A-mount lenses offers an extensive choice of creative tools for visual expression, including several premium models from Carl Zeiss® and G Series Lenses.

The new α77 II camera is compatible with a range of versatile α accessories including microphones, flashes and more, and is designed to work the optional VG-C77AM grip, which enhances camera operability and versatility during vertical shooting.

Sony has also released a new photography-themed “α Library” application for tablets. This new app showcases the entire lineup of α lenses, including key information and specifications, in the “α Lens Catalog” section, and also includes access to a semiannual “α Magazine” lifestyle publication that showcases fun photography stories, tips, techniques and more. The new α Library is now available for download on Google Play and the iOS App Store.

Pricing and Availability

The Sony α77 II interchangeable lens camera will be available in June 2014 in a kit with a 16-50mm F2.8 lens (model SAL1650) for a suggested retail price of $1800.  It will also be offered separately as a body for a suggested retail price of $1200.

Sony a77II Specifications

Number of pixels (total)	approx.24.7Megapixels
Image size (pixels) [3:2]
Image size (pixels) [16:9]
Wide: horizontal 12,416 x 1,856 (23M), vertical 5,536 x 2,160 (12M), Standard: horizontal 8,192 x 1,856 (15M), vertical 3,872 x 2,160 (8.4M)
xvYCC standard (x.v.Color when connected via HDMI cable) compatible with TRILUMINOS Color
“Memory Stick PRO Duo” “Memory Stick PRO-HG Duo” “Memory Stick XC-HG Duo” SD memory card SDHC memory card (UHS-I compliant) SDXC memory card (UHS-I compliant)
“Exmor”CMOS sensor
Available with AE lock button. AE is also locked when focus is locked in multi-segment metering mode. (“AEL w/ shutter”(Auto/On/Off) is supported)
Still Image:ISO100 – 25600 (1/3 EV step), (ISO numbers up from ISO50 can be set as expanded ISO range.) AUTO ( ISO 100-25600, selectable the lower limit and the upper limit ) Movie:ISO100 – 12800 equivalent(1/3 EV step) AUTO ( ISO 100-12800 equivalent, selectable the lower limit and the upper limit) Movie:ISO100 – 12800 equivalent(1/3 EV step) AUTO ( ISO 100-12800 equivalent, selectable the lower limit and the upper limit )
Approx.1.09x (35mm camera equivalent: Approx.0.71x) with 50mm lens at infinity, -1m- -1
Approx. 27mm from the eyepiece lens, 22mm from the eyepiece frame at -1m-1 (CIPA standard)
Tilt angle:150 degreesupward and 180 degrees downward. Rotation angle:180 degrees clockwise and 90 degrees counterclockwise.

Sample Video

Sony A77 II Anounced - Press Release, Price, Specification and Videos

Vine Launches A Six-Second YouTube

When Vine first launched, all you could do was view your stream and check out profiles for individual users. The desktop version came with TV Mode, too, which was admittedly addictive with its constant stream of full-screen content.

Alongside your Vine feed and user profile streams, Vine will now show a featured section that includes Editors Picks, cool playlists, and special featured videos.

You’ll also have access to channels, trending tags, and a popular page, just as you do in the app.

Perhaps more importantly, users don’t have to be logged in to Vine on the web to surf through these channels or featured Vine videos. Previously, to use Vine on the web, you had to be signed in or hunt down the URL for a user profile. Now, simply hitting up Vine.co will give you access to all of the best content on Vine, complete with TV mode, which plays them one after the other in full-screen.

This is a refreshing update considering that most mobile-first companies have limited and poorly designed web counterparts to keep people active in the main (mobile) experience. Instagram.com, with its limited feature set and crappy performance, is perhaps the most shameful example.

The future of Vine as it exists within Twitter’s long-term plan remains unclear. Since launching over a year ago, two of the co-founders have left the company, but it seems that the app continues to enjoy an active user base. This move, however, is a clearer step away from competing with Instagram on a mobile consumption level and focusing more on how mobile video creation and true video consumption play into each other.

To check out the new Vine.co in all its glory, head on over by clicking here.

Via techcrunch.com

Vine Launches A Six-Second YouTube

Centr Cam Offers Amazing 4K 360º Camera

San Francisco-based Centr Camera Inc. has launched a Kickstarter for a new style of camera. Called Centr, the 360º, 60fps, 4K-resolution panoramic camera will allow you to capture incredible footage all around you, in a device roughly the size of a hockey puck.

Centr was created by former members of the iPhone camera team, and uses of four separate 1080p cameras to capture and stitch together 360-degree video in real time using the company’s proprietary software.

If you want to get one you can do so by making a pledge of $300 over on their Kickstarter campaign.

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Centr Cam Offers Amazing 4K 360º Camera

First Short Film Shot on 4K Panasonic GH4 Emerges (Le Cas GH4)

Check out Driftwood’s Le Cas GH4 !

The Panasonic GH4 is one of the most highly anticipated cameras of 2014, mainly due to it’s stunning 4K video performance in a package that costs under $2000. Panasonic has done a great job of sharing commissioned footage from the camera on their official YouTube channel. Now for the first time we get to watch the very first independently created short film, exclusively shot the GH4. The film by Nick Driftwood  does a great job of giving an entertaining overview of Panasonic’s new camera. Really, Le Cas GH4 is one part indie short, one part GH4 camera test, and one part pseudo GH4/5D Mark III shootout.

Unfortunately, there isn’t much information available at this time about how Driftwood approached his film — lenses used and camera settings (though he does say he’ll share details soon).

GH4 Specs – Camera Body:

• 16.05 MP Digital Live MOS Sensor


• DCI 4K 4096×2160 at 24p


• UHD 4K 3840×2160 at 30p/24p


• Full HD up to 60p


• 3.0″ 1,036k-Dot OLED Monitor


• 2,359K-Dot OLED Live View Finder


• Support for 59.94p, 23.98p, 50p, & 24p


• 4:2:2 8-Bit or 10-Bit HDMI Output


• High-Speed 49-Point Autofocus


• Magnesium Alloy, Weather-Sealed Body

Interface Unit:

• 2x Monaural XLR Inputs


• Line/Mic Level Switch & Phantom Power


• Audio Level Display Monitor


• 2x 3G-SDI Capable BNC Connectors


• 2x HD-SDI Capable BNC Connectors


• Quad-Link SDI Output for 4:2:2/10-Bit 4K


• HDMI Output


• Timecode In


• 12VDC 4-Pin XLR Power Input

First Short Film Shot on 4K Panasonic GH4 Emerges (Le Cas GH4)

Galaxy NOTE 3 4K versus Canon 5D Mark III

Alex Weinstein compares the 4K video from the Samsung Galaxy Note to the Canon 5D Mark III with some very interesting results.

In this quick camera test I pit the venerable 5D mark III against the latest blockbuster cell phone to hit the market- the Galaxy NOTE 3. In this test the viewer is encouraged to see for themselves which image they like better- that of a $3,500 flagship camera or that of a $750 cell phone camera that shoots 4K video.

Test breakdown- this was a basic daylight test comparing the image quality of the two video cameras. The Note 3 was shot in auto mode with the default camera application. The 5D3 was shot in neutral/flat style and treated in post to come as close as possible to the look of the Note footage. The treatment included contrast, saturation, sharpening, some color temp tweaks, and minor exposure tweaks..

The goal of this test is to let the audience decide for themselves the performance of the Note 3 when compared to the 5D3.

Galaxy NOTE 3 4K versus Canon 5D Mark III

Red Giant Universe is Here!

Plugin creators Red Giant Software have officially launched their new Universe community following a successful 8 week long public beta trial. In addition to the standard Universe launch, Red Giant have also unveiled Universe Premium Membership, a paid subscription that gets you access to more tools and features.

This from the official site…

What is Red Giant Universe?

Red Giant Universe is a community that gives members access to fast and powerful free tools for editing, filmmaking, visual effects and motion design. Every tool in the Universe library of effects and transitions is GPU-accelerated, both Mac and Windows compatible, and works across multiple host applications including: After Effects, Premiere Pro, Final Cut Pro X and Motion. The Universe library of tools is continuously growing—new effects and transitions are added regularly, and existing tools are updated often, based on user feedback.

Universe membership is FREE and comes with 31 free plug-ins that are yours for life! More free tools will be added regularly.

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What is a Premium Membership?

We’re trying something new with Universe. While many of the Universe tools are free, there are a lot that are available as a part of Premium membership – paid for via monthly, yearly, or lifetime subscription plans. With premium membership, you get access to more tools and the absolute best Universe has to offer. Most of these are brand new tools and we wanted to offer them to you with the option of paying for them at a low initial fee. However, for those who want to just pay outright, and avoid subscription, we offer a pay-once-only lifetime option.

How much does Premium Membership cost?

Premium membership is available for $10 a month, $99 a year (that’s 20% off the monthly cost), and $399 for lifetime membership that never expires.

What included in Universe?

Universe 1.0 includes 50 plugins. Many of them are free, while some are available with a premium subscription. Here’s the breakdown:

• 31 Free Tools (22 Effects & 9 Transitions)


• 19 Premium Tools (12 Effects & 7 Transitions)

The Premium plug-ins, are available as a free 30-day, fully functional trial when you install Universe.  After 30 days, they will render with a red X watermark. If you choose not to purchase a Premium membership plan then you’ll remain a  Free Universe Member with access to the growing library of free Plugins.

What’s the Community part you mentioned?

One of the best things about Universe is that the tools will grow around your motion graphics, visual effects and editing needs. Through voting in Universe Labs, you will help choose what tools to make next. Also, Premium members are eligible for access to early betas, helping us choose what features to add or improve in a new tool.

I am totally sold! How do I join Red Giant Universe?

It’s easy. Head over to the Red Giant Universe page, and sign in with your Red Giant ID (or sign up, if you don’t already have one – its free). Once signed in, download and install Red Giant Link (just follow the on-screen instructions after signing in).

Why am I downloading Red Giant Link, and not Universe?

All Universe plug-ins (and many other Red Giant products) are downloaded, installed, and updated through Red Giant Link  – so you’ll need to download link to get access to the Universe library of tools. (Learn more about Red Giant Link)

OS Requirements:

• Mac OS X Mountain Lion 10.8.5


• Mac OS X Mavericks 10.9.0 and later


• Windows 7 with Service Pack 1


• Windows 8 and 8.1

Host App Compatibility:

• Adobe After Effects CS5.5, CS6, CC


• Adobe Premiere Pro CS6, CC


• Apple FCPX


• Apple Motion 5

Red Giant Universe is Here!

DSLR Footage Workflow in Adobe Premiere Pro

Adobe TV have recently uploaded this helpful video on recommended workflows when using DSLR footage in Adobe Premiere Pro…

Jason Levine walks you through the basics of importing footage from your DSLR directly into Adobe Premiere Pro, selecting clips, setting In/Out points, and building a sequence. Work with multiple formats/frame rates/frame sizes, all simultaneously, and learn how the Adobe Mercury Playback Engine can be modified to optimize playback performance, no matter what kind of machine you’re editing on.

DSLR Footage Workflow in Adobe Premiere Pro

CAME Camera Jib Review

Tom Antos puts the CAME camera jibs through its paces:

Best way to add production value to your videos and films is by moving the camera in a precise way. Dolly allows you to move the camera left and right, BUT a crane makes your videos look even more epic by smoothly moving the camera up and down.

You can buy these cranes here: 

 

CAME Camera Jib Review

Some Samsung Galaxy S5 Units Suffer Camera Failure

The Samsung Galaxy S5 is billed as having one of the best camera’s ever included in a smartphone, but it sounds like the flagship device may be suffering from teething problems. It has been confirmed that an unspecified number of Galaxy S5s have shipped with cameras that don’t work. Affected users are greeted by the error message “Warning: Camera Failed.” Your only option for getting the issue fixed is to contact Samsung’s customer service in order to get your phone replaced.

“We have discovered that the issue has been seen in a very limited portion of early production Galaxy S5 units,” a spokeswoman told Reuters, “and was caused by complications in the ROM (Read Only Memory) component which stores the information necessary to operate the camera.”

Some Samsung Galaxy S5 Units Suffer Camera Failure

Turbopack 9000: Power Your GoPro Camera For 12 Hours

The Turbopack 9000 was originally created to power B4 lens systems but it’s manufacturers, Fotodiox Pro, have now discovered a potentially even cooler use for the battery. It can power a GoPro for up to 12 hours, making the $70 device ideal for taking with you on longer journeys. Fotodiox Pro are now apparently running tests to see if they can power the Blackmagic Pocket Camera.

The Turbopack outputs any of three voltages – 12v, 16v, or 19v. Power up the Turbopack with the included AC charger, and the 4 LED meter lets you know how much run power is left. Simply connect the Turbopack to your lens with your choice of either a 6-pin or 12-pin connecting cable (sold separately). Then, depending on your specific lens, you’ll get powered fuctions like cruise zoom, quick zoom, iris return, and more.

The Turbopack 9000 does not have a “sleep” function, so your lens is fully powered at all times, ready to go at a moment’s notice. Also built in is a USB port that can be used to power your camera, or charge a phone or tablet, etc. The Turobopack is rated for 25Wh for extra long run times between charges.

The Turbopack 9000 Kit also includes a fitted case with velcro attachments so you can secure it anywhere on your camera setup. 

For more, head over to Fotodiox Pro.

Turbopack 9000: Power Your GoPro Camera For 12 Hours

3D-Printed Time-Lapse Motion Control System

3D Printing technology is opening up a world of opportunity for photographers and filmmakers who know have the chance to start “printing” custom parts or even entire rigs for a fraction of the price.

Looking to reduce the weight of his equipment while out photographing time-lapses, photographer Doug Urquhart 3D printed and put together a 3-axis modular time-lapse motion control rig that is apparently 50% lighter than his previous setup.

The system makes use of 72 inches of carbon fiber (for rails) in combination with a 3D printed Pylyamide–12 (nylon) 3-axis motion control system. The rig offers dolly, pan and tilt capabilities.

The process of creating the rig certainly wasn’t simple but if you happen to have access to a 3D printer and fancy having a go you can follow the instructions by heading over to Instructables at the link below.

You can check out some test-footage shot with the rig here.

3D Printed, Ultralight, 3-axis Modular Time-Lapse Motion Control System

3D-Printed Time-Lapse Motion Control System

$15k Drone Crash in Amazon Rainforest

The video above shows how aerial filmmaking with a drone can be a costly experience when things go wrong. Christ Newman and the team from CineChopper captured the moment when their $15,000 drone “went rouge” in the middle of the Amazon Rain Forrest while shooting for Animal Planet. The apparent cause was a broken remote control, luckily the guys had a backup!

$15k Drone Crash in Amazon Rainforest

Sigma to Announce 24mm f/1.4 Art Series Lens at Photokina

Sigma is on a bit of a roll right now, the critically acclaimed “Art” line has become a massively disruptive force in the lens business and is no doubt causing a painful headache for its competitors.  Having recently announced the 50mm f/1.4 , Sigma is now reportedly planning to add a 24mm f/1.4 to the Art series in October, which likely means the announcement may happen in September at Photokina in Germany.

Pricing is rumored to be higher than both the 50mm and 35mm Art lenses, which retail for $950 and $900, respectively.

(Photo Rumors)

Sigma to Announce 24mm f/1.4 Art Series Lens at Photokina

Panasonic GH4 Vs Canon 5D Mark III Vs Canon C100 Vs Panasonic GH3 Vs Canon 7D

The team at Hillbilly grip truck compare the Panasonic GH4 with the GH3, Canon 5D Mark III, Canon C100 and the Canon 7D:

C100 used canon 16-35, 24-105 and 70-200 2.8 isII. Color profile “default”

Gh3 used kit 12-35 and 35-100 Color profile “standard”.

Gh4 used the speedbooster with samyang 35 and 85 primes Color profile “standard” (i wish we’d tried out the cinema D profile. I’m betting that is the profile ready for release)

7d used 17-55 2.8 and 24-105 using standard profile with sharpness and contrast rolled off 2 clicks

5d used 24-105 and 85mm 1.8 with Lightform C profile

All the above lenses were used at f4 except for the “down the neck of the guitar” shot when everybody opened up as wide as they could…

Here’s a ‘studio’ test between the Panasonic GH4 and the Canon 5D Mark III:

All three cameras used the exact same lens at the same f-stop, but obviously the full frame 5d3 had to move physically closer to match framing and has a much shallower DOF relative to the image. To maintain exposure, we used a lightcraft workshop variable ND ii. Any slight variations in exposure are just due to the finicky nature of the variable ND.

Finally, they have  published a ‘pan and scan’ version of the GH4 shot in 4K to see how it plays in 1080p:

You Can read their full review and conclusions here.

Panasonic GH4 Vs Canon 5D Mark III Vs Canon C100 Vs Panasonic GH3 Vs Canon 7D

Tutorial: Three-point Lighting with Litepanels 1x1 LEDs

Doug Jenson of Vortex Media gives us a detailed tutorial on three-point lighting using Litepanel 1×1 LEDs:

The goal of three point lighting is to create the illusion of a three-dimensional subject in a two-dimensional image. While you can create dimension a number of different ways, there’s no doubt that using light and shadow is a powerful way to accomplish this, and three point lighting is the lighting technique most commonly used.

What are the three points of light we’re talking about?

• The Key Light – This is the main light used on your subject.


• The Fill Light – The purpose of this light is to fill in the shadows created by the key light, preventing them from getting too dark.


• The Back Light – This is used to separate the subject from the background.

Tutorial: Three-point Lighting with Litepanels 1x1 LEDs

Sony teases PS4 software update with new SHAREfactory video editor

Sony has provided some details of what to expect from its upcoming PlayStation 4 software update. The company has reportedly taken user feedback into account and is planning two significant upgrades for the v1.7 update – the ability to pre-load games and an all new video editing app called SHAREfactory.

SHAREfactory video editor

The SHAREfactory app will allow users to combine and personalize captured gameplay clips, making use of filters, transitions and themes, as well as the ability to add stickers and text to the upload.

The software will allow users to record picture-in-picture video commentary for their gameplay clips using the PlayStation Camera, a Kinect-like accessory sold separately to the console itself. Lastly, users will be able to add audio tracks to their videos, and even import original music. SHAREfactory videos can be shared on Facebook or transferred to USB external storage to be uploaded elsewhere.

The new update will make some other tweaks to the Share service, including the ability to change who you share clips with from the Share menu (rather than having to go into settings) and the option to turn of HDCP, allowing for video capture directly from the HDMI output.

While these are definitely welcome additions to Sony’s system, the company has made it clear that these improvements represent just a glimpse of what we can expect from the upcoming update, with more details to emerge as we approach the as-of-yet unannounced release date.

 

Sony teases PS4 software update with new SHAREfactory video editor

GoPro Hero4 Specs: Shoots 4K at 30 FSP

Some exciting GoPro Hero4 specs as well as a release date timeframe have appeared on a rumour website called DGISE.

The Hero4 will apparently shoot 4K at 30fps, 1080p at 120fps and 720p at 240fps. Multi-exposure HDR and WDR tone mapping, and electronic image stabilization (EIS) were all also mentioned in the original leak and appeared again today.

It’s also suggested that you’ll be able to shoot 13MP photos (one MP more than the current Hero3+ black edition), there is also talk of a “completely new lens for shooting in dark,”

If the rumour is correct we should see the GoPro Hero4 arrive in the Summer of 2014

The following is from the supposably leaked press release:

GoPro Hero 4 is really capable of recording video in 4K resolution at a speed of 30 frames per second, 1080p at 120fps and 720p at 240fps, which became possible with the advent of the new SoC Ambarella A9 chip (dual A9 ARM Core ® CortexTM-A9 processor 1 GHz and FPU acceleration ) for advanced applications, wireless connection, and streaming video in social media.

GoPro Hero 4 will also come with a 13-megapixel photosensor and a completely new lens for shooting in dark. Multi-Exposure and HDR WDR tone mapping, electronic image stabilization, also improved MCTF. Dual sensor interfaces 12-lane SLVDS/HiSPiTM/subLVDS, 4-lane, remote viewfinder playback which is extremely easy to use. You shouldn’t to have special technical knowledge or skills to do it. GoPro Hero cameras are amazing because they have a waterproof housing with a flat lens for shooting under water (up to 60m). Built-in Wi-Fi module, USB & HDMI – the only thing that brings it closer to homeliness. The camera has the ability to capture still images during video recording and perform encoding H.264/ BP / MP / HP Level 5.1 and MJPEG.

GoPro Hero 4 will hit shelves in the summer of 2014. Action Cameras of GoPro have become extremely popular as an excellent way to capture high-quality video at high speeds relative to the price that usually is $340.

 

GoPro Hero4 Specs: Shoots 4K at 30 FSP

Six Action Cams Put to the Test

When it comes to choosing an action cam there is no shortage of options if you care to look beyond the obvious brands like GoPro. To help you make a more informed decision based on your needs and performance of the cameras, Gizmodo has tested six different action cameras – all at the same time using the crazy camera rig in the video above.

Brent Rose took the cameras through some typical use cases including a dip in the ocean and a trail ride down the mountains of Santa Monica.

The cameras tested were:

The Ion Air Pro 3

• Field of View: up to 160°
• Storage: microSD
• Frame Rates: 1080p @ 30 and 60 fps; 720p @ 30, 60, and 120 fps
• Dimensions: 1.46 x 4.2 inches
• Weight (w/ battery): 5.01 ounces
• Battery: 1200 mAh Li-Po
• Price: $350

The Garmin VIRB Elite

• Field of View: 146, 130, 118 degrees (with digital IS)
• Storage:microSD
• Frame Rates:1080p @ 30 fps; 720p @ 30, 60fps; WVGA @ 120fps
• Dimensions:1.26 x 2.09 x 4.37 inches
• Weight (w/ battery):7.16 ounces

• Battery:2000 mAh li-ion
• Price:$400

The GoPro Hero 3+ Black

• Field of View: 170°, 127°, or 90°
• Storage: up to 64 GB microSD
• Frame Rates: 4K (16:9 and 17:9) @ 12, 12.5, 15fps; 2.7K (16:9 and 17:9) @ 30, 25, 24fps; 1440p (4:3) @ 48, 30, 25, 24fps; 1080p (16:9) @ 60, 50, 48, 25, 24fps; 960p (16:9) @ 100, 48fps; 720p (16:9) @ 120, 100, 60, 50fps; WVGA (16:9) @ 240fps, plus Protune and SuperView modes
• Dimensions: 2.30 x 1.55 x 0.08 inches
• Weight (w/ battery): 2.65 ounces
• Battery: 1180mAh li-ion
• Price: $400

The JVC Adixxion GC-XA2

• Field of View: 160° (with digital IS)
• Storage: SD (full-sized)
• Frame Rates: 1080p @ 30, 60 fps; 720p @ 30, 60, 120fps; WVGA @ 30fps
• Dimensions: 2.94 x 2.13 x 1.44 inches
• Weight (w/ battery): 4.76 ounces
• Battery: 1050 mAh li-ion
• Price: $300

The Sony Action Cam 2 (HDR-AS30V)

• Field of View: 170°, 120° (with digital IS)
• Storage: microSD
• Frame Rates: 1080p @ 30, 60 fps; 720p @ 30, 60, 120fps; VGA @ 30fps
• Dimensions: 3.23 x 0.96 x 1.85 inches
• Weight (w/ battery): 3.05 ounces
• Battery: 1240mAh li-ion
• Price: $270

The Drift Ghost-S

• Field of View: 170°, 127° or 90°
• Storage: microSD
• Frame Rates: 1080p @ 25, 30, 50, 60; 960p @ 25, 30, 48, 50, 60 fps; 720p @ 25, 30, 50, 60, 100, 120 fps; WVGA @ 25, 30, 50, 60, 100, 120, 200, 240 fps
• Dimensions: 4.1 x 2.05 x 1.3 inches
• Weight (w/ battery): 6.40 ounces
• Battery: 1700mAh li-ion
• Price: $400

Head on over to Gizmodo’s for a full breakdown and review of each camera, and to find out which of the six cams came out on top.

The Best Action Camera: Spring 2014 Edition

Six Action Cams Put to the Test

Blackmagic Production Camera 4K vs Canon 5D Mark III

Lightworks Films has recently posted a test between the Blackmagic Produciton Camera 4K and the Canon 5D Mark III:

Video Description:

Basically I found what you’d probably expect:
- the 5d looks great right out of the camera, though it is a bit muddy with the 8 bit, 4:2:0 weak codec
- a bit of sharpening in post, 33% to be exact, made both the BPC and the 5d look better
- the BPC resolves details much better than the 5d, as of course you’d expect with 4x the resolution
- the grain on the BPC is much “finer” and “filmick” while the grain from the 5d is “muddy” and “blocky” – this is the difference between the resolutions (5d @ 1080p and BPC @ 2160p), the in-camera noise reduction Canon implements that BPC doesn’t, and finally the codecs, which are vastly different.

Settings:

- Lens = 50mm f1.4 @ f1.8

- ISO 400

- natural light

- note the different post production settings in each shot in the video

Blackmagic Production Camera 4K vs Canon 5D Mark III

Panasonic GH4 vs Blackmagic Pocket Cinema Camera

Amadeusz Andrzejewski tests the Panasonic GH4 against the Blackmagic Pocket Cinema Camera over a wide range of features like noise, dynamic range, and rolling shutter.

Panasonic GH4 vs Blackmagic Pocket Cinema Camera

ARRI Launch Virtual AMIRA Camera Simulator

ARRI has released the first version of the AMIRA camera simulator, and it’s worth checking out you intend to use this camera any time soon. After a short while on the sim it becomes clear that the AMIRA is very different from previous ARRI cameras like the ALEXA in terms of menu layout and hardware switches. Some of the features on the sim don’t seem to be working right now but it’s definitely worth a play. You can get to the AMIRA simulator via the link below

The ARRI AMIRA Camera Simulator; SUP 1.0 — Arri

In case you’re not familiar with the features of the AMIRA, here’s a recap:

ARRI Launch Virtual AMIRA Camera Simulator

Pentax Introduce 70MM Medium Format Video Camera: 645Z

Pentax has just introduced the first sub-$10,000 medium format camera capable of shooting HD video – perfect if you want that 70MM look in your productions. The 645Z Camera gives filmmakers the first affordable way of capturing images close to that of 65mm film. 

Here are the highlight specs:

• 51.4MP CMOS Sensor – 43.8 x 32.8 mm


• Prime III Image Processor


• Anti-Alias Filter-Less Design


• 3.2″ 1037K Dot Tiltable Air-Gapless LCD


• 1920 x 1080 — 60i/30p/24p Video Capture (MPEG-4 AVC/H.264 (MOV))


• 1280 x 720 — 60p/50p/30p/25p/24p


• ISO Sensitivity Range of 100 – 204,800


• Dual Slot SD/SDHC/SDXC


• SAFOX II TTL 27 Point Autofocus System


• 3 fps Continuous Shooting


• Weather Sealed Magnesium Alloy Body


• Pentax Flucard and Eye-Fi Compatible


• PENTAX 645AF2, 645AF and 645A mount lenses PENTAX 67 medium format lenses useable with adapter


• Availability: June


• Price: $8,500 Body Only

While most filmmakers looking to drop $8k on a video camera will probably look do a dedicated video camera like the C100 or C300, this could be an interesting choice if you love the 65mm look. While it will have a much bigger field of view than a full frame camera like the Canon 5D MK III, it’s not going to give you quite the same look as IMAX as that is a much bigger image area.

The 645Z makes use of a Sony CMOS sensor that apparently gives far better low-light performance than previous Medium Format cameras that used CCD sensors.

Pentax Introduce 70MM Medium Format Video Camera: 645Z

Canon 7D Mark II Reportedly Delayed Due to Dual-Pixel Sensor Issues

Released back in 2009, the Canon 7D is now long overdue for refresh. Canon have not made any official announcement, but this hasn’t stopped the rumour mill churning away with plausible speculation.

 

The Northlight Images is reporting that the Canon 7D Mark II will feature a higher end version of the dual pixel sensor Canon used in the 70D. A slightly less powerful version of the tech is also rumored to appear in the 700D (Rebel T5i) and 100D (Rebel SL1) replacements. However, it seems some manufacturing issues with the dual pixel design of the 70D sensor has delayed production of the 7D Mark II and other successors, forcing Canon to push back release dates until late summer or possibly even early fall.

Beyond the new sensor technology in the camera, the below specs are just some of what has been rumored to make an appearance in the 7D successor:

• 20MP APS-C Sensor


• ISO 100-12800 (expandable to 25600)


• 1/8000 – 30s, Bulb, X=1/250


• 150,000 shutter life


• Silent shutter mode, similar to 5DMIII


• 19-point phase autofocus


• 8fps


• 15 Raw / 126 JPEG Buffer


• 3.0″ 1040k LCD, touch screen


• Optional WiFi


• Magnesium Alloy body


• Battery capacity 850 shots


• 148.2 x 110.7 x 73.5 mm


• Weight 910g

Canon 7D Mark II Reportedly Delayed Due to Dual-Pixel Sensor Issues

Yanobox is back with Nodes Plugin Version 2

Nodes is a high end motion graphics plugin that has been used on major effects driven films, such as The Avengers, Planet of the Apes, and Ender’s Game. Now it’s creator, Yanobox, has just released Nodes 2. The latest version supports Final Cut Pro X, After Effects, Motion, and Premiere Pro on Mac OSX Mountain Lion or Maverick Version 10.8 or 10.9(no windows support). It’s priced at $299 you can download a free trial on the official site (link below).

In Nodes 2 you can now import your own custom 3D models and sequences, combine text, graphics and images in your 3D animations, and control how nodes, connections, and text are animated. As Nodes 2 natively supports the After Effects Camera, it is integrated with other AE-compatible plugins.

Nodes 2 is the result of a complete rewrite of the original plugin from the ground up and provides a rendering engine that can support 50,000 particles and unique font acceleration. Point clouds are now created from primitives, footage, and 3D models, allowing for infinite possibilities.

Yanobox offers several tutorials on how to use Nodes 2 — The video below demonstrates how to get started using After Effects.

Nodes 2 — Yanobox

Yanobox is back with Nodes Plugin Version 2

Sony A7s VS Canon 5D Mark III: Low Light Test

Den Lennie tests how well the A7S performs in low light from 6400 ISO onwards:

I used a Zeiss ZF2 25mm lens set to f2 and with no illumination in the room other than the window light and a tiny streak of hallway light. What we experienced was quite staggering. This scene is almost no light.

Sony A7s VS Canon 5D Mark III: Low Light Test

Redrock Micro announce Retroflex rig for Blackmagic Pocket Camera

Cutting edge Digital Cameras with a vintage twist seem to be a strong theme right now, the Digital Bolex  and Bellami hd 1 cameras are both great examples of a trend back to vintage pistol grip style shooters. If you happen to own a Blackmagic Pocket Camera and want to give it a vintage twist you should probably check out the Retroflex mod rig from Redrock Micro.

This simple rig blends sophisticated ’60s retro style with the modern flexibility of digital filmmaking. The Retroflex comes with 3 modules: the pistol grip with run/stop button, viewfinder, and protective cage. Currently the Retroflex is exclusively for the Blackmagic Pocket Cinema Camera, however they do have plans to fashion the rig to fit other pocket cameras as well. The price is set at $495 and will begin shipping in about 2 months. Here are a few features:

• Retro styling and design.


• Fantastic ergonomics for street or verite style shooting.


• The cage protects the camera and adds mounting and cold shoe options.


• Handgrip with run/stop trigger (removable).


• wireLock accessory to secure cables (not included).


• Removable viewfinder aids in outdoor screen visibility.

Redrock Micro announce Retroflex rig for Blackmagic Pocket Camera

Blackmagic Design firmware updates for Cinema Camera and Pocket Camera

Blackmagic Design was certainly one of the big stars at NAB this year with the announcement of not one but two new cameras. However the company is under fire from some existing customers of Cinema Camera and Pocket Camera, who say Blackmagic has stopped supporting these systems. Thankfully it seems that this is not the case following an update on the Blackmagic Forum by Kristian Lam of the Technical Support Team.  We’ve copied his post below…

I know there are some concerns that we are no longer supporting the Blackmagic Cinema Camera or Pocket Cinema Camera. I just want to assure you that this is not the case. Let me give you some background information about the development and why it is taking longer than expected.

The Blackmagic Cinema Camera was our very first foray into cameras and since then, we have shipped 3 more cameras, the Pocket Cinema Camera, Production 4K and the Studio Camera.

The original 2.5K camera had fundamental architectural differences in firmware compared to the other cameras which doubled the effort when trying to do any bug fixes or add new features to the cameras. As such, we knew we had to re-architect the firmware so as to bring it up to speed with the current cameras. This is not simple and taking longer than we thought. However, we are close now, close enough that beta versions have been seeded to some users for the past few months.

We should be able to see an update, as I’d mentioned in my post, to the 2.5K camera and Pocket Cinema Camera soon with the features below:

1. New debayering for shooting directly to ProRes or DNxHD on the Blackmagic Cinema Camera EF and MFT

2. Improved MFT lens support on the Pocket Cinema Camera

3. Compressed RAW support on the Production Camera 4K

4. Autofocus support for EF lenses on Blackmagic Cinema Camera EF and Production Camera 4K

What is also in this release are also certain hooks that are required for audio level metering and histogram display. It won’t be visible as yet but will allow us to quickly followup with an update to add these 2 tools we know you guys are asking for.

Let me also answer some other questions I’ve been asked below:

• Formatting of media

Yes, we want to do this. A large part of the work has been completed so I don’t believe this will be a big effort to implement. However, it is very unlikely that we will support deleting of clips directly in camera due to the risk of media fragmentation.

• Time Remaining indicator

Yes, this is going to happen. It’s probably in the next update or an update after.

• Black Sun effect

This is a fundamental characteristic of CMOS sensors. Some sensors have additional circuitry to try and overcome this and this was available in the Pocket Cinema Camera. Unfortunately, it is not in the 2.5K sensor. Also, black sun correct circuitry is also not an on/off switch and with some sensors, it may result in other unwanted artefacts so we have to be really careful about it. Another method of overcoming the black sun effect is via image processing after the image has been acquired and passed on from the sensor. This is basically running an algorithm to try and detect what looks like the black sun and just clipping the black areas. Again, this could result in false positives and if you have a pattern in the image that is similar to the black sun, it could mistakenly be “corrected” as well. As you can see, this is a tricky situation. We are not ignoring it, but working to see what is the best way to address this.

Original thread on the BM Forum here

Blackmagic Design firmware updates for Cinema Camera and Pocket Camera