Red Giant Announces Magic Bullet Looks 2.5 & PluralEyes 3.5

Hot on the heels of releasing Universe earlier this year, Red Giant Software is back with some cool updates to some of their most popular plugins, including PluralEyes, which is now integrated with BulletProof, and Magic Bullet Looks, which now features GPU support! 

Here’s what’s new in PluralEyes, which also includes better support for AVCHD cameras and spanned clips:

In another industry first, to achieve the best accuracy, PluralEyes 3.5 now includes the unique ability to correct sync drift where the audio and video begin to lose sync over time on longer clips. This allows it to achieve frame-accurate syncs even for audio recorders that don’t have that level of accuracy themselves.

Also new in PluralEyes 3.5 is an integration with BulletProof, Red Giant’s footage backup and preparation tool. When you are ready to begin syncing your files, BulletProof sends the imported footage over to PluralEyes in an organized way, allowing you to sync your footage immediately.

New in Magic Bullet Looks

• Speed increases of up to 95% on Windows® and more than 25% on Mac®.


• Improved Looks Previewing: allows users to hover over Looks to preview the results.


• Strength Slider: control the overall strength of your entire Look with an easy-to-use, key-framable slider.


• LUT Tool: allows users to import .cube LUTs as well as 12 new LUT presets.


• S-Curve Tool: makes it easy to add contrast without losing detail.


• Better Custom Looks Management: makes it easier to share your Looks with other editors.

PluralEyes 3.5 is to be released in the second quarter of this year for $200, with an $80 upgrade for existing  users. Magic Bullet Looks 2.5 is also coming in the second quarter, and will be a free upgrade to owners of Looks 2.

If you missed out on Red Giant Universe, here’s the official intro video:

Links:

• Red Giant


• PluralEyes — Red Giant


• Magic Bullet Looks — Red Giant

 

Red Giant Announces Magic Bullet Looks 2.5 & PluralEyes 3.5

Shoot a Dark Scene without getting Noise or Grain

Film Riot shows us how to shoot a dark scene without getting a lot of noise or grain:

Shoot a Dark Scene without getting Noise or Grain

Ultrakam App Enables 2K Video on iPhone 5S

Creating professional movies on your iPhone just became a little more plausible thanks to an app that lets filmmakers shoot beyond HD on an iPhone 5s.  VFXWarrior today launched Ultrakam, the first and only iOS app that can record 2K video. With Ultrakam, you can shoot in either H.264 (iFrame) or M-JPEG codecs to yield up to 2240 x 1672 pixels, or 70 percent more than 1920 x 1080 Full HD. The app’s ability to capture 4:2:0 full range color shows denser blacks and whites.

FEATURES:

Film.

-2K (1936×1446) with M-JPEG codec at 20,24,30fps.

-2K (2240×1672) with H.264 iFrame codec at 20,24,30fps.

-Up to 50MB/s video stream .

-Record full frames in M-JPEG at 100% quality.

-Capture all the color range at 4:2:0 Full range

-2CH Linear PCM Audio 44.1K in .CAF format

Timelapse

-2K (2592×1936) with M-JPEG or H.264 iFrame codec.

-Configurate any custom 1 second interval up to 59:59

-Select playback speed from 6, 12, 24 and 30 fps.

-Shot and remaining time indicator.

Slow Motion

-Maximum available res of 1280×720 up to 120fps.

-Automatically convert to 12, 24 or 30fps to generate up to 10x slow motion effect

-Optionally record at the maximum speed for future processing.

White Balance, Focus & Exposure.

-Independent Focus and Exposure interest areas.

-Independent Focus and Exposure lock

-Automatic smooth rack-focus during recording.

-Familiar hold to adjust White Balance mode.

Gallery and 2K Player.

-Independent gallery to keep files organized

-Our custom player creates an AV preview composition for you at 2K

-The player supports any M-JPEG and H.264 iFrame resolution.

- Playback and audio sync as reference. It may drop frames due the heavy size of the files.

- You can export proxy version to the photo library.

VFXWarrior is to blame. Sure beats a lame RAW meat gag on April 1.

Ultrakam App Enables 2K Video on iPhone 5S

Sony NAB 2014: 4K for 2K, 4K for 4K, and 4K For All

Sony’s NAB schedule roadmap says 4K for 2K. 4K for 4K. and 4K for all at NAB 2014…

Here is the Sony NAB 2014 Schedule:

PRESENTATIONS on Stage 1

Live production for anyone, anywhere

Now everyone from schools and government agencies to corporations and houses of worship can enjoy sophisticated live production and web streaming. Sony’s Anycast Touch live content producer and BRC PTZ Series cameras make it easier than ever.

Scheduled at 11:30, 1:30 and 3:30 PDT Monday, Tuesday and Wednesday during the show.

XDCAM cameras and the new wireless workflow

After 280,000 units sold, Sony’s XDCAM family is just getting started. See how new codes, new wireless microphone integration, wireless cloud transfer and wireless tablet remote control are revolutionizing news and field production.

Scheduled at 11:00, 1:00 and 3:00 PDT Monday, Tuesday and Wednesday during the show.

Vision Presenter: Changing the game in presentations

Hear how you can easily manage and display live video, PC files and web content in a variety of layouts for smarter presentations and interactive discussions using 4K display/projector screens or double-sized HD screens with blending projection.

Scheduled at 12:00 and 2:00 PDT Monday, Tuesday and Wednesday during the show.

PRESENTATIONS on Stage 2

4K for 2K. 4K for 4K. 4K and beyond.

Even if HD is your sole focus, Sony 4K cameras deliver amazing advantages for your productions today. Discover the possibilities for image magnification, super slow motion, image stabilization, Center Scan mode, shoulder-mount ENG, plus a complete Sony 4K live production system.

Scheduled at 10:00, 2:00 and 3:30 PDT Monday, Tuesday and Wednesday during the show.

Announcing Vegas Pro 13!

Stop by and get a sneak peak of the new features in Vegas Pro 13. This presentation will highlight the new editing, collaboration, and archive tools and show examples of how these and other new features will increase your productivity.

Scheduled at 9:30 and 2:30 PDT Monday, Tuesday and Wednesday during the show.

Audio Master Suite Delivers Sonic Empowerment

Learn how to solve the toughest audio problems with Sound Forge Pro and SpectraLayers Pro, now wired for seamless interoperability between applications. Don’t delete that problem audio track before you see this presentation!

Scheduled at 10:30 and 4:30 PDT Monday, Tuesday and Wednesday during the show.

Blu-ray Disc Evolution

The Blu-ray Disc format continues to evolve and expand into new areas. In this presentation you will learn how the Blu-ray format is expanding into new areas, delivering more high-end content than ever and still providing you the best possible way to deliver your hi-def video and audio content.

Scheduled at 12:30 PDT on Monday and Tuesday during the show.

Sound design with Sound Forge and Vegas Pro

Join Ric Viers, author of The Sound Effect Bible, as he demonstrates how he uses Vegas® Pro and Sound Forge to create his award-winning sound effects for TV and Hollywood movies.

Scheduled at 12:30 PDT on Wednesday, April 9, 2014.

Vegas Pro and FXHome HitFilm Ultimate

Join Tom McLoughlin from HitFilm to hear how the combination of Vegas Pro and FXHome HitFilm Ultimate give you the best of both worlds – precise editing and powerful visual effects creation. Come and see how the programs work seamlessly together to take your project to the next level.

Scheduled at 1:00 PDT on Monday, Tuesday and Wednesday during the show.

Win the Loudness Wars with New Metering Options in Sound Forge Pro and Vegas Pro

Learn how the new meters in Sound Forge Pro and Vegas Pro can maximize your audio’s dynamic range potential while keeping you completely in compliance with the EBU R128/CALM Act.

Scheduled at 4:00 PDT on Monday, Tuesday and Wednesday during the show.

The F5 and F55: A Case for Run and Gun

As well as being excellent cameras for Digital Cinematography, the F5 and F55 can be used in other roles including documentary and run and gun applications. Find out more, from special guest Alister Chapman, about just how well these cameras work, the benefits they offer, and how to get the very best from them in challenging situations.

Scheduled at 11:00 PDT on Monday, Tuesday and Wednesday during the show.

Sony NAB 2014: 4K for 2K, 4K for 4K, and 4K For All

Edelkrone Craft Module for Timelapse and Stop Motion Video

Edelkrone have introduced the Craft module (an attachment to their SliderPLUS range of sliders) for $699, specifically designed from timelapse and stop motion video. The device aloso includes a very handy in-built calculator

You choose between photo and video time-lapse modes, then it will ask you few simple questions, and you are all set! You only set the start-point, end-point, operation duration, desired movie frame rate per second and the final movie duration by answering those questions. Craft Module will even calculate and let you know the maximum allowed shutter speed. Without setting the end- or start-points, you can also set automated static time-lapses in seconds. You can also use the timer function to schedule a time-lapse for later.

It also integrates with the Edelkrone Target Module (allows you to lock on to one object).

To find out more, click here.

Edelkrone Craft Module for Timelapse and Stop Motion Video

Codex Launch GoPro Killer RAW Action Cam

Codex have announced the Codex Action CAM, an ultra-compact, RAW capable, digital cinema camera. The camera is designed for use as an Action or POV system on high end productions when regular camera packages are too large for the situation or location.

Codex will debut Action CAM during NAB 2014, Las Vegas, at its booth #C6048.

Codex Action CAM delivers a complete high-definition shooting, capture, transcoding and data management solution for situations that require a compact form factor and low weight. It comprises a tiny camera head and a Codex Camera Control Recorder that delivers full remote control of the camera, plus the proven workflow of the industry-standard Codex.

Codex Action CAM is capable of shooting RAW at up to 60fps and resolves the common issues of syncing associated with small format camera solutions. Multiple camera heads can be in sync with other main unit cameras like the ARRI Alexa. Wide dynamic range, 14-bit image-processing, a 12-bit RAW output and Codex’s industry-leading debayering, Action CAM performs exceptionally well in normal and extreme lighting conditions. It uses a 2⁄3″ CCD sensor, which provides excellent light sensitivity, low signal-to-noise ratio, temperature stability and no visible fixed-pattern-noise. A global shutter means there is no distortion of fast-moving objects making the camera great for VFX applications.

The Codex Camera Control Recorder can be used to operate the camera head and adjust white balance, exposure index and frame rates. Delivery formats, via Codex media stations or Codex Vault workflows, include Apple ProRes and Avid DNxHD, uncompressed and H.264.

For lenses, Action CAM offers C-mount plus EF, PL and B4-mount adaptors, giving cinematographers a wide choice of glass options.

Along with 2D production, Codex Action CAM can also be used in S3D applications. Two camera heads can be connected to the Codex Camera Control Recorder, and the signals undergo identical processing – delivering completely synchronous S3D output and identical image properties, such as white balance and contrast. This makes shooting S3D simple and straightforward, saving time and money in post production. Shutter sync, Genlock and LTC capabilities allow Codex Action CAMs to be easily synchronised with other digital cinematography cameras.

“As the name suggests, Codex Action CAM is a simple, no-nonsense, out-of-the-box camera and recoding system,” said Marc Dando, managing director of Codex. “In one compact package the tiny camera shoots exceptional images and, unlike other small cameras, has a rock-solid workflow behind it – allowing cinematographers to shoot with confidence in new and ever more creative ways.”

Action CAM is scheduled to ship during summer 2014, availability and pricing will be announced at NAB 2014.

CAMERA HEAD
Image Sensor	2/3″ Single Chip Kodak CCD (RGB)
Sensitivity	2000 Lux @ f 8.0/0dB Gain (100% video out)
	160 Lux @ f 2.2/0dB Gain (100% video out)
	Wide dynamic range
Resolution	1920 x 1080 pixels
Signal/Noise Ratio	64dB @ 0dB Gain
Head Dimensions	45mm x 42mm x 53mm (1.8″ x 1.6″ x 2.1″)
Interface	CoaXpress 75Ohm BNC Cable
Cable Length	80 m (260 ft) with Standard BNC Cable
Lens Mount	C-Mount with adjustable Flange Back Distance
	B4-Mount via Adaptor
	PL-Mount via Adaptor
	EF-Mount via Adaptor
CAMERA CONTROL RECORDER
Input	2 x CoaXpress (CXP)
Remote Head Connection	75Ohm Coax Cable
Digital Signal Processing	Single Chip DSP (dual 14-bit)
White Balance	3200K 4300K 5600K 6800K MAN (red and blue)
Exposure Control	200 400 800 ASA
Output Signal	3G-SDI
HD-SDI Video Formats	4:4:4 Output
	4:2:2 Output
Recording Format	12-bit RAW
Recording Modes	2 x CoaXpress
Delivery Formats	Apple ProRes 4444
	Apple ProRes 422 HQ
	DNxHD 444
	DNxHD 422
	Uncompressed
	h.264
Control	GPI Record Trigger
	Genlock
	LTC
	ARRI RS Pulse
	RS-422
Network	1GbE
Power Consumption	Combined 30W ( 2 x Camera Head and Recorder)
Operating Temperature	0 – 45°C (32 – 113°F)
Dimensions	83mm x 139mm x 188mm (3.3″ x 5.5″ x 7.4″)
Weight	Combined 1.4Kg ( 2 x Camera Head and Recorder)
Conformity	CE, FCC

Please see Codex for more on their Action CAM.

Codex Launch GoPro Killer RAW Action Cam

Panasonic GH4 Vs ARRI Alexa Vs Blackmagic 4K

Panasonic GH4 96fps vs Alexa 96fps 24p

Alexa : Log-C ProRes422 HQ 1920×1080 at 96fps

Lens : UltraPrime 24 mm

ISO : 200ASA

Shutter : 11.25 degree

T-Stop : 2.8

Panasonic GH4 : h.264 100mbps 1920×1080 96fps

Profile : Natural Contrast -5, Saturation -5, Manual Gamma control : hight light -5

Lens : UltraPrime 16 mm

ISO : 200ASA

Shutter : 11 degree

T-Stop : 2.8

I had put the Alexa footage to DaVinci Resolve Lite for just only applying Rec709 and then render it out to ProRes4444.

For GH4 I also brought the footage into DaVinci Resolve Lite only to bring high light down and then render it out to ProRes4444.

After that, I brought these ProRes4444 files into Premiere Pro CC for rendering out for web.

Panasonic GH4 4096×2160 vs Alexa 2048×1152 24P

Alexa : Log-C ProRes4444 2048×1152 24P

Lens : UltraPrime 24 mm

ISO : 200ASA

Shutter : 11.25 degree

T-Stop : 5.6

Panasonic GH4 : h.264 100mbps 4096×2160 24P

Profile : Natural Contrast -5, Saturation -5, Manual Gamma control : hight light -5

Lens : UltraPrime 16 mm

ISO : 200ASA

Shutter : 11 degree

T-Stop : 5.6

I brought these original clips in to Premiere Pro CC that had set to 2048×1152 24P and then down size GH4 from 4096×2160 to fit 2048×1152 timeline. I did not want to make any correction here.

What I had found was very interesting. The GH4 could do it’s best in it’s class. The Alexa is still the king in term of dynamic range, but the small GH4 is not far away from the top.

Panasonic GH4 4K 4096×2160 24p, night in available light

Camera setting : 4K 4096×2160 24p 100mbps

ISO : 800ASA

Shutter : 172.8 degree

Lens : Samyang 16mm F2.0

Camera Profile : Natural, Contrast -5

Camera Gamma : Normal

White balance : 4000k

I edited these original footage in Adobe Premiere Pro CC. I had adjusted very little, only bringing down some high light and lifting up some shadow area. No any colour being changed.

Then I exported from Premiere timeline at original size, 4096×2160 24p for web.

Panasonic GH4 vs Blackmagic 4K 3840×2160 24p

I just had a very quick comparing test between Blackmagic 4K and a demo firmware model of Panasonic GH4.

Blackmagic had recored in ProRes422HQ more than 700mbps, while the GH4 only 100mbps in h.264.

How could it look like?

After a quick shoot we brought the clips into DaVinci Resole Lite to see details.

What we have found was unbelievable. The GH4 could hold more detail in both high light and shadow over the Blackmagic.

One problem about the Blackmagic is the red dot when shoot against the very bright object such as the sun, as seen on the helmet high light of the last clip.

I do it because I have to choose which cameras that I will buy and also want to know the limitation of both cameras.

Most of all, I am the user. I have a choice.

Now I am clear.

Blackmagic 4K : ProRes 422HQ Film 3840×2160 24p

Lens : Canon 50mm F1.2L

Panasonic GH4 : h.264 100mbps 3840×2160 24p

Lens : Contact Carl Zeiss 35mm F1.4

Both :

ASA 200, Shutter 45degree

F-Stop : F8 and last shot 5.6

White Balance : 5000k

Panasonic GH4 Vs ARRI Alexa Vs Blackmagic 4K

Schneider Optics Launch New XENON FF Prime Lenses:

Schneider Optics are set to drop a brand new set of lenses at NAB 2014 in Las Vegas.

Schneider adds 18mm, 25mm and 100mm lenses to its popular Schneider-Kreuznach Xenon FF-Prime family that already includes the 35mm, 50mm and 75mm focal lengths. They are purpose built for digital cinematography with cameras including RED Dragon, Canon C100/C300/C500, Arri Alexa, Sony F5/F55 and HDSLR cameras, and cover the full 45mm image circle usable on Canon 5D Mark III and Nikon D800 cameras. These compact lenses are designed for 4K and beyond resolution (4096 x 2304 pixels).

The display will also feature the Cine Xenar III color-matched PL mount digital cinematography prime lens family, with the newest 14mm T2.2 wide-angle addition.

In keeping with the company’s reputation to do more with existing optics, NAB will see the premier of the new Schneider Optics Wide Angle adapter for the Fujinon 19-90mm Cabrio lens. With an easy on/off design, this non-zoom through adapter expands the lens by 30%.

For those ever-present mobile devices, Schneider expands its offerings for the iPro Lens line. The new Clip lets Apple iPad, iPad Mini, Mini Retina and iPad Air accept iPro lenses. The Clip precisely positions iPro lenses over the devices built-in camera lens and the twist lock mount provides quick lens changes between the Macro, Super Wide, Wide Angle, 2X Tele and Fisheye lenses allowing users to get more in every shot. iPro lenses are also available for iPhone® 5S, 5, 4S, 4 and Samsung Galaxy S4.

As exclusive distributor for Chrosziel products in the United States, Schneider is exhibiting two professional wireless control systems. Successfully used at the French Open and the soccer Champions League, the Aladin MKII 4K Live Broadcast Wireless Lens Control System is optimized for cine-style lenses and broadcast cameras. The new Chrosziel MagNum wireless systems offer lightweight and ergonomically designed focus/iris control in a turnkey system, complete with lens motors. The system is available in three models: Single axis focus only, Upgradeable system for two axes, and a complete Focus/Iris system to accommodate digital and cine cinematography. Also look for Chrosziel’s world-renowned matteboxes, filterholders, and sunshades outfitting the latest cameras from Sony, JVC, Blackmagic and Canon.

In addition Schneider Optics, will display its renowned professional MPTV filters, including Digicon, Hollywood Black Magic, Platinum IRND, Classic Softs, True Streaks, and others, as well as Century Wide Angle Adapters, Fisheyes, Telephotos and Achromatic Diopters.

For more information contact please see Schneider Optics.

Schneider Optics Launch New XENON FF Prime Lenses:

Panasonic takes on GoPro with new 4K Action Camera: HX-A500

Panasonic is going to try and gate crash GoPro’s action Camera party with it’s new HX-A500: a light-weight, wearable, wide-angle camera capable of shooting  4K footage at 30fps.

The first thing you’ll notice is that Panasonic have separated the lens from the camera body with a braided cable. This is supposed to make the device more wearable and while it looks pretty weird we can see the benefits.

Additional features of the HX-A500 include WiFi and NFC capabilities — allowing you to connect it to your mobile for reviewing the footage and controlling the camera — as well as the standard dustproof and waterproof certifications that will let you take it 10 feet underwater for up to 30 minutes.

In 4K mode you can shoot video at up to 30fps. 1080p, 720p and 480p max out at 60fps, 120fps and 240fps, respectively. The camera will be available in the U.K. starting in May for £380 (about $630 USD), and is expected to launch in the US sometime in July.

Here is the full Press Release for the HX-A500: 

Panasonic Corporation, a leader in video technology is pleased to announce the world’s first 4K/30p Wearable Camera, the HX-A500 (A500). Featuring Wi-Fi® and NFC to connect to your phone, incredible image quality and straightforward functionality, this wearable camera enables you to capture scenes that puts viewers right there, in the thick of the action.  The A500 will be available in the U.S. at the beginning of July at www.shop.panasonic.comand photo specialty retailers.

The main unit is separate from the lens unit, meaning you can mount the lens at face level and perform hands-free shooting. Small and lightweight, the lens unit is comfortable to wear, making it easy to capture point of view sports or your daily adventure.

The A500 features gorgeous 4 K/30p image quality, allowing you to capture beautiful video with heightened realism. With a powerful lens, sensor and engine, you can now enjoy clean and clear low-noise video.  The A500 comes standard with the newly designed main unit with an LCD and other features that improve operability. Via your smartphone or tablet, you can also quickly and easily upload your video to the internet.  Panasonic designed the A500 wearable camera so that users can simply shoot and enjoy sharing, high-quality action video.

1. Separate units enable more comfortable head mounting

The main unit is separate from the camera. Hands-free operation lets you to capture everyday adventures to extreme sports.

● Compact lightweight camera unit

The lens unit weighs just over one ounce. It’s so light that you are likely to forget it’s mounted, even after extended use.

● New head mount and armband case

The head mount is supported in three places: at both ears and at the back of the head. This increases support and makes wearing the camera feel more comfortable and natural. The armband-style case is durable, and the flip-top design makes it easier to put in and take out the main unit.

● Even more complete line up of accessories

A wide variety of optional accessories — a new clip mount, multi belt, and multi case — help you get the most out of the A500. Different mounts enable easy shooting in different situations allowing you more flexibility.

● Waterproof and dustproof

Waterproof for 30 minutes in nearly 10 feet of water*, dustproof **, the A500 lets you actively shoot video in all kinds of sports and leisure situations without a housing.

*Complies with IPX8.

**Complies with IP5X.

2. Shoot 4K/30p video: highest available resolution for a Wearable Camera

With 4K video, you get four times the resolution of Full HD. The new Lens, sensor and image engine also achieve greater sensitivity, enabling you to shoot beautiful high resolution video.

● Recording 4K at 30 fps ensures smooth motion

Since every detail of the image is crisp and clear, you can display beautifully realistic video on large screens. Meanwhile, with a worlds’ first 30 frame per-secondfor a wearable camera, on-screen motion is smooth.

3. Enhanced Picture Quality

● Ultra Wide Angle

HX-A500 can shoot up to max. 160 degree ultra wide angle for an immersive view.

● Excellent low-light performance: 1/2.3-inch BSI sensor

A BSI sensor delivers excellent images. Shooting with higher sensitivity, you see less noise in images shot indoors, at night, or in dimly lit conditions: you simply get better results.

● Image engine provides superb image quality

Crystal Engine Pro+ provides outstanding image processing. It has exceptional capabilities for handling super-resolution video. You can use this processing power to shoot superb quality 4K videos.

● Tilt correction and image stabilization make fast action easier to watch

Available with full HD in standard resolution, exclusive Level Shot and Image Stabilizer functions allow you to capture easily watchable fast action sequences.

● Slow motion video

You can shoot at high frame rates in three resolutions: 1920 × 1080 pixels at 60 fps; 1280 × 720 pixels at 120 fps; and 848 × 480 pixels at 240 fps. You can then play back the video in slow motion, either for effect or to check out a golf swing or the form of another fast action.

4. Easy to use: simply shoot and share

Using the color LCD on the main unit, the operation is effortless. Also via a smartphone or tablet, you can also easily upload and share videos on the internet right on the spot.

● Color LCD panel

The main unit is equipped with a 1.5-inch color LCD. Instantly, you can check the field of view and mode settings.

● Connect with NFC compatible Wi-Fi®

If your smartphone has NFC capabilities, all you need to do to enable Wi-Fi® is to contact the control unit and the phone.

● Create Highlights and Easy-Share

With an Image App, highlighted scenes can be easily edited in one clip and uploaded to internet after shooting with automatic selection of highlighted scenes.

● Real-time Broadcasting

Via USTREAM, distant family members can get a live view of important family events.

To learn more about Panasonic’s line of LUMIX Digital Cameras and other consumer electronic products please visit www.shop.panasonic.com.

Panasonic takes on GoPro with new 4K Action Camera: HX-A500

Blackmagic Production Camera 4K vs Red One vs Canon C100

Sherwin Lau from Walk/Humbly Films passed along this simple ‘blind’ test between the Blackmagic Production Camera 4K, Red One and the Canon C100:

RED ONE M had the Zeiss 35mm Superspeed MK II at T2.8 @ 320ISO, 4K 16:9

BMPC4K had a Rokinon 35mm Cine at T2.8-4 split @ 400ISO, UHD

C100 had a Rokinon 85mm Cine at T2.8, 1080P upscaled to 4K

A very basic color correction was applied to match the three cameras as best as possible, but I could’ve spent more time matching them.

I think some of the difference between the two cameras come from the two different lenses I used (Zeiss on the RED and Rokinon for BMPC4K). Sensor size on the RED ONE is a little bit bigger but not a huge difference.

What’s great is how passable the C100 looks when upscaled to 4K.

Blackmagic Production Camera 4K vs Red One vs Canon C100

Learn Final Cut Pro X in 30 minutes (or less)

Fancy a crash course in Final Cut Pro X? Jeffrey Bradbury shows us how to use Apple’s flagship video editing software in 30 minutes or less. The video takes you through the basic steps of importing, organizing, editing, and publishing your video.

 

Learn Final Cut Pro X in 30 minutes (or less)

LUUV GoPro Stabilizer

 

It’s turing out to be a great year for camera stabilization innovation and advances in 3-axis technology is leading the way. While big camera systems seem to be well catered for we are now seeing more and more stabilization products aimed at phone and action camera filmmakers. Our latest discovery, the LUUV stabilizer, is currently trying to raise money on Indiegogo. Created by a team based out of Germany, it not only has an interesting design, but can do some pretty cool things. First of all, the stabilizer was made using industrial 3D printers. Second, you can rotate it 180˚ to get different perspectives — being able to turn it upside-down is especially helpful if you’re shooting extreme low angles for extreme sports, like skateboarding. Third, you can control panning with your fingertips, so operating the LUUV requires only one hand (with practise no doubt). 

Check out its Indiegogo campaign video to find out more about how it works:

Here are some more videos that show what the LUUV can capture:

And here’s a training session that shows users how to operate it.

Thanks to the adapter mount, the LUUV can be used with virtually any action camera, smartphone, and compact digital cameras. The stabilizer is currently running a campaign on Indiegogo and as of right now, they’ve raised nearly 40% of their $50K goal. You can get a LUUV at the special Indiegogo price of $299. The retail price is $349.

See the campaign on Indiegogo.

LUUV GoPro Stabilizer

Using a Tilt-Shift Lens for Focus Control

Jay P. Morgan from The Slanted Lens has put together this video showing us what you can do with the tilt-shift lens for focus control:

I have a 45mm 2.8 Tilt-Shift lens. I like the focal length because it gives me a great focus effect, and I can use it in smaller spaces without distortion when shooting people.

For the lighting lesson, we are going to set up inside the C47 with the 82nd Airborne. The door will be open, and we will direct smoke to flow into the door from the Rosco 1700. We will not fight the sun but set the color balance to tungsten and let the sunlight go blue.

I will be shooting at 200th of a second shutter speed and f5.0. The ISO is set at 160. This will allow us to shoot strobes inside the airplane and balance them with the sunlight streaming in the door. We will be using Dynalite strobes today to light our scene.

Using a Tilt-Shift Lens for Focus Control

First ARRI Alexa XT Micro-Aerial Flight with AeroCine

One can only imagine the nerves required to strap a $78,000 ARRI Alexa XT onto a drone and take to the skies. In near white out conditions (in the sky) the brave and daring souls from AeroCine did just that and made aerial history at ARRI CSC New Jersey.

First ARRI Alexa XT Micro-Aerial Flight with AeroCine

Concern As Blackmagic Camera Spews Smoke

We just spotted this very worrying video on YouTube showing a Blackmagic Camera “spewing smoke violently” after an internal component failed. This from the uploader of the video…

After getting footage for the Kickstarter video for me new game, my Black Magic Camera’s battery exploded, spewing smoke violently. We ran out of there for safety reasons. However, knowing we had to get some footage of it, we put damp rags over our mouths and ran back in to grab some footage. I’ve contact Black Magic Design regarding issues with Batteries, but have yet to hear back from them. Has anyone else had their Black Magic Camera explode?

Sadly this isn’t the first time we’ve heard of a Blackmagic camera failing so we’d recommend always taking a backup body if you are shooting for clients.

Concern As Blackmagic Camera Spews Smoke

Panasonic Lumix GH4: Zacuto review

Panasonic representative, Matt Frazer, visited Zacuto headquarters in Chicago to give the team a first look at the Lumix GH4. This latest offering from the Lumix lineup is making headlines as the first-ever (DSLM) digital single-lens mirrorless camera with built-in 4K video recording.

Matt describes the GH4 as packed with all kinds of features to support both photographers and cinematographers alike. Features include a 16.05-megapixel Digital Live MOS sensor, image processor capable of capturing high-resolution JPEG and RAW stills, cinematic DCI 4K 4096×2160 video at 24p, a micro four thirds image sensor & lens mount & more.

Original Page Here

Panasonic Lumix GH4: Zacuto review

Chase Jarvis: New Essential Gear Video

Years ago, well-known Seattle photographer Chase Jarvis went through a collection of the gear he takes on his photo and video shoots. But given the great deal of change in technology — and capital on his side — since then, he recently created a completely new and updated video showing, again, his must-have gear for photo and video shoots.

According to Chase It’s all about packing light and only taking the gear to absolutely need:

ESSENTIAL VIDEO GEAR

• 2 Canon 5D Mark III Digital SLR Camera Bodies


• Canon EF 24-105mm f/4L IS Lens


• Canon EF 16-35mm f/2.8L II Lens


• Canon EF 70-200mm f/4L IS Lens


• Canon EF 35mm f/1.4L Lens


• 2 Zacuto Z-Finder EVF Pros


• Variable Neutral Density Filters


• 2 Rode Stereo VideoMic Pros with Dead Cat Wind Muffs


• Extra Batteries


• Cords


• Lens Cloths


• Flashlights


• Dakine Reload Pack

ESSENTIAL PHOTOGRAPHY GEAR

• Think Tank Photo Airport Security V2.0 Rolling Camera Bag


• 2 Nikon D4 16.2 Megapixel Digital SLR Camera Bodies


• Nikon 14-24mm f/2.8G ED AF-S Lens


• Nikon 24-70mm f/2.8G ED AF-S Lens


• Nikon 70-200mm f/2.8G ED AF-S VRII


• Blower Sensor Cleaner


• Lens Cloths


• Cables


• 2 Battery Chargers


• 8 Extra Batteries


• 2 Nikon SB-910 Speedlights

ESSENTIAL DATA MANAGEMENT GEAR

• 15″ Apple MacBook Pro


• 2 Promise Technology Pegasus J2 512GB SSD Thunderbolt Hard Drives


• 2 Promise Technology Pegasus J4 2.5″ 2TB Thunderbolt Hard Drives

Chase Jarvis: New Essential Gear Video

Panasonic GH4 Hands-On Test and Review

Chris and Jordan from TheCameraStoreTV had the chance to check out an almost final version of the hugely exciting 4K Panasonic GH4.

Shot by Jordan Drake, Ryan HK and Nicole Santerre

Edited by Jordan Drake

Filmed on the Panasonic GH4 and Sony FS700

Special thanks to Adam Mudry, Ryan HK and Nicole Santerre

Panasonic GH4 Hands-On Test and Review

4K Axiom Alpha Prototype Camera: Check Out The First Footage

The first footage taken from the 4K Apertus Axiom Camera has been uploaded. The open source camera is still just a prototype and it’s early days, the team said…

Please note that this footage contains the first samples ever recorded with the Axiom Alpha prototype. Whilst this is a major milestone, it represents only our first step through the door and into the beginning of further tweaking. As it stands, the video signal output from the Axiom Alpha still carry some flaws. Let’s take a look at them in detail:

We have not yet:

calibrated the colours of the camera

calibrated the white/black point (offsets) and linearization, leading to some vertical streak/curtain effects

created a Fixed Pattern Noise (FPN) profile (the Alpha prototype already supports this, however we have not yet found the time to actually conduct the required measurements)

There are some red lines at the bottom of the image, this is due to unresolved minor incompatibilities between the Axiom Alpha HDMI output and the utilized recorder

For more on the Axiom Alpha camera please click HERE.

4K Axiom Alpha Prototype Camera: Check Out The First Footage

World's First Dual Camera Gimbal for Shooting Stereoscopic IMAX

DigitalCinemaFilms published this video of this amazing camera rig:

This as far as we know is a worlds first. We designed and built a dual motor brushless gimbal to fit 2 x Red Epic cameras and lenses for stereo filming of an upcoming IMAX documentary using our UAV/Octocopter.

World's First Dual Camera Gimbal for Shooting Stereoscopic IMAX

Samyang Teases Three New Lenses this Friday

Third Party Lens manufactures Samyang have told us to stay tuned for an announcement on March 21st (this Friday) that many expect will introduce a line of AF lenses. Along with the update Samyang published the image below featuring the silhouettes of three new lenses and a new logo for the company.

Rumours suggest that one of the products will be a new 10mm f/2.8 ED AS NCS CS lens (pictured above) and another is an AF-capable 35mm.

That’s all we know for now, but check back in 48 hours for an update

Samyang Teases Three New Lenses this Friday

4K TV shipments set to explode

4K LCD TV shipments are beginning to snowball: units of the UltraHD sets reached 1.6 million in 2013, with the bulk of that — nearly one million TVs — shipping in the fourth quarter.

According to the latest NPD DisplaySearch Quarterly Global TV Shipment and Forecast Report, growth was significantly driven by China, although shipments from countries outside of China more than doubled in Q4, as well. Chinese brands comprised 84% of global 4K TV shipments in 2013 and 80% of 4K TV shipments in Q4.

The trend toward 4K is an important one for the TV industry, as global shipments of TVs fell 3% in 2013 and even high-growth categories like LCD TV only rose 2% after a 1% decline in 2012. According to Gagnon, “for TV manufacturers, the focus on profitable and growing market segments like 4K, larger screen sizes, and smart TVs is critical in the absence of global market growth”.

4K TV shipments set to explode

New Transvideo Field Monitor Is The Size of a Smartphone: StarliteHD

French monitor company Transvideo launches a new concept on-board field monitor, the StarliteHD. With cameras reducing in size and portable systems becoming more and more compact, Transvideo has created a tiny 5” HD OLED monitor, about the size of a smartphone and weighting only 190 Grams. Despite its incredibly small form factor StarliteHD is a professional high-end 3G-SDI field monitor.

Built-in tools include high-resolution waveform monitors and a precision vectorscope. An embedded recorder delivers dailies in H.264 on to SD cards. More features will be announced soon.

A new concept interface uses a touch screen panel and rids the user having to navigate endless menus.

The housing made of machined in avionics class aluminium – a wide range of accessories are also planned, from battery support to detachable sun hood and more.

Several patents are pending.

Anthony Dod Mantle, Director of Photography (Slumdog Millionaire, Rush, …) commented about StarliteHD: “I have spent my entire career since the advent of digital image capture celebrating the gradual improvements all of onboard monitor systems. It has been slow, from almost ‘dinosaur ergonomics ‘ to what I now consider to be state of the art manufacturing and performance. Not only do I rejoice in the image quality and finger tip functioning, I celebrate its very design finesse and portability. Congratulations to all the team surrounding its evolution!”

On-line pre-order starts during NAB2014 for a delivery this summer.

StarliteHD will be presented on the Transvideo Booth #C6443 at NAB, Las Vegas April 7-10.

Please see Transvideo for more information about their StarliteHD monitor.

New Transvideo Field Monitor Is The Size of a Smartphone: StarliteHD

Sigma 50mm f/1.4 Art Lens Will Only Cost $790!

Rumours regarding the cost of the much-anticipated Sigma 50mm f/1.4 Art lens have been coming in. Touted by Sigma itself as a ZEISS Otus competitor, we’ve been very keen to find out how much this level of performance is going to hurt our wallets, especially as the Otus retails at a breathtaking $4,000.

Well today we read some great news from Sigma’s official dealer in Belarus. The Sigma 50mm f/1.4 Art lens is being priced at $750, not bad for a lens that supposedly outperforms it’s $4,000 ZEISS competitor. 

Read it for yourself on the Sigma Bielorrusia page here (translated here).

Sigma 50mm f/1.4 Art Lens Will Only Cost $790!

The Complete ARRIRAWConverter 3.0 Tutorials by Arri

Arri has uploaded a huge series of tutorials that goes into detail on how to work with ARRIRAWConverter 3.0. The software is  used to view ARRIRAW files, create projects with bins and sequences, create looks for your footage (and the ALEXA camera), and finally render the images into one of the common image formats for postproduction. You can also view the metadata that are stored in your ARRIRAW files or export them into csv-files.

Here’s the 1 Introduction video:

To view all the tutorials, check out the ArriChannel playlist on Youtube or visit the Arri tutorials page.

The tutorial list of videos are as follows:

2 Installation and Quick Look Plugin

3 Workflow Demonstration

4.1 Browse Room Overview

4.2 Keyboard Shortcuts

4.3 List and Preview Modes for Clip

4.4 Setting the Home Directory

4.5 Add Clips to the Project Files Tree Part 1

4.6 Add Clips to the Project Files Tree Part 2

4.7 Reveal in Finder for Clips and Folders

4.8 Check for Offline Clips

4.9 Convenience Function “Refresh and Open”

4.10 Hover Scrubbing

5.1 VIEW Room Overview

5.2 Clip and Sequence Timeline

5.3 Timeline Toolbar

5.4 Playback Loop Modes

5.5 Playback Speed

5.6 Fast Forward

5.7 Duration Display Formats

5.8 Clip Timecode Formats

5.9 Screen Modes

5.10 Zooming and Panning

5.11 Color Space and Look Buttons

5.12 Detailed Pixel Information

5.13 Snapshots

5.14 Metadata Panel

5.15 Viewer Settings

5.16 Playback Proxy Modes

5.17 Clip Settings

5.18 Dot Settings

5.19 Clip Info Overlay

5.20 Using Sliders

5.21 Copy Clip Settings

5.22 Look Settings

5.23 Printer Lights and Color Wheel Details

5.24 Lift, Gamma and Gain

5.25 Slope Offset and Power

6.1 RENDER Room Overview

6.2 Render Targets

6.3 Render Image File Formats

6.4 Render Settings

6.5 Location and Naming

6.6 Clip Settings Override

6.7 Check Render Queue Integrity

6.8 Render Clips

6.9 Render Metadata

6.10 Add Render Queues

7 User Pixel Masking

The Complete ARRIRAWConverter 3.0 Tutorials by Arri

ARRI Releases Software Update Packet and ARRIRAW Converter 3.0

As technology evolves, ARRI continues to sustain and improve the performance of the ALEXA family of cameras with the release of ALEXA Software Update Packet (SUP) 9.1 and the ARRIRAW Converter (ARC) 3.0. The ARRIRAW Converter is ARRI´s free reference tool for processing ARRIRAW files in the optimal quality. A new, exciting feature includes the ability to uprez to 4K or UHD-1. For ALEXA XT and ALEXA Classic cameras with the XR Module Upgrade, SUP 9.1 increases the camera’s DNxHD 444 recording capabilities and provides a better user experience.

Now available, SUP 9.1 and the ARC 3.0 can be downloaded here:

http://www.arri.com/camera/digital_cameras/downloads/

Software Update Packet 9.1

The successful introduction of SUP 9.0 in 2013 brought new features like CFast 2.0 card support, ProRes 4444 at 120 fps, DNxHD 444 and ProRes pre-recording to thousands of ALEXAs. Now the release of SUP 9.1 maintains ARRI’s commitment to the ALEXA as a sustainable long-term business model for camera owners.

SUP 9.1 brings high speed frame rates for DNxHD of up to 96 fps to ALEXA XT cameras and to ALEXA Classic cameras that have been upgraded with the XR Module. In addition, SUP 9.1 contains a number of refinements and bug fixes for all ALEXA cameras.

ARRIRAW Converter 3.0

ARRIRAW is an uncompressed, unencrypted and uncompromised file format popular for feature films and commercials. ARC 3.0 is the most current reference tool to show the highest quality debayer for ALEXA ARRIRAW files.

ARC 3.0 includes:

• Support for ALEXA XT Open Gate sensor mode


• Support for the ALEXA Black and White camera (available through the ARRI Rental Group and ARRI Rental Partners)


• uprez to 4K or UHD-1


• support for user pixel mask

The ARC is also available as command line tool (CMD) for integration into processing pipelines in postproduction and visual effects studios. Both ARC and CMD are free of charge and available through ARRI’s website. Both are based on the ARRIRAW SDK, a software toolkit which is used in several postproduction tools from members of the ARRI Partner program, such as Flame/Lustre from Autodesk, Pablo from Quantel, OSD from Colorfront, Digital Vision Nucoda, Adobe Premiere CC, Foundry Nuke and Hiero, Eyeon Fusion, Assimilate Scratch and many more.

 

ARRI Releases Software Update Packet and ARRIRAW Converter 3.0

YouTube and Viacom Settle Lawsuit

Google and Viacom today jointly announced the resolution of the Viacom vs. YouTube copyright litigation. The terms of the settlement were not disclosed.

In 2007, Viacom, which owns MTV, Comedy Central and Nickelodeon, sent 100,000-plus takedown notices to YouTube users, demanding they remove videos claimed to contain copyrighted material owned by the media behemoth. Although YouTube removed thousands of videos and sent warning notices to offending users, Viacom nonetheless filed a $1 billion suit against YouTube in New York, claiming it had violated a provision of the Digital Millennium Copyright Act (DMCA), which says a company is liable for damages if it ignores a take down request for material that is found to contain unauthorized use of copyrighted material.

In the wake of Viacom’s action, a number of class-action suits were filed on behalf of other corporate copyright holders, such as music publishers and sports leagues, based on the same claim. In April 2011, the Electronic Frontier Foundation and other nonprofit groups responded by filing an amicus brief in the Viacom vs. YouTube case, arguing Viacom’s efforts undermined safe harbor provisions of the DMCA.

In June 2010, the district judge granted a summary judgment to YouTube. Viacom filed an appeal with the United States Court of Appeals for the Second Circuit, which revived the suit in April 2012, sending it back to district court.

In April 2013, a federal judge in New York ruled that YouTube had not violated Viacom’s copyright because it was shielded from infringement claims by a safe-harbor provision in the DMCA.

YouTube and Viacom Settle Lawsuit

DENZ Camera Rig For Blackmagic Production Camera 4K

Looking for a rig for your Blackmagic Camera? We just spotted this DENZ make a PL-mount camera rig for the Blackmagic Production Camera 4K (BMPC) and the Blackmagic Cinema Camera 2.5K (BMCC).

It’s made up of a camera table with an integrated PL-mount, a superstructure and a top plate. In addition, you get a pair of aluminium tubes and a pair of bolt-on and twist rosettes to accommodate heavier lenses.

The firm connection of PL-mount to the camera table transfers all the weight to the PL-mount and camera table so that the Black Magic Camera is not under any strain.

The camera itself needs to be reworked and equipped with a new version made of stainless steel, so that PL lenses can be used with flaring last lens segments. The result is a very solid camera with a PL-mount which is available for all standard PL lenses.

A free flow of air to the ventilation inlets on the bottom of the camera is guaranteed, since the camera table has the needed openings.

If you want to only use the already existing on the Blackmagic Camera EF-mount and use the kit only as a framework , this is possible with the support ring for the EF-mounts on the Blackmagic camera.

DENZ Blackmagic Camera PL Mount Main Components:

• camera table


• top plate


• superstructure


• PL-Mount adaption


• 2x Ø15mm aluminium rods


• 2 x screw on escutcheons


• for Ø15mm-rod systems


• with various 1/4″- und 3/8″- threaded holes


• hot shoe on top plate


• groove for rotation lock on the top plate and superstructure


• lightweight design


• underside with 1/4″- und 3/8″- threaded holes for tripods and bridge-plates

Head to DENZ for more info

DENZ Camera Rig For Blackmagic Production Camera 4K

If Superman Had a GoPro It would look like this

Ever wondered what happens when you combine a GoPro Hero +3, a DJI Phantom II, an actor dressed as Superman, with some clever video effects? How about one amazing simulation of what it must be like to be Superman as he flies through Los Angeles.

Be sure to check out Sam and Niko’s behind the scenes video to see exactly how they came up with the concept and the creative problems they had to overcome to produce this fun video.

If Superman Had a GoPro It would look like this

Calibrate your tablet with X-Rite ColorTRUE (VIDEO)

If you’re a professional photographer, showing clients images or video on an iPad can save you from having to lug a laptop around with you. But one of the problems of a tablet for pro-level use is that they’re not calibrated, so image color and range may not be accurate. But now X-Rite is planning to change that, and with the launch of an app on both Android and iOS promises to make your favorite mobile device that much more precise.

The program is called ColorTRUE, and it’s available as a free download for both iOS and Android. It connects to your computer that has some of X-Rite’s hardware and software installed, and then allows you to use the X-Rite calibrator on your mobile device. Not only does it create a calibrated profile, but the app also allows you to switch back and forth between a number of subtly tweaked versions of the profile.

Press Release: 

X-Rite, Incorporated, the world leader in color management, measurement and communication technologies, today announced the release of ColorTRUE™ for Apple iOS and Google Android platforms. ColorTRUE provides photographers, designers, and prepress professionals the ability to calibrate and profile their tablet and mobile devices for accurate color matching. ColorTRUE includes a Create Profile tool and an Image Gallery viewer and is currently available as a free download on the Apple® App Store and Google® Play Store.

ColorTRUE Calibration

ColorTRUE creates a custom display profile for iOS and Android mobile devices using a supported X-Rite measurement device. The user simply places the connected device on the tablet or phone when prompted and the measurement process begins automatically. The profile is applied to all images displayed through the ColorTRUE Image Gallery, providing the user with the most accurate color match to a desktop reference monitor, or other color managed monitors.

Steve Rankin, Product Manager, at X-Rite, commented: “While iOS and Android devices deliver pleasing color right out of the box, ColorTRUE is the first app that will provide photographers, designers, and prepress professionals with a true color match from desktop to mobile. Tablets have become increasingly important in imaging workflows and getting accurate color on the mobile device is now as critical as it is on the desktop. Whether showing your portfolio to a perspective client or soft-proofing an image before final run, ColorTRUE delivers color accuracy at the level X-Rite customers expect, while maintaining the speed and simplicity of use necessary in the mobile environment.”

ColorTRUE Image Gallery

ColorTRUE is the only mobile color management app that delivers an Image Gallery viewer with a unique set of tools that enables the highest level of color accurate viewing:

•     Ambient Light Compensation – ColorTRUE will adjust to any ambient viewing condition ensuring that images are displayed correctly regardless of the lighting condition and display brightness setting


•     Print Simulation – Preview or soft-proof images using different printer profiles and rendering intents


•     White Point – Match your tablet to your desktop – to ensure you are assessing the same image on tablet and desktop, ColorTRUE lets you choose between D65, D50 and Native white point


•     ICC Profile – Embedded image profiles are used or you can manually select correct working color spaces for your images (sRGB, Adobe RGB, ProPhoto RGB)


•     Before and After – Toggle the calibration on and off to see the color accuracy improvements on your images

Coloratti George Jardine states, “It only makes sense that X-Rite would be first to the party with a super-easy mobile calibration solution that really works! ColorTRUE gives me the confidence that what I’m seeing on my iPad will match the corrections that I’ve made on my professional i1Display-calibrated and profiled desktop displays. And the best part is…ColorTRUE uses my existing hardware.”

ColorTRUE Aware Partner Program

With the launch of ColorTRUE, X-Rite also announces its ColorTRUE Aware partner program. Unlike laptop or desktop operating systems, iOS and Android operating systems do not have system wide color management capabilities. This means each app must apply color profiles independently. X-Rite will soon release a Software Developers Kit (SDK) that will allow 3rd party app developers access to the ColorTRUE profile, enabling them to seamlessly deliver color management within their own app(s). ColorTRUE users can be confident any third party app such as image editing or viewing, inline production approval, or even creative sketching for proof of concept is color managed whenever they see the ColorTRUE Aware logo. More information can be found at xritephoto.com/colortrueSDK.

Steve Rankin, Product Manager, at X-Rite, continued, “As tablets and mobile devices increasingly permeate color and image based workflows, it has never been more important that these devices become truly color accurate. With ColorTRUE and the ColorTRUE Aware partner program, X-Rite now offers the missing color management components on iOS and Android platforms. Our goal is to enable app developers and help create an eco-system of color managed apps. We encourage all app developers where color is important to their users to contact us and learn more about our ColorTRUE Aware partner program.”

Supported X-Rite Devices

An X-Rite measurement device (sold separately) is required for the ColorTRUE® calibration process. iOS phones and tablets support ColorMunki Smile, ColorMunki Display, i1Display Pro, and i1Pro 2, while Android phones and tablets support ColorMunki Display and i1Display Pro. Visit xritephoto.com/colortrue for complete specifications list.

About X-Rite

X-Rite, Incorporated with its wholly owned subsidiary Pantone LLC is the global leader in color science and technology. The company develops, manufactures, markets and supports innovative color solutions through measurement systems, software, color standards and services. X-Rite’s expertise in inspiring, selecting, measuring, formulating, communicating and matching color helps users get color right the first time and every time, which translates to better quality and reduced costs. X-Rite serves a range of industries, including printing, packaging, photography, graphic design, video, automotive, paints, plastics, textiles, dental and medical. For further information, please visit http://www.xrite.com or http://www.xritephoto.com.

©2014 X-Rite, Inc. All rights reserved. X-Rite is a registered trademark of X-Rite, Inc. All other trademarks are the property of their respective owners. PANTONE® and other Pantone trademarks are the property of Pantone LLC. © 2012. All rights reserved.

Calibrate your tablet with X-Rite ColorTRUE (VIDEO)

Amazing footage of a Pelican learning to fly GoPro style!

Check out this amazing footage of a pelican learning to fly GoPro style! 

Abandoned by his flock, Bigbird the pelican stumbled ashore after a storm and was taken in by the staff of Greystoke Mahale in Tanzania. Watch as Bigbird learns to fly for the first time.

To learn more about animal conservation visit:
http://rootsandshoots.org/

Special Thanks

Absolute Travel
http://absolutetravel.com/2014/02/cli…

Nomad Tanzania
http://www.nomad-tanzania.com/west/gr…

Music: Baobab “Music For A Movie”

Courtesy of ExtremeMusic
http://extrememusic.com

Amazing footage of a Pelican learning to fly GoPro style!

YouTuber takes the selfie to the next level: #selfiewithstrangers

23-year-old YouTuber Jason Rodjanapanyakul has a hit video on his hands after taking the “selfie” to the next level. Armed with his video camera Rodjanapanyakul went around a Seattle mall shouting “selfie” before “snapping” a photo with his victim. The responses he got were overall positive. Rodjanapanyakul points out that only two or so of the 50 people he approached didn’t seem to enjoy having their #selfiewithstrangers taken.

Jason told ABC News:

In a nutshell, my goal is to entertain viewers who are looking for a giggle and at the same time inspire people to overcome their apprehension of social interactions [...] The uprising of these YouTube channels consisting of social experiments/pranks are not only giving people a laugh or two, but they also serve a purpose of inspiring others to leave their comfort zone.

YouTuber takes the selfie to the next level: #selfiewithstrangers

Blackmagic Cinema Camera vs Blackmagic Production Camera 4K - Resolution, DR and Noise Tests

Blackmagic Cinema Camera vs Blackmagic Production Camera 4K:

Filmmaker Brad Bell compares the low light performance of the Blackmagic Cinema Camera with the new 4K Production Camera:

The only concern I have about replacing a Blackmagic Cinema Camera with a 4k Production camera is low light. I often shoot on a monopod because a tripod is too slow. I need to shoot low light, using whatever is available. However, I also want a super 35 sensor, which means more stable images; and global shutter, as it means what movement there is gains some elegance – and it also means stabilising without jello. And 4k. But can the Production Camera handle the exquisitely subtle and deathly goth pallor of British light? Or will the S35 global shutter 28mm IS dream die in the dimness?

 

Blackmagic Cinema Camera vs Blackmagic Production Camera 4K - Resolution, DR and Noise Tests

Chinon Bellami HD-1: Pre Order and Price

The coolest camera so far this year is now available for pre-order. The Chinon Bellami HD-1 camera can be reserved for around $830 over at the Superheadz site.

The tiny 8mm camera is the first product from Chinon in over 20 years. As part of the package you the camera body, a newly developed f/1.2 Chinon Lens and the following…

• Standard lens (D mount) / Additional lens mounts can be purchased at extra cost


• D-mount adapter (Mounted on the body)


• lens cap


• USB cable


• HDMI Cable


• SD Card (8G bytes / SDHC/Class10)


• 2 AA form rechargeable battery (Ni-MH)


• Special charger


• Camera pouch


• Hand strap


• Hot shoe protector


• Manual


• Warranty

There is something quite appealing about this little camera, mainly because it looks like it’s going to be a lot of fun to mess around and get creative with.  But the elephant in the room is the price, $850 feels like a lot of money for this.  What do you think?

Chinon Bellami HD-1: Pre Order and Price

Night Sky Timelapse Tutorial by Dustin Farrell from Dustin Farrell on Vimeo.

This has to be one of the most epic Timelapse tutorials we’ve ever seen so far. The video focuses on how to achieve great High ISO night sky shots but the techniques  can be applied to any timelapse.

In the Vimeo description Dustin said…

Shooting and processing clean, sharp, noise-free night timelapse scenes is very difficult. I’ve spent hundreds of hours figuring out the recipe for stunning night timelapse images. In this 20 minute tutorial I share with you a majority of the information that I have learned from several years of trial and error of shooting in dark and remote areas.

He also added this additional info on his Planet 5D blog post

Here are a few things not mentioned in the video that you should pay special attention to when trying to shoot the starry skies.

• Exposure times over 30 seconds will begin to result in significant star trails. You can mask these trails by shooting with wider lenses. Keep your exposures at 30 seconds or below if you plan on shooting with 24mm or more.


• You will likely be shooting with a wide aperture so focus is critical. Triple-check your focus.


• Composition can be difficult in the dark. You must take some test photos first. To frame your shot crank your ISO up as high as it will go and use all of your available aperture. This will allow you shorter exposure times while you search for your frame. Yes, I just saved you several minutes of your life.


• A hot camera sensor produces more noise. Try to take it easy on your camera while setting up. Sometimes I turn my camera off for a few minutes before I begin the timelapse. A battery powered fan is not a bad idea.


• Check your histogram. If your levels are buried to the left then you need more exposure. If you have no more exposure, go get a better camera and/or faster lens.


• Drive AWAY from the city. Duh.

Amazing footage as High Fashion meets Base Jumping

What happens when you combine base-jumping with fashion models? Well, you end up with this. Teaming up with photographer Noah Bahnson, fashion model and base jumper Roberta Mancino gathered together some of his friends for a fashion shoot like no other. “High Fashion” was captured using GoPros attached to Bahnson’s helmets.

Amazing footage as High Fashion meets Base Jumping

Guide to Using a GoPro with a Quadcopter

Mitch Bergsma has created an amazing tutorial  to help those interested in using a DJI Phantom with their GoPro attached to it.

Throughout the video, Bergsma shares tips he’s developed through plenty of trial and error on his behalf. From various resolution settings to how the angle of the camera mounted on the drone affects the wide-angle distortion, it’s a nice starter guide for anyone looking to capture the best possible footage with their quadcopter. 

Guide to Using a GoPro with a Quadcopter

Defy G12 brushless gimbal

DEFY have launched their new G12 brushless gimbal designed for heavier camera payloads of up to 12lbs. The G12 is priced at around $8500 (US) and is similar in design to the company’s G2 and G5 gimbals, but with twice the payload of the G5 model. The G12 can handle cameras like the RED Epic, or with heavier lenses and follow focus systems. You can still use the G12 with lighter cameras like the 5D as well.

Defy G12 brushless gimbal

TASCAM Unveils UH-7000 USB Interface and Preamp

TASCAM has shown off its new UH-7000 USB Microphone preamp and USB interface. It features high fidelity 192khz/24-bit conversion of the input sound. There are plenty of ports with a full six balanced inputs. There are 2 XLR inputs with phantom power, 2 non-powered XLRs, and a pair of quarter-inch TRS inputs. For the full details, check the press release below.

TASCAM Announces UH-7000 High Resolution USB Interface & Standalone Microphone Preamplifier

MONTEBELLO, CA (March 10th, 2014) – TASCAM is the Pro Audio Division of TEAC America.

Many audio interface manufacturers strive to design products that help bridge the gap between studio-quality recording and home recording. TASCAM built the bridge: Meet the UH-7000 USB 4×4-channel audio interface and standalone microphone preamp.

TASCAM’s new HDIA (High Definition Instrumentation Architecture) is an entirely new design for microphone preamps. Many interface brands boast about the quality of their mic pres, but none have the confidence to offer them for solitary use outside of the digital channels. The UH-7000 HDIA mic pres feature a fully-balanced signal path from input to output, an instrumentation amplifier architecture, and premium components to achieve a -128 dBU noise floor, 117 dB signal-to-noise ratio and 0.0009% THD rating. These measurements easily beat anything close to the UH-7000’s price range, providing the cleanest possible signal path for your music.

Dual-sided PCM4220 A/D converters capture your mic or line inputs at up to 192kHz/24-bit resolution. The temperature-compensated internal clock offers 1PPM resolution – better than stand-alone clock generators that sell for twice the price, and limiting jitters for clean recordings. When monitoring and line output, the UH-7000 coerces your audio through a Burr Brown DA converter for fluid and honest sound reproduction.

Even the highest quality microphone preamps are of no use if they don’t have a sufficient power source behind them. Another crucial component of the UH-7000 is its audiophile-designed power supply. An extra-large power transformer and other factors guarantee that all internal components work to their full potential. Most competing interfaces fall short in this category.

The unit itself is not only a figurative bridge between home and studio recording, but it is built like one too. With a solid aluminum structure, it’s easy to see that the UH-7000 means business. The knobs are meticulously calibrated for smooth, custom-tapered gain setting and the bright 20-segment LED peak meters accurately convey each channel’s true level. The device is equipped with (2) XLR balanced inputs with full +48V phantom power, (2) balanced 1/4” inputs, (2) balanced XLR outputs, and AES/EBU digital out. Work the fantastic preamps of the UH-7000 into your current recording/live setup, or plug this versatile interface into your computer and start recording.

Stop treading water between two worlds, and take the bridge to studio-quality recording with the UH-7000 USB Interface and Stand-Alone Microphone Preamplifier.

Product Features:

• Supports 24-bit/192kHz USB transmission and AD/DA conversion


• Support for Mac and Windows operating systems


• 4-in/4-out audio streaming from a PC connected via USB 2.0


• Burr-Brown PCM4220 AD converter


• Burr-Brown PCM1795 DA converter


• HDIA microphone preamps: –128dB EIN


• Thin film metal resistors with outstanding noise performance


• High audio quality film capacitors with low distortion


• Low-latency monitoring through the DSP mixer


• DSP mixer can be switched between multitrack and stereo mix modes


• DSP mixer enables independent adjustment of recording and monitoring levels


• Line or digital outputs can be selected using the DSP mixer


• DSP dynamics effects can be applied to inputs, outputs or the master (compressor, noise suppressor, de-esser, exciter, EQ, limiter/low cut)


• DSP REVERB (hall, room, live, studio, plate) send effect is perfect for monitoring when recording


• Link line function enables volume control of powered monitors


• Single-punch MIXER PANEL button


• Strong, highly-durable aluminum body


• Large INPUT level knobs enable precise adjustment of input levels


• Two 20-segment LED level meters


• Standard TRS headphones output jack – 45mW/channel output


• +48 phantom power supply


• Two balanced analog XLR jacks for both input and output


• Professional output specifications (maximum output level: +24 dBu)


• Two balanced analog TRS input jacks


• XLR digital input and output jacks support AES3-2003/IEC60958-4 (AES/EBU) and IEC60958-3 (S/PDIF) formats


• IEC AC input cable


• Half-rack size


• Confirmed operation with major DAW software, including Sonar X3, ProTools, Cubase and Live


• RoHS compliant
  

  About TASCAM

  
  

  TASCAM is the pro-audio and home recording division of TEAC Corporation. TASCAM will continue to be instrumental in revolutionizing professional and home recording by offering the highest quality products at the best value to their customers.

TASCAM Unveils UH-7000 USB Interface and Preamp

LaCie Little Big Disk 2 with Thunderbolt 2

LaCie has updated its already speedy Little Big Disk SSD enclosure with Thunderbolt 2. The Little Big Disk 2 features two 500GB SSDs in a striped RAID 0 configuration. It also supports RAID 1 mirroring and JBOD if reformatted. The Little Big Disk 2 is designed to be a companion for the new generation of the Mac Pro workstation to matching its black finish. It’s perfect for 4K video and features a new zero-noise cooling system. The drive features read speeds of up to 1375mb/s and write speeds of 1180mb/s. That can be nearly doubled with two Little Big Disk 2s working in parallel.

The Little Big Disk 2 costs $1299 and is available now.

LaCie Ships World’s Fastest Portable External Storage Solution

CUPERTINO, Calif.–(BUSINESS WIRE)– LaCie, the premium brand from Seagate Technology (NASDAQ: STX), announced today the availability of the fastest portable external storage solution ever – the new LaCie™ Little Big Disk, featuring Thunderbolt™ 2. It delivers speeds up to 1,375 MB/s* and fits in a laptop bag. With these advances, professionals finally have a truly portable solution for editing 4K video in the field.

STORAGE FOR THE 4K ERA

To achieve the full potential of Thunderbolt 2** speeds, LaCie engineered the Little Big Disk™ with some of the best-performing solid state drives on the market – a pair of 500 GB PCIe Gen 2 SSDs. It’s possible to push the boundaries of the technology even further by daisy chaining two LaCie Little Big Disks to achieve speeds faster than the maximum Thunderbolt 2 transfer rate. By connecting them in parallel to Apple®’s powerful new Mac Pro®, they can deliver speeds up to 2,600 MB/s.

In addition to its post-production benefits, the LaCie Little Big Disk can transfer dailies ten times faster than any mobile USB 3.0 hard drive. For example, it’s possible to transfer 300 GB of 4K footage in less than three minutes, saving hours a day.

DAISY CHAIN FLEXIBILITY

Thanks to its two Thunderbolt 2 ports, the LaCie Little Big Disk can be daisy chained with other devices. Professionals can daisy chain up to five LaCie Little Big Disks plus a 4K display, and connect them to a computer via a single cable. Now it’s possible to create a plug-and-play 4K video editing environment that delivers scalable capacity, incredible speed and convenience to workflows.

RE-ENGINEERED FOR WHISPER-QUIET DUAL COOLING

Including high-performance SSDs and interface meant LaCie had to optimize the Little Big Disk’s interior design to improve cooling efficiency, while simultaneously reducing noise. LaCie added two heat-dissipating aluminum plates in addition to a larger, thermoregulated fan. This means that the fan only turns on when necessary, and when it does, it produces nearly zero noise. As a result, the LaCie Little Big Disk delivers industry-leading performance without disrupting the creative workflow.

See what’s inside the Little Big Disk Thunderbolt 2 – https://www.youtube.com/watch?v=PocrZUJezCc

Find out more about our products at www.lacie.com.

AVAILABILITY

The new Little Big Disk, featuring Thunderbolt 2, is available in 1TB SSD capacity through the LaCie Online Store and LaCie Resellers starting at $1299.99 (MSRP). Thunderbolt 2 is compatible with the same cables and connectors as first-generation Thunderbolt***. For more product information, visit www.lacie.com.

WARRANTY

The Little Big Disk Thunderbolt 2 is protected by a three-year limited warranty. It includes complimentary web-based resources, expert in-house technical support and worldwide repair/replacement coverage. Warranty extension and Advance Care Option can also be purchased. For details, visit www.lacie.com/warranties.

ABOUT LACIE

LaCie, the premium brand from Seagate, designs world-class external storage products for Apple, Linux and PC users. LaCie has differentiated itself through sleek design and unmatched technical performance. Find out more about our products at www.lacie.com.

* These transfer rates were achieved using AJA System Test when connected to a 15″ MacBook Pro® 2.0Ghz Quad Core and 8GB RAM with 32k block size. Speeds depend on the RAID mode used. Actual data rates may vary depending on operating environment and other factors.

** As compared to other I/O connection technologies including eSATA, USB and IEEE 1394 FireWire.

*** To achieve full Thunderbolt 2 bandwidth, connect the product to a Thunderbolt 2 port on a computer or device.

LaCie Little Big Disk 2 with Thunderbolt 2

eMotimo & Rhino Team Up On Precision 3-axis Motion Control

eMotimo and Rhino Camera Gear have announced a partnership to create a new 3-axis motion control system.

By combining a Rhino Slider with the eMotimo TB3 using the eMotimo Belt Drive from Rhino, you can now capture 3-axis time-lapse video and visual effects moves from the same rig. The eMotimo TB3, eMotimo Belt Drive from Rhino, and Rhino Sliders are offered as a bundle for a price of $1749

“Collaborating with Rhino just makes sense. We admire their slider designs, proven functionality, and value. Offering a plug and play bundle will make it easier for customers to push their creative boundaries with repeatable 3-axis motion control.” —Brian Burling, Founder of eMotimo

See more about the eMotimo and Rhino 3-axis Motion Control system HERE.

eMotimo & Rhino Team Up On Precision 3-axis Motion Control

What is the Resolution of the Human Eye?

What is the resolution of the human eye? It’s a pretty straight forward question right? Well it turns out that the answer is far from simple but it sure makes for an interesting video. It turns out that the Human eye would make for a terrible camera but thanks to our amazing brains we perceive a high resolution “frame” made up of a constant stream of visual information.

In the video above, video blogger Michael Stevens (aka. Vsauce) explains how, before ultimately answering the question anyway.

What is the Resolution of the Human Eye?

Sony Announce ProRes and DNxHD support for F5 and F55 cameras

Sony Announce ProRes and DNxHD support for F5 and F55

An update from Sony has confirmed that they are bringing ProRes and DNxHD support as a future hardware upgrade option for both the F5 and F55 cameras. This will provide filmmakers with an alternative to the current XAVC format.

An update on the Sony site said…

Sony has been at the forefront of, and has vast experience in developing advanced compression technologies that led to the visually lossless HDCAM SR, a standard in the production industry since 2001.

Based on our knowledge and experience in this area we then selected the highest Level and Profile of the H.264 standard as the core compression technology for the F5, and F55 cameras. Named XAVC, it offers exceptionally high quality, with the ability to scale from HD, 2K to 4K with very modest data rates, and with frame rates up to 180fps.

XAVC has proven robust, and is well accepted by “mission critical” genres such as Episodic Television, Documentary and feature film. The adoption of XAVC by commonly used platforms has been exceptionally fast, and as a result XAVC is supported by all major workflow applications in the fields of editing, grading, transcoding and media management.

Sony is firmly committed to the continued advancement of the XAVC codec with exciting developments planned for the future. Sony is also committed to our customers and with your feedback the need for diversity and flexibility to support codecs that have been used in our industry for some time.

Our mission is to continue developing the most feature rich cameras on the market. In so doing we are excited to announce support for ProRes and DNxHD codecs as a future hardware upgrade option for both the F5, and F55 cameras.

Stay tuned for more information!

 

Sony Announce ProRes and DNxHD support for F5 and F55 cameras