The world fastest wide angle lens for Sony to ship on August 10 (Laowa 15mm f/2.0)

By SonyAlpha Admin

The Chinese site Weibo reports the new 15mm f/2.0 Dream Lens preorders will start on July 28 and the lens will start shipping out on August 10. The official price is 4980 yuan (~€633). Those are the specs posted on Weibo: Lens weight w/o shade ~500g is much better than 12mm f2.8. And image samples […]

The post The world fastest wide angle lens for Sony to ship on August 10 (Laowa 15mm f/2.0) appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

Learn how to grade on Resolve from a master of the art

By (Simon Wyndham)

Warren Eagles is your guide to getting the most out of Resolve

RedShark Review: Freelance colorist Warren Eagles produced a series of ground-breaking online colour grading courses on Resolve a decade ago. Now he’s back, with three more courses built upon Resolve 14.

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From:: RedShark News

GNARBOX: Can you leave your laptop behind?

By Erik Naso

When I first heard about the GNARBOX from a Kickstarter about two years ago I was very intrigued by it. It looked like a device that would liberate you when…

The post GNARBOX: Can you leave your laptop behind? appeared first on Newsshooter.

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From:: News Shooter

Sony Tidbits…

By SonyAlpha Admin

Sony FE 100mm F2.8 STF GM OSS Product Overview Full list of todays Gold Box deals at Amazon, BHphoto, eBay,,,,, Does the α9 with 100-400mm GM Stay on Track at the Track? (Alphauniverse). Sony FE 12-24mm f/4 G versus other lenses (FredMiranda). Best Mirrorless Cameras for Travel Photography (Adorama Learning […]

The post Sony Tidbits… appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

My Review Of The Fuji X-T2: The Ultimate 4K Mirrorless For Narrative Filmmakers

By Noam Kroll

The body also features two SD card slots, which is one of my favorite little perks of the X-T2.

Although dual card slots are not necessarily an essential feature, they are an excellent luxury to have and allow you to focus on one less thing (swapping cards) while rolling.

The opposite side of the camera body has a mic/headphone jack, a micro HDMI port, and a full size USB 3 connection, which can be used to both charge the camera and download files. No complaints here, although if I’m going to nit pick, a full size HDMI port would have been preferable…

The 3” LCD screen pulls out and swivels up and down, but not side to side. I actually haven’t found this to be problematic, despite the fact that I am used to DSLRs with more of a full rotation/flipping capabilities when it comes to LCD screens.

I find myself using the EVF far more than the LCD, even when shooting indoors… This isn’t because the LCD is sub par, but rather because the EVF is just so good. The colors are vivid, the resolution is crisp, and the image being displayed is an accurate representation of the recorded file.

All things considered, the X-T2 is undeniably well constructed and is clear designed purposefully. It’s a pleasure to shoot with.


The menu system on the camera is quite straightforward and relatively intuitive to use. That said, I don’t rely on it much while shooting, as the physical dials on the camera and lens (including the manual aperture ring on my 35mm lens), allow me to adjust most of my critical settings without stepping into the menu at all.

When I do need menu access, I try to use the quick menu whenever possible (which is activated using it’s dedicated button on the back of the camera), since that’s usually the fastest way for me to get where I need to go.

The regular menu system is of course slower to navigate when compared to the quick menu or manual dials, but is otherwise fine to work with. My only real complaint with it is that the wi-fi setting by default is buried fairly deep in the menu, but this is really a minor issue in the grand scheme of things.


As is standard with most DSLRs and mirrorless cameras today, the Fuji X-T2 has the ability to record 4K internally, which is a big selling feature. While 4K is certainly not the be all end all (I would happily still take 1080p footage from an Alexa classic over most other cameras!), it is a nice feature to have and something most of us have come to expect on cameras released in this day and age.

The 4K recording on the X-T2 is UHD (not DCI), meaning the resolution is 3840 x 2160, or 16:9. It will record UHD in 23.98, 24, 25, or 29.97 frames per second, each at a bit rate of 100 Mbps.

In 1080p, the camera uses the same 100 Mbps bit rate, but can record up to 60p, which looks absolutely beautiful when slowed down. Here is a little sample clip of some raw footage from the X-T2, shot handheld at 60p with the Astia Soft film emulation, and slowed down to 40% in post –

In 720p, you have the same recording options as 1080p, although the camera will record at a lower bitrate of 50 Mbps. There is no ultra slow motion option in 720p, so really the only reason to shoot in 720p is if you are in desperate need of card space.


On a scale of 1 to 10, I’ll give the Fuji X-T2 a 6 with regards to battery life. It’s not awful, but certainly not something to write home about.

Under normal shooting circumstances – recording 4K internally and powering the camera down in between takes and setups – I’ll typically get about 2 hours from a stock Fuji battery. This is certainly workable, and a step up from what I had come to expect from Sony’s batteries on the A7S II, but it’s nowhere near the battery life I was used to on the GH4.

That said, the X-T2 does have an optional battery grip, which of course will extend the camera’s battery life significantly. If I were to shoot any larger scale projects on this camera, particularly anything where the schedule is highly demanding, I would definitely opt to bring along a battery grip.


Unsurprisingly, the bread and butter of this camera is it’s image quality… That’s ultimately why I bought it!

While the X-T2 lacks some video features found on it’s competitors (more on that below), it makes up for any shortcomings by delivering some of the most beautiful images on the market.

I haven’t shot any test charts with this camera as I prefer to make my judgments on cameras based on how they perform in the field… That said, based on real world shooting experience, I would estimate the dynamic range of the X-T2 to be in the 12 – 13 stop range, which is very strong.

In order to get the most DR out of the camera, I have generally found that protecting the highlights and lifting up the shadows 1 – 2 stops in post is the way to go. The highlight rolloff is very organic on this camera, but if you want to retain detail in the highlights it seems to be best to slightly underexpose.

Shooting in F-Log or with certain film emulation settings will also help you squeeze the most DR possible out of the camera. We’ll touch on this in more detail in the next section.

The X-T2 has excellent color science. It’s so good that I would argue that it beats out every one it’s competitors in this department…

Lumix’s color science has come a long way over the years, but in my opinion Fuji still has them beat by a long shot… Sony’s color science is by far the weakest of the other major brands (at least to my eye), and Canon sits right up at the top with Fuji. Both Canon and Fuji are capable of rendering gorgeous colors, but subjectively I still prefer the Fuji look.

Below are a few screen grabs from some recent test footage I shot with the X-T2. These shots were a mix of 4K and 1080p (all recorded internally), and they were mostly shot with the Classic Chrome or Astia Soft film emulation modes –

The X-T2’s colors are very film-like, and the built in film simulations (picture profiles) open up a lot of creative possibilities in-camera.

Below is a quick test video in which I compare identical shots from the X-T2, each captured with one of the film simulations: Provia, Velvia, Astia, Classic Chrome, Pro Neg. Hi, Pro Neg. Std, Acros, Monochrome, and Sepia.

My personal favorite profiles are Classic Chrome and Astia, both of which are highly adaptable and work beautifully on portraits, landscapes, and any number of scenes.

In the future, I plan to release a separate article that will outline some of my optimal settings – both in camera and in post – to enhance these two film simulation modes, so be sure to stay tuned for that.

With regards to resolution, clarity, and motion cadence, the X-T2 is absolutely superb. It delivers detailed images that are clear and crisp without being overly sharp, and it handles panning shots and other motion very well, with less motion judder/artifacts in 24p than what I have come to expect from many other cameras.

I also love the fact that the X-T2 has a Super 35mm (APS-C) sensor, which is my personal favorite sensor size for narrative filmmaking. Smaller sensor sizes (such as MFT) and larger sensors (Full Frame) offer many benefits of their own, but I’ve always found Super 35mm to be the perfect middle ground. S35 gives you more shallow DOF than Micro Four Thirds, but doesn’t limit your lens choices the way that Full Frame does. Not to mention, the Super 35 field of view is the most true to traditional motion pictures.


The X-T2 is capable of recording in Log color space using it’s F-Log setting, however it can only do so via HDMI to external recorder. I’m not sure if this will change in the future with a firmware update, but I’m also not hugely surprised that Fuji has opted to go this route.

From my experience shooting and grading internal Log footage from other DSLRs/Mirrorless cameras such as the GH4 and A7S II, it can be very hard to work with – particularly in post as you bring the image out of the Log color space.

Internally, the X-T2 records in 8 bit at 4:2:0, which is perfectly fine for most applications, but can pose issues for Log footage which typically calls for at least 4:2:2. For this reason (I would assume), Fuji has opted to limit their Log record to external use only, since the X-T2 can output an 8bit 4:2:2 signal which is far more suitable for Log recording.

There is no 10bit option available, but from my experience so far this has never been an issue and the 8bit 4:2:2 externally has been perfectly fine.

Below is a quick comparison video showing some externally recorded 4K F-Log footage and internally recorded 4K using Astia Soft film emulation. This clip includes graded and ungraded shots for each camera, making it quite apparent that the F-Log material not only has more dynamic range, but also has more detail thanks to the ProRes HQ codec –


The standard (non-expanded) ISO range on the X-T2 is 200 – 12,800, which is more than enough for virtually any narrative shooting scenario.

Generally, I find the X-T2 handles low light extremely well – particularly up to ISO 3200 which shows very little noise at all. Even at 6400 the images are quite clean, although I personally don’t like to shoot above 3200 on any camera, regardless of how clean the images may be…

No matter what you’re shooting on, you lose color information and dynamic range as you increase your ISO, so as a general rule of thumb I try to keep my ISO as close to the base as possible. That said, in a pinch I would certainly consider shooting above 3200 on the X-T2. While I’m certain an A7S II (or other full frame DSLRs) will perform better under no-light circumstances, the X-T2 has no problems with low light scenarios provided you don’t push it to the extremes.


The Fuji X-T2 is packed with lots of other great features and capabilities, and we’ve really just scratched the surface so far. Video-driven features like focus peaking are essential for those of us shooting as single operators, and overall it really feels like Fuji have designed this camera with the filmmaker in mind.

That said, there are a few features not included on the X-T2 that I would have liked to have seen. For instance, the camera doesn’t have the ability to display zebra stripes, which can pose challenges for those of use who rely on them for quick exposure changes… F-Log recording is great, but it is only available externally and you can’t simultaneously record to the SD cards. The X-T2 also doesn’t have in-body stabilization, which has recently become one of the hottest new features available on DSLRs and mirrorless cameras today..

All that said, none of these considerations are deal breakers for me. As I said at the top of this review, no camera is perfect, and no camera can do it all… Every camera purchase will always call for you to sacrifice some quality, feature, or capability to gain some other benefit, so it really just comes down to prioritizing your needs as a filmmaker. For many of us, the features the X-T2 lacks are a small price to pay for all of the benefits it offers.


As a narrative filmmaker myself, I was drawn to this camera largely based on it’s abilities to capture filmic looking images. As such, I would highly recommend the X-T2 for any visually inclined filmmaker working on films, commercials, or other scripted content – especially those that need to keep a small footprint.

While I can also see documentary filmmakers using this camera, it may be the less obvious choice due to it’s slightly more limited low light capabilities (when compared to the A7S II), the lack of in body stabilization, and the shorter battery life (compared to the GH5).

That said, for documentary filmmakers that do want to benefit from the X-T2’s tremendous color science and tactile controls, it can easily be adapted to work under run and gun conditions. For instance, Fuji offers stabilized lenses that solve the issue of needing internal IS, and the optional battery grip can be added to increase shooting time.

There have never been so many incredible camera options available to filmmakers in this budget range, and we are fortunate as filmmakers to be able to choose between so many great tools. The X-T2 isn’t going to be the right camera for everyone, but for many of us in the narrative space, and even some of us in the documentary world, it just may be the best option on the market today.

Check back soon for more updates on the X-T2, as I plan to release some more video material shot on this camera in the coming weeks and months.

And be sure to follow me on

A couple of months ago I picked up the Fuji X-T2 to round off my current lineup of cameras which was sorely lacking in the DSLR/Mirrorless category…

After selling my Lumix GH4 back in 2015 and “upgrading” to a Sony A7S II – which I also sold not long after due to issues with it’s color science – I was left with a gap in my camera bag.

I found myself owning cameras such as the URSA Mini Pro which covered my larger narrative and commercial projects, and cameras like the Leica Typ-109 for really tiny shoots… But I didn’t have any interchangeable lens mirrorless/DSLR option for those mid level projects that called for a camera that could deliver beautiful quality footage with a minimal footprint.

I had been keeping my eye on the market for a while, and knew that ultimately my decision would come down to the Lumix GH5 and the Fuji X-T2. Both are excellent cameras, and while the GH5 is likely a better option for many filmmakers, based on my unique needs I chose to go with the X-T2.

The only other Fuji I have ever owned is the X100T, which is a gorgeous stills camera that severely lacks in the video department… With that in mind, I knew there was a possibility the X-T2 would let me down when it came to it’s video capabilities, but decided to take a gamble on the camera as I truly believe in Fuji’s color science and was impressed by the test footage I had seen online.

Having now shot with the camera quite extensively, I’m very happy with my choice.

While the X-T2 is not perfect in every way (no camera ever will be), there’s no question that it’s one of the best choices for low-budget narrative filmmakers looking to benefit → continue…

From:: Noam Kroll

Alchemy Post Sound Steps Up Its Game with Welcome to the Wayne

By Eli Williams

The animated series Welcome to the Wayne recently debuted on Nickelodeon, becoming the network’s first original series to move from digital to broadcast, having originally launched in 2014 as a series of shorts on Nick App and Created by Billy Lopez, the show centers on two 10-year-old boys living in a Manhattan high-rise, dubbed The Wayne, […]

The post Alchemy Post Sound Steps Up Its Game with Welcome to the Wayne appeared first on Below the Line.

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From:: BLT News

The 15 Best Horror Movies of The Last Decade

By Fran Zayas

best horror movies 2015

“Horror films don’t create fear. They release it,” said the late Wes Craven, “All of us have our individual curses, something that we are uncomfortable with and something that we have to deal with, like me making horror films, perhaps.” In this manner, the horror genre is a free space in cinema where we explore and let our societal, moral, and idiosyncratic fears wander and converge to take different, horrific shapes to which viewers feel identified.

The last decade – July 2007 to June 2017 – underlines a trajectory from lackluster string of found footage small studio pieces to higher grossing possession films to art-house surfacing gems. This year, horror is set to have its best year, led by commercial successful horror films like psychological thriller Split ($277 millions on a $9 million budget) and the art house quality film Get Out ($252 millions on a $4.5 million budget).

Therefore, as a result of a growing market for horror films on a small budget, the genre is expanding both thematically and artistically, A24 and horror genre top cat Blumhouse, keep enlarging their brand by producing and distributing unconventional, minimalist horror pieces, while smaller indie companies like Twisted Pictures have seemingly come to life to take a piece of the cake with the upcoming Jigsaw.

Seeking to represent the horror genre’s transition in this last decade, this list does not only aim to include the “best” films, but to provide an overview of those that have in some way or another stood above the norm or represented a turning point for the genre, whether it would be a thrilling all-out gore fest or the slower, unnerving atmospheres. The discussion for each entry will focus on the film’s themes and how does it accomplish it.

As a disclaimer, while this list does include familiar horror films, → continue…

From:: Taste Of Cinema

All 30 Billion-Dollar Movies Ranked From Worst To Best

By David Zou

As F. Gary Gray’s Fast and Furious 8 passed the billion-dollar mark at the global box office, it became the thirtieth film to do so. This represents an opportunity to revisit the films that have reached this financial landmark, and question how many of them are deserving of such staggering takings.

A quick look at the titles will show that only two of the films are original features, all others are prequels, sequels or adaptations of some sort, whether that be of books, historical events, toys or theme park rides. In the eyes of the money men, this is reason enough for Hollywood to continue to churn out sequels and neglect original properties, as they are not as bankable and are deemed too risky.

Box office takings are accurate as of July 2017.

All film titles are UK release titles and therefore some films will be titled differently across the world.

30. Transformers: Dark of the Moon (2011)
Worldwide box office: $1.124bn

Sitting through one of Michael Bay’s Transformers films would, to many, sound as appealing as experiencing A Clockwork Orange’s Ludovico Treatment, and that would not be an exaggeration. His work with on franchise has been likened to an attempt to suck the soul out of cinema, and while it is true that the Transformers films are reprehensible orgies of mechanical sounds, horrific objectification and incomprehensible fights, the films take a staggering amount of money.

Ultimately, Hollywood relies on the takings of its biggest blockbusters, and so long as people flock to the cinema to see films such as these, they will only continue to be made.

29. Transformers: Age of Extinction (2014)
Worldwide box office: $1.104bn

Transformers Age of Extinction (2014)

It would appear that Michael Bay’s idea of rejuvenating a franchise would be to replace the two → continue…

From:: Taste Of Cinema

Picture Shop Expands VFX Talent Pool

By Staff

The California based Picture Shop has added award-winning team Christian Cardona & Buddy Gheen to their rapidly expanding VFX department. Cardona will join the ranks as senior VFX supervisor alongside recently promoted VP/senior VFX supervisor Adam Avitabile. Gheen will be joining the department as a creative director of VFX. All will be reporting to executive […]

The post Picture Shop Expands VFX Talent Pool appeared first on Below the Line.

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From:: BLT News

How to Direct Music Videos Like David Fincher – Indie Film Hustle

By Jonathan Roberts

How to Direct Music Videos Like David Fincher

David Fincher is one of the highly respected music video directors in Hollywood. His style and techniques are so distinctive, it is almost easy to differentiate his works from that of other directors. Just like many directors in Hollywood, Fincher had his start directing music videos in the 80s and 90s. And although he is one the most successful music video directors, his work has received fewer accolades as compared to that of other music video directors like Spike Jones, Michal Gondry, and Chris Cunningham, and this is because he directed videos in the pop genre.

To find what set David Fincher’s films apart, one may assume it is his use of dark color palette and subject matter in his movie, but this explanation would not suffice, as dark movies have been made by other directors who never became as successful as Fincher. Precision, instead, is what set Fincher’s films apart. In Fincher’s films, there is always a clear specific intent behind every move, and this has its origin in his music videos.

Check out this amazing video essay by Patrick (H) Willems.

Although a typical pop video is imprecise, consisting of a ton of shots from a lot of different angles with rapid editing. The typical pop video shot is not long enough to pass a specific meaning, the shot does not last long enough to allow a line of the song to be sung or a full dance move to be completed. Several of the cuts in these videos come in the middle of words and not according to the beat and therefore lacks continuity. This product of this is a fast energetic music video but without any of the shots playing any → continue…

From:: Indie Film Hustle

Ring the Bell for Another Format as Adobe Bids Farewell to Flash

By Craig Mieritz

All support and updates for Flash will end in 2020.

Today, Adobe announced that it will stop updating and distributing the Flash Player at the end of 2020. The company encouraged content creators to migrate any existing Flash content to open formats such as HTML5, but it committed to continuing compatibility and security updates until this date.

The long road to the demise of Flash began in 2010, when Apple announced that the iPhone would no longer support it. Many have justifiably complained for years about it being, among other things, too resource-intensive and a security threat to users. Today’s news is not a surprise, but rather an acknowledgment that the format has become obsolete and a notice for content creators to deal with the massive amount of legacy Flash content.

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From:: No Film School

Sharon Van Etten and Katherine Dieckmann on Scoring Strange Weather

By Soheil Rezayazdi

In 2015, the year this story begins, Sharon Van Etten had never scored a film. She’d also never heard the name Katherine Dieckmann. Van Etten had just released I Don’t Want to Let You Down, the follow-up EP to her exquisite 2014 album Are We There. Van Etten’s music does things to people, and it did a number on Dieckmann, a former music video director for Aimee Mann, R.E.M., and Wilco. Enchanted by her songs of muted melancholy, Dieckmann became convinced that Van Etten had to score her latest feature, a road movie set in the American South. The two […] → continue…

From:: Filmmaker Magazine

Interpretato e prodotto da Sharon Stone corretto con DaVinci Resolve Mini Panel

By News

Blackmagic Design ha annunciato che Mark Todd Osborne, fondatore e colorista senior alla MTO Color Inc., ha conformato, corretto e messo a punto il film indipendente A Little Something for Your Birthday con DaVinci Resolve Mini Panel e DaVinci Resolve Studio.

Interpretato e prodotto da Sharon Stone, e dalla MRB Productions,

The post Interpretato e prodotto da Sharon Stone corretto con DaVinci Resolve Mini Panel appeared first on ProAV News e informazioni Foto, Cine Video .

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From:: Pro AV

72 hours Flash Sale on the Macphun Luminar software

By SonyAlpha Admin

Til July 27 you save $20 on the Macphun Luminar software (Click here). Current Macphun users do pay for $39 (instead of $59) while new users pay $49 (instead of $69).

The post 72 hours Flash Sale on the Macphun Luminar software appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

RØDE VideoMic Pro+ Adds Auto-Power and Digital Switching

By Liz Nord

RØDE has improved upon its popular VideoMic Pro on-camera shotgun.

RØDE has proven itself time and time again to be a filmmaker-friendly company with its generous My RØDE Reel short film competition prize packages and continual improvements on affordable filmmaking tools. The VideoMic Pro+, announced today, looks to be a continuation of this trend, adding some useful features to its already popular VideoMic Pro.

Like its predecessor, the VideoMic Pro Plus is a supercardioid condenser shotgun microphone with an integrated Rycote Lyre shockmount, but RØDE claims that it has both an improved RF-immunity and response (20 Hz to 20 kHz). There are also some marked design improvements, like easily accessible digital switching, including a dual high pass filter (75 Hz and 150 Hz) to reduce low frequencies, and a very handy auto-power function that turns the mic on and and off in concert with your camera.

Another handy feature, particularly for run-and-gun shooting, is the ability to power the mic in three separate ways: an included lithium-ion rechargeable battery with a proclaimed 100-hour life, Micro USB charge, and standard AA batteries.

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From:: No Film School