Cooke Optics: new lenses and a metadata standard

By Jose Antunes

Cooke Optics: new lenses and a metadata standard

Cooke Optics, Panavision, RED Digital Cinema, Canon, Blackmagic Design, CW Sonderoptic, and Sony take steps to officially standardise lens metadata on /i Technology protocol at the same time Cooke Optics introduces the new S7/i lenses.

Scheduled to ship from June 2017, the new S7/i Full Frame Plus prime lens range is designed to cover the emergent full frame cinema camera sensors, up to the full sensor area (46.31mm image circle) of the RED Weapon 8K. The new lenses – which, like all Cooke lenses, feature the beloved ‘Cooke Look’ – will be available in 18, 25, 32, 40, 50, 75, 100 and 135mm.

All Cooke S7/i Primes have a true T2.0 aperture and cover 35/Super 35mm, Full Frame and beyond. They have a common fixed front diameter of 110mm, with a focus drive gear of 140T x 0.8 mod and an iris drive gear of 134T x 0.8. A nine-leaf linear module iris assembly is fitted into the Cooke S7/i lenses. The average weight of an S7/i lens is approximately 3.5kg.

“The Cooke S7/i Full Frame Plus range enables you to shoot beautiful 35mm/Super 35mm format now, and also to be prepared when camera sensors go to full frame, VistaVision and beyond,” said Les Zellan, Chairman and Owner, Cooke Optics.

Cooke will also debut the Panchro/i Classic range and the new front Anamorphic/i zoom lens at NAB 2017. In addition, visitors to the Cooke booth will see the Anamorphic/i SF lens range, as well as lenses from its leading Anamorphic/i, 5/i, S4/i and miniS4/i ranges, and the Sony E and micro 4/3 mounts for miniS4/i and Panchro/i Classic lenses that enable users of these cameras to benefit from the ‘Cooke Look’ for the first time.

The /i Technology protocol present in lenses from Cook Optics is now about to become very important when it comes → continue…

From:: Pro Video Coalition

A Guide to Shooting HDR TV: Day 6, “How the Audience Will See Your Work”

By Art Adams

This is the sixth installment of a six-part HDR “survival guide.” Over the course of this series, I hope to impart enough wisdom to help you navigate your first HDR project successfully. Each day I’ll talk about a different aspect of HDR, leaving the highly technical stuff for the end. You can find part 5 here.

Thanks much to Canon USA, who responded to my questions about shooting HDR by sponsoring this series.

There are several competing standards for HDR distribution. Each has consequences for the cinematographer and their work.


The Dolby Vision standard utilizes the PQ curve (see appendix) for image encoding. It also specifies 12-bit encoding with a peak brightness of 10,000 nits as defined in the ST2084 specification, although Dolby currently recommends a target peak white value of 4,000 nits.

Dolby Vision content is currently mastered within the P3 color gamut, although it is capable of reproducing imagery in any gamut from Rec 709 to Rec 2020 depending on the capabilities of the display. Rec 2020 color is far beyond what modern displays can produce but leaves room for future growth.

Dolby’s key strength is that it provides dynamic metadata that instructs a proprietary decoder chip, built into a television, how to best adjust imagery to fit within the constraints of a consumer display on a frame-by-frame or shot-by-shot basis. If a program was mastered on a monitor that exceeds the specs of the television on which it is being viewed, either in dynamic range or color gamut, then the dynamic metadata that travels with the program tells the decoder chip how to expand or contract each shot’s color gamut and dynamic range to fit within that display’s abilities.


The HDR10 standard, which is championed by a number of television manufacturers who don’t want to license technology from Dolby, also uses → continue…

From:: Pro Video Coalition

Sony A7S Mark 3 – What to expect

By Andrew Reid (EOSHD) NAB 2017 so far has been a curious one. The biggest announcement has been a stills camera. The A9 however may give us some clues as to what to expect with the new video-monster. Whenever Sony decide to release the A7S III, I have high hopes for it thanks to the positive changes found on the […] → continue…

From:: EosHD

Manfrotto Nitrotech: a revolution in video heads

By Jose Antunes

Manfrotto Nitrotech: a revolution in video heads

The Nitrotech N8, first model in the Manfrotto Nitrotech line, will be showcased and used in live demonstrations during NAB 2017. The fluid video head is already available in the United States.

With a recommended price of $449.99, the Nitrotech N8 fluid video head features state-of-the-art technology consisting in a Nitrogen piston mechanism that allows continuous counterbalance system and that enables precise control of a camera and accessories up to 8 Kg (17.6 lbs). The variable fluidity function on both pan and tilt allows, according to Manfrotto, smooth, judder-free movement. It also features a 3/8” Easy Link equipped with an anti-rotation function that enables an external monitor or other accessories to be fitted. The sliding plate attachment side-lock mechanism allows safe, quick and easy camera attachment. The Nitrotech head has a flat base mount with a standard 3/8” thread that is highly versatile for different support combinations (tripod, slider, jib or crane).

Manfrotto Nitrotech: a revolution in video heads

Manfrotto’s game-changing N8 Nitrotech Video Head makes a strong impression at first sight through its distinctive and impactful design, which emphasizes this core breakthrough technology.

Key features include:

  • Breakthrough nitrogen piston technology for precise, continuous counterbalance
  • Variable pan & tilt fluidity for smooth and accurate shooting
  • Easy link connector with anti-rotation to support off-camera accessories
  • Side-lock sliding plate attachment
  • Secure 17.6 lb. load capacity
  • High-impact, groundbreaking design, superior quality materials

Manfrotto Nitrotech: a revolution in video heads

Nitrotech and the entire Manfrotto video heads range will be showcased in the Manfrotto section of the Vitec Group booth in Central Hall (#C6025) at the Las Vegas Convention Center during NAB Show. Cinematographer Matt Workman, who has shot music videos for Justin Bieber, 50 Cent and commercials for Google, Facebook and BMW, will be demonstrating and shooting with Nitrotech during the show Monday, → continue…

From:: Pro Video Coalition

Bright Tangerine Announces New Camera Accessories

By Tim Fok

bright tangerine

Bright Tangerine are marking NAB 2017 as their full venture into the camera accessories market. They are unveiling a host of new products, including armors with in/out interfaces for the ARRI Alexa Mini and RED camera range, a compact follow focus in the Revolvr Atom, as well as new lens supports and Titan Arm accessories.

The most significant announcement from Bright Tangerine is their shell-like support for the ARRI Alexa Mini and RED cameras.

“These accessories will offer camera protection, triggering functions, multiple mounting points, signal splitting and powering options and a plethora of inputs and outputs.“

We’ll disclose more when we visit them at NAB for a catch-up video, but it looks as if these cages will offer further power and signal outputs (SDI, D tap) as well as top cheese plate, top handle, V-lock power module and 19mm and 15mm rod support.

They cling quite nicely to the CAD design cameras; it will be interesting to see how they address the rear media bay on the Alexa Mini.

Also on show will be the Revolvr Atom. Bright Tangerine released their full Revolvr follow-focus system earlier this year, with the Atom offering a more compact solution.

Off the back of their follow focus venture comes a new series of lens supports for 15mm and 19mm rod systems.

A small announcement at the bottom of their PR for NAB is a range of new twist and rod adapter accessories for the Bright Tangerine Titan Arm.

As a user of the Titan Arm, I warmly welcome this. I had already DIY-rigged mine to host 15mm studs, as it is much quicker and safer to use over ¼” 20 threads.

Lastly, there’s → continue…

From:: Cinema 5d

Adobe – you are a disgrace

By Andrew Reid (EOSHD)

Comment on this article at the EOSHD Forum

Adobe are sitting on my subscription money, seemingly with their arms crossed. Blackmagic are bringing DaVinci Resolve 14 to NAB tomorrow and I badly hope the editing side saves my soul. I have never been more willing to become an ex-Adobe customer. The company is behaving reprehensibly. As anybody with a Panasonic GH5 will tell you, […]

The post Adobe – you are a disgrace appeared first on EOSHD.

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From:: EosHD

All 23 Ridley Scott Movies Ranked From Worst To Best

By Mike Gray

Ridley Scott is one of the most successful directors of all time: combined, his films have grossed $1.5 billion theatrically alone, while his work in the science fiction and historical drama genres have set the standard for generations of filmmakers.

Having directed sci-fi masterpieces like Alien and Blade Runner, to historical epics like Gladiator and Kingdom of Heaven, to the feminist classic Thelma & Louise, Ridley Scott has produced a variety of films to great financial and critical success. Never one to rest upon his laurels, Scott’s output over the past four decades has spanned multiple genres to a mixture of success and failure, commercially and otherwise.

A master of creating detailed worlds in which his characters struggle and strive, Scott’s work is distinguished by an individual fighting against extraordinary circumstances and the epic scale of his productions. Sometimes overwhelming in detail while losing the plot, Ridley Scott has not put out an immaculate filmography but a very interesting one nonetheless.

While a “worst-to-best” list inherently passes judgement on the quality of a director’s films, it’s important to note that any one of Scott’s films that have landed in the “Top 10” of this list grossly outweigh most director’s best effort. Although not perfect, his films are always well thought-out and made with the utmost professionalism and care.

23. GI Jane (1997)

GI Jane (1997)

While working within the same female empowerment themes that succeeded in Alien and Thelma & Louise, Ridley Scott made arguably his worst film, GI Jane, about a female lieutenant that enters training for the U.S. Navy Combined Reconnaissance Team in a politically motivated attempt to prove that a woman can achieve within a male-dominated arena of the military.

Although memorable female characters either overcoming or confronting gender prejudice has served him well in the past, this → continue…

From:: Taste Of Cinema

7 Reasons Why “Ghost in the Shell” is an Anime Masterpiece

By Panos Kotzathanasis

Ghost in the Shell

Continuing from where “Akira” left off, “Ghost in the Shell” established cyberpunk as one of the main themes of the genre, and pawned a huge franchise that continues to produce masterpieces. In that fashion, the franchise includes three animated TV series, four movies, and four video games, while a live-action remake starring Scarlett Johansson was released in the United States on March 31, 2017.

Lastly, Kodansha and Production I.G announced on April 7, 2017 that Kenji Kamiyama and Shinji Aramaki will be co-directing a new ‘Ghost in the Shell’ anime production. Its format and release date haven’t been announced yet.

Moreover, it was a trademark of the industry in both its themes and technological advancement, involving a number of pioneering animation processes. Currently, it is considered as one of the greatest anime of all time, having inspired a number of films, with “The Matrix” being among them.

Here are seven reasons that justify the above. Please note that the article contains many spoilers.

1. A complex and meaningful script

Based on the homonymous manga by Masamune Shirow, the anime takes place in 2029, when the world is connected through a vast electronic network that has access to all aspects of life.

Artificial intelligence has become a significant part of everyday life and humans have already installed implants in their heads that help them communicate with computers directly, and in that fashion, are in constant connection with the Internet. The persona of the individual (their soul, if you prefer) that is connected on the Internet is called ‘Ghost’.

However, and despite the vast capabilities this technology has brought, crime always finds a way, and currently, hackers are able to infiltrate actual human brains. These are considered the most dangerous criminals of all. The perfect agent of the era is not a → continue…

From:: Taste Of Cinema

New 40 inch 4K UHD AOC monitor

By Jose Antunes

Designed with thin bezels that allow its use in multi-monitor solutions, the AOC C4008VU8 can also present four separate video windows, saving valuable desktop space and dramatically increasing productivity.

With the market moving to higher resolution and larger size displays, AOC continues to expand its line of monitors with new models, like this C4008VU8 40” curved 4K UHD display with 10-bit color, featuring a wide color gamut and flicker-free technology for reduced eye strain. A typical monitor has only 72% NTSC color gamut, whereas the C4008VU8 offers 85% NTSC wide color gamut for rich vivid colors.

The ultra-high definition display allows users to see more on the screen at one time, giving them more ‘real estate’ and allowing them to see more detail for sharper and more brilliant images. The curved VA panel has a 3840×2160 resolution that boasts 1.07 billion colors, meaning the panel can present more depth and richer color to produce more vibrant images. VA is perfect for graphic designing, video editing or photo retouching, and watch movies from virtually any angle without compromising color uniformity.

The C4008VU8 features a 60Hz refresh rate, wide-viewing angles and 5ms response time. Eye comfort is one of the most important considerations when working on creative tasks. Normal LED monitors adjust brightness using pulse width modulation, which creates flickers that can cause discomfort over long periods of time. However, because the C4008VU8 features flicker-free technology, the backlight system is more comfortable and allows for healthier viewing.

The monitor also features PiP (Picture in Picture), allowing users to watch a live video feed while working on their pc. But the really outstanding feature of this monitor is its ability to display four separate input sources simultaneously without image distortion, in Full HD, with its PbP (Picture by → continue…

From:: Pro Video Coalition

Sound Devices introduce new MixPre audio recorders

By Nic Divischek

Sound Devices have recently announced two new MixPre audio recorders. The MixPre-3 and MixPre-6 are targeted at podcast producers and YouTubers, but with the quality we have come to expect from a world-class company that’s become an industry standard.

When it comes to audio recorders, most Field Sound Recordists would swear on Sound Devices. They are robust, reliable and have the inputs and pre-amps to create world-class sound. Now, the company have launched a new product line, the MixPre Series of audio recorders with integrated USB audio interface. The MixPre-3 & MixPre-6 audio recorders with USB audio streaming is “perfect for musicians, podcasters, videographers and YouTubers”.

Design and Audio Inputs

The MixPre is a lightweight audio recorder made out of die-cast aluminium, and features Sound Device’s newly developed “Kashmir” pre-amps. Simply put, the difference between the two models is the amount of audio inputs. The MixPre-3 features three full-sized balanced XLR mic/line audio inputs, while the MixPre-6 features four balanced XLR/TRS combo jacks to connect microphones or line-level devices. Both have a 3.5mm auxiliary input that can be used for “plug-in power mics, 2-channel line-in audio, camera return, or timecode”.

USB for Podcasters

With the MixPre line, Sound Devices are targeting the Podcast/YouTube market. You will be able to stream the inputs over a USB connection into a computer for use in a podcast. The mixers will also feature the standard USB A connection, as well as the more future-proof USB C.

Perfect camera companion

Not only is the MixPre the perfect size to sit on your desk while you are recording a podcast, it is also designed for videographers. It includes features such → continue…

From:: Cinema 5d

VR: a technology still on the verge at NAB

By (Phil Rhodes)

Las Vegas: A HDR skyline in all senses of the phrase

Notes from Vegas. Phil Rhodes gets the sense from NAB that VR hasn’t moved forward from the ‘this is the next big thing’ stage to actually doing anything concrete about it. Surprisingly, there seems to be some uncertainty about HDR too.

  • Las Vegas
  • NAB 2017
  • VR
  • Atomos Sumo

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    From:: RedShark News

    Atomos Sumo – 19″ HDR monitor with 4K Recorder

    By cameraman

    19” Sumo Monitor-Recorder delivers 4Kp60 HDR to the Set and the Studio The first production monitor that also records 4K 12bit Raw, 10bit ProRes/DNxHR, plus 1080p60 live switching and recording

    Melbourne, Australia – 23rd April 2017: Atomos once again redefines the workflow options for video creatives by creating the first production/studio monitor to combine a 19” HDR 1200nit 10+ stop panel with 4K 12bit Raw or 10bit 422 ProRes/DNxHR recording and HD recording up to 240p or live switching and recording of four 1080p60 channels.

    Adding HDR and 1200nit brightness to a 19” monitor at an MSRP of $2,495 is an amazing feat itself, but the addition of recording, switching and playback is a true revolution, completely redefining how production monitors will be used on set and in studio. It gives clients and crew on set instant access to review recorded content in HDR quality and doubles as a grading and editing monitor for laptops in the field. The live switching and recording is another dimension again adding the flexibility to live switch between four 1080/60p channels, record 4 x ISO channels and mix a live record complete with cueing, cross fade and hard cuts.

    “Seeing innovation come to life is the most exciting part of making technology products. Sumo is one of the most remarkable video products I have worked on.” said Jeromy Young CEO and co-founder of Atomos. “Versatile and highly advanced yet simple to use, it covers all kinds of high quality production from end to end at a fraction of traditional costs. The Atomos Sumo is truly revolutionary”.

    Go HDR. In the field & the studio
    Sumo’s 19” 1920×1080 10-bit LCD panel is driven by the AtomHDR engine which precisely maps the Log/PQ/HLG from popular cameras, game consoles or TV makers to perfectly resolve 10+ stops of → continue…

    From:: Extra Shot

    Sony a9 shooting experience: Here’s why I’m impressed


    Sony’s looking to storm the sports photography market with its new a9 mirrorless camera.

    When I started shooting sports for college publications, I was stuck working with 3 fps. Then I graduated to a new camera offering 5 fps, and gravitated towards weddings and events. Now that I’ve been with DPReview for a year and a half, I’ve gotten used to 12, 14, 18 and 24 frames per second for shooting just about everything.

    To be blunt, past a certain threshold, burst shooting speeds don’t net me appreciably more keepers in my usual style of photography. But that won’t be the case with everyone, and honestly, it doesn’t hinder my enthusiasm with regards to the new Sony a9, even though that’s one of its headline features. Even setting burst speeds aside, this camera is among the best I’ve ever used, bar none. Here’s why.


    During my time at DPReview, Sony’s always left me feeling a little conflicted.

    On one hand, the technology and features crammed into the company’s cameras are always impressive; during my interview for this job, our own Rishi Sanyal showed me Eye AF on an a7R II, and I accidentally blurted out an expletive as my jaw dropped – it was something I’d never seen before. On the other hand, I’ve consistently found the usability of Sony’s cameras to be a primary concern for me. The interface and general operation were laggy enough to be irksome, I got lost in the menus all the time (movie options should never be nonsensically shuffled among stills options), and there were times that I felt I was fighting the camera to get it to just do what I wanted.

    Sony’s RX100 V is an incredibly capable pocket → continue…

    From:: DPreview

    Huawei P10 camera review

    The P10 is Huawei’s latest high-end smartphone in a more compact form factor compared to the company’s Mate 9 phablet. A 5.1″ Full-HD display with very thin bezels allows for a design that easily fits into even small pockets. On the inside, top-end components, including Huawei’s HiSilicon Kirin 960 octa-core chipset and 4GB of RAM, provide top-end performance.

    The Leica-branded camera comes with the same specification as its equivalent in the Mate 9 and combines a 12MP color sensor with a 20MP monochrome chip. Both lenses have an F2.2 aperture and the color variant also features optical image stabilization. As before, color and monochrome image information is combined for better image detail, higher dynamic range and lower noise levels. Other features include laser-assisted autofocus, a two-tone LED flash and 4K video recording.

    On the software side of things a new ‘Leica-style’ portrait mode uses 3D face detection and applies a combination of fake bokeh, adjustable illumination and ‘beautification’ effects to your portrait subjects. We’ve put the hardware and software through its paces for our full camera review. Read on on the following pages to find out how the P10 performed.

    Key Photographic / Video Specifications

    • Leica-branded dual-camera with 12MP color and 20MP monochrome sensors
    • F2.2 aperture
    • OIS on the color sensor
    • 27mm equivalent focal length
    • On-sensor phase detection and laser-assisted AF
    • Dual-tone LED flash
    • 4K video
    • 8MP front camera with F1.9 aperture
    • Manual camera control and DNR Raw capture

    Other Specifications

    • 5.1″ IPS display with 1080p resolution
    • Android 7.0
    • HiSilicon Kirin 960 octa-core chipset
    • 4GB RAM and 64GB storage
    • microSD support up to 256GB
    • 3200 mAh battery
    • Stereo speakers
    • Fingerprint reader

    DPReview smartphone reviews are written with the needs of photographers in mind. We focus on camera features, performance, and image quality.

    → continue…

    From:: DPreview

    Atomos Introduces Sumo, the 19-inch HD Display That Records 4K 12-Bit RAW

    By NFS Staff

    Atomos packs Sumo with 4K 12-bit RAW, 10bit ProRes/DNxHR and 1080p60 live switching/recording in a 19” monitor.

    Atomos has unveiled a new 4K recording monitor ahead of NAB. Dubbed Sumo, as E. Honda has already been taken, the 19” HDR 1200nit 10+ stop panel boasts 4K 12-bit RAW or 10-bit 422 Pro 422 ProRes/DNxHR.

    Sumo can record HD up to 240p, but what’s intriguing is its ability to live switch and record up to four ISO channels of 1080/60p video that you can mix with cuts and fades using QuadLink SDI connections. Atomos gives you the power to switch between feeds on the screen via cross fade or hard cuts from the locked sources or you can tag and adjust final edits with metadata tagging preserving ISO feeds.

    Read More

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    From:: No Film School

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