DroneShield’s RfPatrol is portable drone detector that has been developed so that law enforcement, the private sector, or government agencies can detect and gather data about drone proximity. Small drones are often hard to spot, not only are they quiet but often they blend into their background (eg a white drone against a white cloud). … Continued
Wipster has just released a new side-by-side comparison feature that enables users to compare current & previous iterations of videos to compare progress and creative decisions. The release is an update to the version stacking feature inside Wipster. We’ve achieved this and helped millions of videos get delivered faster. This addition lets you look at … Continued
The post Wipster launches new Side-by-Side Version Comparison appeared first on Newsshooter.
It’s hard to believe that Apocalypse Now was made 40 years ago. To celebrate the 40th anniversary of the Oscar-winning Vietnam cult war epic, Studiocanal is going to release a special, never-before-seen directors cut that has been restored into 4K Ultra HD with breathtaking realism by Francis Ford Coppola himself. Everything old is new again … Continued
Photography is a hobby/profession that can take a serious toll on your wallet. The cost of a lot of precision, technologically advanced equipment can lead you to be very protective of your gear (and rightfully so). Is it worth risking it to get the shot?
In this article you will learn the six essential camera movements that will help you to create more cinematic looking video footage. You will also discover some little known tricks for getting steady shots that will make your videos look more pro.
Despite the plethora of products, there were just a few main headlines at the Cine Gear Expo 2019. They were all pretty straightforward and easy to understand. So, here they are and why they caught my attention:
Panasonic Introduces the S1H Mirrorless Camera
There was quite a buzz taking place a few days before Cine Gear that the Lumix Division of Panasonic (its consumer camera division) would have a big announcement at Cine Gear. Since it was rumored to be a Lumix, most of us imagined that the company would announce a new camera, like the GH5 and GH5S or S1 and S1R. That’s assuming it was going to be a new camera,
Many thought Panasonic would be announcing specs and have at least a mock up of the upcoming GH6. But Panasonic threw a bit of a curveball and instead introduced the S1H, a full-frame mirrorless “big brother” to the recently introduced S1 and S1R cameras. Panasonic emphasized that the new S1H would be capable of 6K-resolution recording in an anamorphic-friendly, 3:2 aspect ratio as well as 16:9 4K recording at 5.9K resolution. (It did not mention how many megapixels the camera would be.) Other features included the following:
- 6K/24p (3:2 aspect ratio)
- 5.9K/30p (16:9 aspect ratio) video recording
- 4K DCI & UHD 4:2:2 10-bit 60p
- Claimed dynamic range of over 14 stops
- 4:3 Anamorphic mode
- No recording time limits
- Release time Autumn 2019
My Take on the Panasonic S1H: As a technical achievement, the S1H breaks new ground in the price-and-value equation. A full-frame 6K camera for $4,000 is grounds for excitement.
That said, the demo material that was shown by Panasonic didn’t look especially impressive to me, but I chalk that more up to artistic choices than to actual technological capability of the camera. Plus, I’m split in my reaction to the camera. It has amazing specifications and capabilities for a camera in its price range, and it’s continuing to blur the lines between what a mirrorless camera is and what a digital cinema camera is.
Panasonic said at Cine Gear that their strategy is to unify the Varicam, EVA1 and Lumix divisions and bring them all closer together so the new S1H, coupled with the recent huge price reduction on the Varicam LT, are tangible results of this new direction. I wouldn’t be surprised to see Panasonic put this new full-frame imager into a more digital cinema-centric camera in the near future, which is interesting. Of course, I would like to test and review the S1H when it becomes available; it has a lot of potential to become the most interesting camera release of 2019
Atomos Neon Cinema Monitor/Recorders
Atomos made a big splash at the show, unveiling their new line up of high-end cinema monitor/recorders they’ve dubbed “Neon”. If you’ve ever seen or used the Atomos Sumo line of monitor/recorders, think of the Neon lineup of Monitor/Recorders as the new Sumo units, but grown up for high-end cinema/episodic TV work, both on set and in edit bays and high-end boardrooms for client presentation.
Available in 17-, 24-, 31- and 55-inch configurations, the Neon series allows capture from any HDMI, SDI or Quad Link SDI source. HDMI 10-bit uncompressed, right up to 12G-SDI 12-Bit, 4Kp60 RAW can be recorded.
Also, all the models are capable of recording ProRes RAW from compatible cameras, ProRes HQ, ProRes 422, ProRes LT, Avid DnX, DnX HQX, DnX HQ, DnX SQ, DnX LB, and Cinema DNG RAW.
My Take On The Atomos Neon Monitor/Recorders: Up until this point, Atomos has mainly appealed to smaller production companies, one-man bands and indie filmmakers with low cost, fully featured recorders and monitors. I bought an Atomos Ninja Blade for my Canon C100MKI four years ago, and it has been a great tool. I recently bought the Atomos Shinobi SDI monitor for my gimbal shooting. So, overall, I’d say I like the company’s products.
That said, these new monitor/recorders are stepping into a new customer space with prices ranging from $4,000 to $18,000. The panels look great, although I am not sure there is such a big market for monitors with built-in video recorders. Once Atomos gets into the higher-end monitor market, competing with Canon, Sony, Flanders Scientific and others for high-end reference monitors, they will have to build up a reputation that they honestly don’t yet have in that space. But it’ll be interesting to see how they fare once the monitors are out in the wild.
Fujinon Premista 28-100mm T2.9 and 80-250mm T2.9-3.5 large-sensor cine zoom lenses
I was able to take a look at both of Fujifilm Fujinon’s new Premista large-sensor cine zoom lenses. But first, a little background: Fujinon has always made excellent television and cinema optics. The current lineup of their excellent Premiere and Cabrio lenses, plus their low-cost MKX cine zooms and all of their B4 mount broadcast-type lenses, might leave you wondering why they felt compelled to come out with yet another lineup of lenses.
The answer is simple: it’s the recent introduction of full-frame/LF digital cinema cameras.
All of Fuji’s existing cine zooms were for S35 imagers. With the recent popularity of so many new FF and LF cameras, the company felt compelled to introduce a new lineup of cine zooms that could cover a large-frame image circle. Both zooms cover a 46.3mm image circle, which means they are compatible with all current large-format digital cinema cameras. Both lenses also feature an eXtended Data port. This port transmits essential lens metadata through both a Cooke/i interface on the mount itself and a 4-pin LEMO connection on the lens body.
My Take On The Fujinon Premista Zooms: Last year, after evaluating the Canon C700 FF and taking a look at the growing popularity of FF/LF camera systems, it occurred to me that there were relatively few FF cine zoom lenses on the market. Also, for many of the manufacturers that did offer LF/FF cine zooms (Zeiss and Angenieux, to name a couple), the cost can be rather high.
And while they’re far from inexpensive, the list price of the two new Fujinon zooms is $38,800 for the 28-100mm T2.9 and $39,800 for the 80-250mm T2.9-3.5. That’s actually very reasonable for lenses in this space.
In short, when you play with the cameras that Hollywood uses, like the RED Monstro, Sony Venice and the Arri Alex Mini LF, quality optics to cover that size image circle aren’t cheap.
Be sure to come back and visit our HDVideoPro blog for our continuing coverage of Cine Gear Expo 2019.
The post Cine Gear Expo 2019: Three New Noteworthy Products At Cine Gear Expo 2019 appeared first on HD Video Pro.
If you had the opportunity to visit the somewhere in the Arctic Circle, what sorts of images would you hope to shoot while traveling? If long exposures cross your mind then this one’s for you.
Anamorphic. The look. The “texture.” There are times when you cannot replicate what an anamorphic lens can deliver. The more clinically sharp digital cameras become the more cinematographers will mess with the image to deliver something unique and dripping with character. This is where the P+S Technik Technovision Classic 1.5X Anamorphic lenses thrive, delivering huge amounts of cinematic character. Plus, they have two reasonably priced anamorphic zooms to match with their prime lenses.
Here is what P+S Technik writes about their lenses. The TECHNOVISION Classic 1.5X series of anamorphic lenses are available in two different zoom sizes as well as our newly announced TECHNOVISION Classic 1.5X Prime series made up of a 40mm, 50mm, 75mm, 100mm and 135mm focal length.The TECHNOVISION Classic 1.5X anamorphic lenses are ideal for 16:9 image sensor capture by making use of the whole sensor. This benefits the filmmaker in capturing the best possible digital negative with the least necessary cropping, if any, in post production. In other words, you get an anamorphic image into a 16:9 frame with all the inherent benefits of the anamorphic look.
The CS refers to Cinemascope which is an old classic wide screen anamorphic presentation. We use our CS to describe a wide screen anamorphic lens for use in 16:9 which includes all the classic properties associated with front based anamorphics such as unique bokeh, nicely formed flares, pincushion distortion, shallower depth of field and a superior wide angle of view.
Anamorphic origination has made a huge comeback and our unique TECHNOVISION Classic 1.5X anamorphic series are meeting this demand, says the founder of P+S TECHNIK, Alfred Piffl. The TECHNOVISION Classic 1.5X series of anamorphic zooms and primes lenses are a competitively priced investment for today and tomorrow.
All of the TECHNOVISION Classic series of 1.5X anamorphic zooms and primes feature outstanding optical performance and engineering, along with a large image circle. This means your lenses are ready for both Super35mm and for use with emerging larger sensors. This large image circle means it will more than cover the most common image sensors today at all focal ranges with no vignetting. In fact, at the zoom’s 70mm focal range you can completely cover the Arri 65 camera image sensor. The TECHNOVISION Classic 1.5X series of lenses come standard in PL mount with options for a variety of other standards with our innovative IMS – Interchangeable Mount System.
The post Cine Gear: P+S Technik Technovision Classic 1.5X Anamorphic Lenses appeared first on ProVideo Coalition.
While there was no doubt that we saw some memorable displays at Cine Gear Expo 2019, like this Game of Thrones spoof from Kingston, we didn’t see a lot of new products.
As I sit writing this blog post, I’ve been reflecting on this year’s Cine Gear Expo 2019 show and what I saw and experienced.
Now, I’ve been involved in production for long enough and have attended quite a few NAB shows. But I began going to Cine Gear about four years ago, mainly because it is such an easier show for me to attend. Paramount Studios in Hollywood is only about an hour from my home. That’s easier than hopping on a plane or driving six hours to get to Las Vegas for NAB. Granted, NAB is a huge show, but there are downsides to attending the largest broadcast show in the world.
The Upside: The Size and Focus of a Trade Show Matter
The first is the physical size. NAB is spread out all over the Las Vegas Convention Center as well as several other adjacent buildings. It seems to go on for miles, and it’s exhausting. In Las Vegas, it can take an hour just to figure out where a specific exhibit is located and to walk there. Also, NAB, if you haven’t attended, is focused loosely on “broadcast”, but in reality, as you walk the halls at NAB, you see dozens and even hundreds of booths and exhibits, talking about and showing equipment that if you aren’t a TV engineer, you will have no idea what it is or what it does.
I’m not knocking NAB. It’s an amazing experience to go and everyone should attend at least a few times in their life. But after attending a few NABs, it loses its luster.
Conversely, Cine Gear Expo 2019 is neatly contained, just within the Paramount Studios lot, making getting around to see different exhibits simple and easy. Cine Gear is a more manageable show, and it feels like I actually end up seeing and experiencing more at Cine Gear, whereas in Las Vegas, it feels as if I spend a good portion of each day just walking between halls and exhibits. The other great thing about Cine Gear is the focus, which is sharply directed toward production of episodic TV and feature films.l And that’s it!
The Downside: Was There Enough New Gear?
I saw a lot of products at this show. However, aside from the Panasonic S1H mirrorless camera, which is an amazingly equipped 6K mirrorless/digital cinema hybrid that will sell for a very reasonable price, as well as the Fujinon Premista lenses and the Atomos Neon Monitors/Recorders, much of what was displayed at Cine Gear Expo 2019 was either the same or slightly revised products that I saw on display at Cine Gear 2018, last year. (I’ll be posting a blog on the three new products that caught my eye shortly.)
It’s a telling sign that the TV-and-cinema production space seems as if it may be finally reaching a spot where frantic growth and innovation are no longer the rules of the day. We may be working with a paradigm like we have had several times over the past few decades in production where we don’t see brand new camera models every 4-6 months or new versions of editing software and lighting every 2-3 months.
The image quality of current cameras is so capable and has evolved so many times that we may be seeing just the beginning of a new paradigm where manufacturers promote and sell models longer than they used to.
And that’s good for business. I, for one, welcome buying a pro-level production tool and having it stay current for a year or two.
What Did You Think of Cine Gear Expo 2019?
How about you? Do we need a constant stream of new products to tell visual stories? Or, if you were there, what did you think of the Cine Gear Expo 2019 show? Post or send us your comments and let us know what you think?
And be sure to come back and visit our HDVideoPro blog for our continuing coverage of Cine Gear Expo 2019.
The post Cine Gear Expo 2019: Reflections on Cine Gear Expo 2019 appeared first on HD Video Pro.
It was not all about the gear at the Zeiss booth on the Paramount lot during Cine Gear 2019. Not only did Zeiss show off their new large format Supreme Prime lens line-up they also took the time to put on some helpful workshops to help educate attendees.
The Zeiss Supreme Prime lenses are designed for cinematic large-format sensor coverage, making them a great for current and future camera systems. At T1.5 the Zeiss Supreme Primes demonstrate their unsurpassed craftsmanship in tricky low-light environments. The image, from my eyes, had that Zeiss look which is equal parts sharp and smooth bokeh roll off. It is a look I love.
Since, we, as an industry, have embraced digital capture, yes film is an option still used and one I love, the idea of the camera and lens being a collector of raw materials is beginning to emerge. For example, the unique Zeiss eXtended Data technology offers lens metadata critical for VFX-intensive productions and workflows on set. The frame accurate information about focal length, focusing distance, T-stop and depth-of-field enables the camera assistant to work more precisely and eliminates guesswork for the DIT. The Zeiss specific distortion and vignetting data makes shooting grids redundant and accelerates compositing and stitching in post-production.
Supreme Prime Lenses
|Release||Aperture||Close Focus1||Length2||Front diameter||Weight||Horizontal Angle of View|
|Full Frame 3||Super 35 4|
15 mm T1.8
|2020||T1.8 to T22||tbd||tbd||114 mm | 4.5‘‘||tbd||tbd||tbd|
18 mm T1.5
|2020||T1.5 to T22||tbd||163 mm | 6.4‘‘||114 mm | 4.5‘‘||tbd||tbd||tbd|
21 mm T1.5
|T1.5 to T22||0.35 m | 13.7‘‘||120 mm | 4.7‘‘||95 mm | 3.7||1.61 kg | 3.55 lbs||79.5°||59.8°|
25 mm T1.5
|Shipping||T1.5 to T22||0.26 m | 10‘‘||119 mm | 4.7‘‘||95 mm | 3.7||1.42 kg | 3.13 lbs||70.8°||52.3°|
29 mm T1.5
||T1.5 to T22||0.33 m | 13‘‘||121 mm | 4.8‘‘||95 mm | 3.7||1.61 kg | 3.55 lbs||64°||46.8°|
35 mm T1.5
||T1.5 to T22||0.32 m | 13‘‘||119 mm | 4.7‘‘||95 mm | 3.7‘‘||1.40 kg | 3.09 lbs||55°||39.6°|
50 mm T1.5
||T1.5 to T22||0.45 m | 18‘‘||119 mm | 4.7‘‘||95 mm | 3.7‘‘||1.22 kg | 2.69 lbs||39°||27.5°|
65 mm T1.5
|Shipping||T1.5 to T22||0.6 m | 2‘||121 mm | 4.8‘‘||95 mm | 3.7‘‘||1.63 kg | 3.59 lbs||30.5°||21.3°|
85 mm T1.5
|Shipping||T1.5 to T22||0.84 m | 2‘9‘‘||119 mm | 4.7‘‘||95 mm | 3.7‘‘||1.42 kg | 3.13 lbs||24°||16.7°|
100 mm T1.5
|Shipping||T1.5 to T22||1.1 m | 3‘9‘‘||119 mm | 4.7‘‘||95 mm | 3.7‘‘||1.7 kg | 3.74 lbs||20.4°||14.2°|
135 mm T1.5
|T1.5 to T22||1.35 m | 4‘5‘‘||146 mm | 5.7’’||114 mm | 4.5‘‘||2.41 kg | 5.31 lbs||15.6°||10.9°|
150 mm T1.8
|T1.8 to T22||1.5 m | 4’11||146 mm | 5.7’’||114 mm | 4.5‘‘||2.3 kg | 5.4 lbs||13.7°||9.5°|
200 mm T2.1
|2020||T2.1 to T22||tbd||146 mm | 7.2’’||114 mm | 4.5‘‘||tbd||tbd||tbd|
The post Cine Gear: Zeiss Shows Off Supreme Prime Lenses and Talks Workshops appeared first on ProVideo Coalition.
Olympus has just recently announced its newest edition of the TG underwater series of cameras. While not a gigantic step up from its predecessor, it comes with enhanced features sure to grab interest to anyone interested in underwater photography.
You use Lightroom to process batches of images because you know how important efficiency is. But if you’re not fully utilizing Lightroom’s available rating (and sorting) options, you’re not running as tight a ship as you could.
Canon has unveiled two new printer models in the PIXMA G-series MegaTank product line: the PIXMA G5020 MegaTank Single-Function Printer and the PIXMA G6020 All-In-One Printer. Both models feature the line’s continuous ink supply system, as well as support for automatic two-sided printing, faster printing speeds, and more.
Both the PIXMA G6020 and G5020 printers feature a combined 350-page front and rear paper tray capacity, as well as support for faster printing at 13 black and white impressions and 6.8 color impressions per minute. A single black ink bottle can produce up to 6,000 pages, and the color inks can produce up to a combined 7,000 pages. Both printer models likewise feature WiFi.
The new PIXMA printers can be used with the Canon PRINT Inkjet/SELPHY app for accessing PIXMA Cloud Link and select popular platforms, including Photobucket, Flickr, and Google Drive. Only the PIXMA G6020 model supports Google Cloud Print and Apple AirPrint, however.
Photographers have been speaking out in recent years about getting asked to do work for little or no money. A new research study is now suggesting that one of the reasons photographers get lowballed is because they love their jobs.
Professor Aaron Kay and Ph.D student Jay Kim at Duke University’s Fuqua School of Business recently published a paper titled, “Understanding Contemporary Forms of Exploitation: Attributions of Passion Serve to Legitimize the Poor Treatment of Workers,” in the Journal of Personality and Social Psychology. What the researchers found was that people feel like it’s more acceptable to exploit workers who are passionate about what they do.
It’s something the scientists call “passion exploitation.”
The researchers conducted 8 different studies involving over 2,400 total participants.
In one study, participants who read that an artist was “strongly passionate about their job” said it was more legitimate for that artist to be exploited by a boss, while participants who read that the artist wasn’t as passionate were less accepting of the exploitation.
In a second study, participants rated that it’s more legitimate to exploit people in jobs that are connected to passion — things like art and photography — and less legitimate to exploit workers in non-passion jobs — things like store clerk or bill collector.
Photographers often point out that people never ask workers such as plumbers to work for free — this study’s explanation would be that photography is widely viewed as a “labor of love” while plumbing isn’t.
“The researchers found this tendency to exploit passion arises from two beliefs: that work is its own reward, and that the employee would have volunteered anyway,” writes Fuqua Insights. “This is an example of compensatory justifications.”
Professor Steven Shepherd of Oklahoma State University, who contributed to the study, notes that fixing “passion exploitation” in our culture may need to start with ourselves, since it’s not uncommon to exploit the passions of friends and family.
“We can all do more to be vigilant and prevent ourselves from slipping into exploiting passion in our employees, our friends, and even ourselves,” Shepherd says.
White balance is drilled into our head as a particularly technical thing to adjust in our photography and not really something we can use creatively beyond “Warmer or cooler” but there are so many creative possibilities out there.
Love photographing plants and animals in the great outdoors? Seek is a new app you may want to download if you use an iPhone. It’s like a Shazam for nature: the app can help identify the things you photograph using the power of image recognition.
The app was created by iNaturalist, an online social network for nature enthusiasts, and its stated goal is to help everyone explore the nature around them.
If you ever take a picture and aren’t sure of what exactly you just captured, pull out the Seek app and point the Seek Camera at the living thing. Seek will use AI to examine the photo and attempt to match it to one of the roughly 30,000 species it currently recognizes. And as photographers upload more photos, the system will only get better at recognizing more and more things.
Once a plant or animal is recognized, Seek will add it to your personal collection, award you badges, and share information about it from Wikipedia.
“Drawing from millions of wildlife observations on iNaturalist, Seek shows you lists of commonly recorded insects, birds, plants, amphibians, and more in your area,” Seek’s description states. “Scan the environment with the Seek Camera to identify organisms using the tree of life.”
The app doesn’t require any registration to use and doesn’t collect any user data by default, though location data is used to show you the plants and animals in your area.
Seek is a free app available through Apple’s App Store.
Profoto has just launched the B10 Plus, a 500w/s on-location strobe that outmatches the recently released B10 while retaining most of the previous strobe’s design cues. With a well developed back panel display, a svelte body design, and a more powerful light output, is there any room for the B1X in Profoto’s lineup?