Anyone intending to apply for a US visa will now face the additional step of surrendering their social media handles, after it was announced the State Department will require such information before agreeing to proceed. The move is a “vast expansion of the Trump administration’s enhanced screening of potential immigrants and visitors,” with the options listed ranging from Facebook, to photo platforms such as Instagram and Flickr.
And it comes with its own crew. And a truck.
Usually film gear companies make a lot of noise when announcing their new products. However, without a whole lot of pomp and circumstance, right in the thick of CineGear 2019 no less, DJI quietly unveiled not only their new drone but also their custom aerial cinematography service in a video on YouTube.
The DJI Storm drone features 8 rotors, 40.7lb payload capacity, 50mph top speed, and 15-minute flight time, as well as Ronin 2, Master Wheels, and Force Pro support and…you know…its own film crew through DJI’s aerial cinematography service, dubbed DJI Studio.
Studio and the Storm, however, go hand-in-hand. In fact, according to The Verge, the drone itself isn’t even for sale but rather used by DJI’s trained professionals that you hire to go out and capture aerials for you.
There is no shortage of gear reviews all over the internet that are full of meaningless info, opinions with zero examples, or evidence to back them up. However this video comparison of the DJI Osmos Action/Pocket, GoPro Here 7 Black and just about every other relevant action camera is by far the most comprehensive and info-packed review anyone could ever want.
Aputure heard your comments, critiques, and criticisms of their RC LED bulb and have decided to add a few things to the design.
Aputure’s little RC LED bulb, which we saw back at NAB 2019, is getting a little makeover thanks to your feedback.
The bulb, which is RGB/HSI/color temperature changeable, dimmable, and app controllable, is pretty cool all on its own, but those who got a load of it at NAB had a few ideas that Aputure has decided to implement into its new design. Updates include:
According to Panavision, the PanaSpeed lens line-up is a large-format update of the classic Primo look. At T1.4, the PanaSpeed lenses will be the fastest large-format lens option at Panavision. Considering these PanaSpeed lenses looks down-right drool-worthy, and the lenses have a super close focus, we had to stop by and see exactly how these lenses see the world. If you love how vintage cinema lenses look then you might want to take a look at the PanaSpeeds too.
Panavision showed off several lens sets giving Expo attendees the unique opportunity to preview upcoming, innovative glass options:
- Primo X is the first cinema lens specially designed for use on drones and gimbals. They are fully sealed, weatherproof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity. Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8). Available in 2019.
- H Series is a traditionally designed spherical lens set with a glamorous, rounded, soft roll-off, giving a pleasing tonal quality to the skin. Created with true vintage glass and coating, these lenses offer slightly elevated blacks for softer contrast. High speeds separate subject and background with a smooth edge transition, allowing subject to appear naturally placed within the depth of the image. Available now.
- PanaSpeed is a large-format update of the classic Primo look. At T1.4, PanaSpeed will be the fastest large-format lens option available on the market. Available in Q3 2018.
- Ultra Vista is a series of large-format anamorphic optics. Using a custom 1.6x squeeze, Ultra Vista covers the full height of the 8K sensor in the DXL and presents an ultra-widescreen 2.76:1 aspect ratio along with a classic elliptical bokeh and Panavision horizontal flare. Available in 2019.
The DXL camera is one of the highlights of Panavisions’ booth during Cine Gear Expo.
Panavision, Light Iron and LEE Filters will be present at booth S408 on Stage 3, at Cine Gear Expo 2019, to display an array of integrated technologies and systems, ranging from lenses, cameras and filters, to state-of-the-art production and post production workflows – that illustrate Panavision’s commitment to providing the most versatile and powerful storytelling tools.
The Panavision’s Millennium DXL2 will, again, be a highlight of the show, but the DXL-M camera system will also be showcased at the Panavision booth, demonstrating the value of this expanding ecosystem. With new industry developments, the DXL2’s 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include: an integrated C-Motion F.I.Z. module allowing the use of Arri WCU4 wireless lens control handsets with full lens mapping support; a proxy workflow that allows easy creation of traditional dailies while archiving 8K files for DI and VFX; a wireless audio module adding expanded audio capabilities; and DXL Control for iPhone and Android.
A camera for any shooting scenario
The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2×2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium.
“At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency,” says Kim Snyder, president and CEO of Panavision. “We’re always focused on adapting the tremendous power of technology to the needs of the visual artist. We’re proud and excited to demonstrate our latest advancements.”
The new LINK HDR system
Among the breakthroughs on display are Panavision and Light Iron’s new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers.
The post Cine Gear 2019: Panavision Shows Off Entire Lens Line Up appeared first on ProVideo Coalition.
Hedén unveiled the prototype of their new wireless FIZ control system, Ymer-3.
This high-end, very accurate and fast wireless follow focus system has some very interesting and unique functionality, including LenSaver manual calibration, lens mapping, and manual override that doesn’t require you to remove the motor or recalibrate the system.
Sporting t-shirts showing the Cine Gear 2019 attendees how exactly to pronounce Sumire, Canon’s new PL Prime Lens line up, Canon also set up an example shoot to show off the beautiful lenses. Seeing is believing. Pronounced “Soo-mee-ray,” these new Canon prime lenses deliver a creamy interesting image when the aperture is wide open.
Covering the core range of focal lengths that cinema professionals desire, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the company’s first set of seven cinema prime PL-Mount lenses, aptly named Sumire Prime. Pronounced “Soo-mee-ray,” the word is of Japanese origin and is associated with a floral gentleness and beauty. Sumire Prime Lenses offer a unique artistically pleasing look with gentle and beautiful skin tones and smooth bokeh, designed for use with large-sensor cinema cameras, including 35mm full-frame cameras such as the EOS C700FF Cinema Camera.
In addition to bright T-stops and Canon’s renowned warm-color imagery, a unique optical design introduces a nuanced look as the lens aperture approaches its maximum setting – subtly modifying the textural renderings of the human face close up. It also smooths the transition to the fall-off portions of the scene resulting in a pleasing bokeh. This combination adds emotional expressiveness and provides creative flexibility to create a memorable scene.
“Sumire in Japan is the name of a flower, and like the petals of a flower, our lenses are most beautiful when fully opened. This is the inspiration behind the Sumire look,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “The feedback from cinematographers is crucial and their voices have been heard loud and clear – they asked Canon to introduce a set of PL-mount cinema prime lenses. We went a step further and our new Sumire Prime Lenses produce the beautifully cinematic and unique images professionals desire. We can’t wait to see how the lenses will contribute to the art of filmmaking.”
The new set of seven Canon Sumire Prime Cinema Lenses include the following:
- CN-E14mm T3.1 FP X
- CN-E20mm T1.5 FP X
- CN-E24mm T1.5 FP X
- CN-E35mm T1.5 FP X
- CN-E50mm T1.3 FP X
- CN-E85mm T1.3 FP X
- CN-E135mm T2.2 FP X
All Sumire Prime lenses feature an 11-bladed iris and bright T-stops that allow users to capture images that feature a more natural circular-like bokeh from both maximum to minimum aperture. The use of an odd number of iris blades also helps to diffuse light rays and produce what is generally considered a more sought after, artistically pleasing and cinematic look with warmer colors. The lenses also achieve uniform color balance throughout the lineup, helping to reduce the need for post grading, even when production is frequently changing lenses.
The Canon CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X and CN-E85mm T1.3 FP X lenses are scheduled to be available in Summer 2019. The Canon CN-E14mm T3.1 FP X lens is scheduled to be available in Fall 2019. The Canon CN-E20mm T1.5 FP X and CN-E135mm T2.2 FP X lenses are scheduled to be available in Winter 2019/Spring 2020.
For more information, please visit: usa.canon.com/cinemalenses.
Atmos is most known for their on-camera monitor/recorder solutions and while they do make other products it’s never been a focus of theirs until now with their new NEON on set monitors.
Take a look at how AMC’s iconic TV show “Mad Men” approaches the tragic arc of one of its primary players, Betty Draper, and how you can apply it to your work.
[WARNING: Spoilers ahead for Mad Men and Game of Thrones]
You’ve followed No Film School’s guide to character development. You’ve checked out the Captivating Characters infographic. You’re ready to sit down and create a character out of thin air. Only thing is, you want to break the mold—no happy endings for this guy or gal. Congratulations! You’re writing a tragic character.
But what is a tragic character?
This video from The Take takes a deep dive into what it takes to write a tragic character through a character study of Mad Men’s Betty Draper, played by January Jones. Check it out below:
Let’s take a look at what we can learn from this video:
If you’re shooting outdoors in poor weather, these rain hats could save your shoot.
We all know what to do to protect our cameras and lenses from the elements, but what do you do to protect your lighting equipment?
If you’re like a lot of filmmakers, you might try throwing tarps, visqueen, or even portable tents over your gear to keep it dry and safe from dust, dirt, and sand. But those things don’t always work and can overheat your equipment and/or melt and become a safety hazard.
Enter Rob’s Rain Hats. These things are flat, lightweight sheets of aircraft-grade aluminum alloy that you can mount to the tops of your lighting fixtures, ballasts, and distro boxes to keep them safe from the elements.
The Rain Hats range in size to cover a multitude of different lighting units, from huge 12, 18, 20Ks ($375) to small 400w Jokers ($256). You can order them now at Rob’s Rain Hats’ store.
A successful travel photographer recently announced that he would willingly give his photos to Starbucks to use on Instagram for free, as long as they weren’t marketing a product. I was so shocked that I almost spat out my coffee.
The International Cinematographers Guild (ICG, IATSE Local 600) is undergoing major staff changes in both their Western and Eastern Region offices, which was announced yesterday by National Executive Director Rebecca Rhine. Alexander Tonisson, a 14-year veteran of the labor movement, has been hired as the Guild’s new Western Region Director. Alex is accomplished in program […]
With the amount of data created, captured or replicated across the globe rising to 175 zettabytes by 2025, Seagate announces its 16TB hard drives, robust solutions for creative professionals.
SSDs are great, in the different shapes and forms they take today, but nothing beats HDDs, in terms of cost per megabyte. That explains why companies continue to develop HDD solutions, expanding not only features but also capacity. Seagate announced this month that the company has been actively shipping 16TB helium-based enterprise drives as part of the Exos X16 family, delivering high performance and record capacity for hyperscale data centers to efficiently and cost-effectively manage ever-increasing amounts of data.
The Seagate Exos X16 enterprise drive is designed for maximum storage capacity and the highest rack-space efficiency. Protected with Seagate Secure and delivering up to 16TB capacity, the Exos X16 delivers the greatest efficiencies and highest storage densities of the datasphere. You may think that the Exos X drive is exclusively for data centers and big enterprises but nomadic filmmaker Sam Kolder will probably change your opinion.
Exos X for filmmakers too
The Canadian moviemaker with 1 million Instagram followers adopted the Exos X so he could have all files in one Exos-powered system. Kolder and the team started using the 10TB version available as a data storage solution that would keep their footage safe during travels, allow them to access and process from anywhere in the world, and keep up with their fast-paced workflow and ever-increasing data storage needs.
Now Kolder and other professionals have the option to use a drive that almost doubles the capacity, with the new Exos X16 HDD, the world’s highest capacity 3.5-inch 7200 RPM drive designed to solve challenges by enabling hyperscale, datacenter, OEM and distribution channel businesses to maximize storage capacities, provide customer flexibility, and reduce complexity with uses in multiple workloads with increased I/O and enhanced caching capabilities.
175 zettabytes (ZB) of data by 2025
According to Seagate, the new Exos X16 16TB drive delivers 33 percent more petabytes per rack compared to 12TB drives while maintaining the same small footprint for a reduced overall total cost of ownership. Exos X16 offers built-in data protection, including Seagate Secure Instant Secure Erase for safe, affordable, fast, and easy drive retirement.
“The Exos X16 is key in reducing total cost of ownership for enterprise system developers and cloud data centers while supporting multiple applications with varying workloads,” said Sai Varanasi, vice president of product line marketing at Seagate Technology. “The Exos X16 is the industry’s leading helium-based 16TB capacity drive. We are partnering with our cloud/enterprise customers to bring this product to the market to fulfill the pent-up exabyte demand in data centers.”
The need for hyperscale, cloud, and NAS storage solutions continues to rise to unprecedented levels. According to a recent IDC whitepaper sponsored by Seagate, the Global Datasphere – the amount of data created, captured or replicated across the globe – will grow from 33 zettabytes (ZB) in 2018 to 175 ZB by 2025. Seagate’s Exos X16 hard drive delivers the highest storage density available with the field-proven reliability and continuous high performance to support a broad range of workload requirements and high-availability use cases.
Protecting footage with IronWolf
The new 16TB helium-based enterprise drives of the Exos X16 family are not the only new HDD solutions introduced this month. Seagate also updated the IronWolf and IronWolf Pro Network Attached Storage (NAS) drive lines with new 16TB capacity models, built for multi-user NAS environments and supporting workloads up to 300TB/year. IronWolf is, according to Seagate, the ideal drive for home and small office NAS systems that deliver performance, low noise and low power consumption, making it efficient for everyday use such as back up, remote access and file sharing. IronWolf Pro drives are robust for NAS that operate in creative pro and small-medium business environments that demand heavy workloads to support their data needs.
The company points to one example: commercial wedding photographer and videographer Justin Wojtczak, who deals with a great deal of irreplaceable data. Since photos and videos of weddings cannot be reshot, protecting footage is of utmost importance to Wojtczak and his company 375 Photography. For the important job of protecting data, he turns to the Seagate IronWolf NAS drive.
The Exos X16 16TB HDD costs $629 and is available now. The Iron Wolf 16TB and IronWolf Pro 16TB will cost $609 and $664, respectively, when available.
For more information on the new Seagate Exos X16, IronWolf 16TB, IronWolf Pro 16TB and other Seagate products, visit the company’s website.
The post Exos X16, Iron Wolf and Iron Wolf Pro: Seagate introduces the first 16TB HDDs appeared first on ProVideo Coalition.
The National Coalition Against Censorship (NCAC) has announced that Facebook will ‘reconsider’ its policies related to ‘artistic nudity’ following a large nude photo shoot that took place in front of the company’s NYC headquarters. In April, the NCAC launched the #WeTheNipple campaign that called out Facebook and Instagram over its nudity policies.
‘Social media has dramatically increased artists’ ability to reach–and build–their audiences,’ the NCAC said as part of its campaign. ‘Unless their medium is photography and their subject is the body.’
On its current policy page detailing the subject matter, Facebook states, ‘Our nudity policies have become more nuanced over time.’ In providing an example of this ‘more nuanced’ approach, the company explains:
For example, while we restrict some images of female breasts that include the nipple, we allow other images, including those depicting acts of protest, women actively engaged in breast-feeding, and photos of post-mastectomy scarring. We also allow photographs of paintings, sculptures, and other art that depicts nude figures.
At this time, Facebook explicitly bans images that feature ‘real nude adults’ across a variety of categories. An exception is made for images that feature nude figures in ‘paintings, sculptures, and other art,’ but critics point out that the social network has repeatedly removed artistic images depicting nudity in the past.
On June 2, American photographer Spencer Tunick, who has a long history of organizing large nude photo shoots, captured artistic images of 125 people posed nude in front of Facebook’s New York City headquarters. The images, which have been shared on Instagram (probably NSFW), feature nude participants using ‘male nipple stickers’ and prints to cover the parts of their bodies prohibited from display by Facebook’s nudity policy.
According to NCAC, Facebook’s policy team will convene a group of its employees and stakeholders, among them being artists, museum curators, and activists, and explore ‘how to better serve’ the artists on its platform. The NCAC says it will be collaborating with Facebook on convening this group in order to make sure its policy ‘is well-formed by external experts and perspectives.’
Drones these days often feature mechanical gimbals to stabilize their cameras while in flight. But long before consumer drones exploded onto the scene, birds were already taking to the skies with impressive built-in image stabilization.
Designer and wildlife photographer Anthony Roberts was shooting with his Canon 5D Mark IV and his 100-400mm image stabilized lens at South Stack on the UK island of Anglesey when he captured some neat footage of a male kestrel hunting in strong winds.
Just look at that head stabilisation! Male kestrel hunting at South Stack, Anglesey yesterday. pic.twitter.com/z1KKrvPR8S
— Anthony Roberts (@ZedAnthony) June 6, 2019
“Just look at that head stabilisation!” Roberts writes, marveling at the bird’s ability to keep its head in the same spot while looking down in search of prey.
It looks like he’s just falling forwards at the same speed, don’t think he used any thrust. It was pretty breezy too, I guess about 20 to 25 mph. Gusting stronger. Very impressive.
— Anthony Roberts (@ZedAnthony) June 6, 2019
Kodak Alaris has given a boost to those waiting for newly resurrected Ektachrome E100 to be introduced in formats larger than 35mm with an announcement that it will be testing a new coating process at the end of next month to make roll film. The company has said in the past that the process for coating 35mm film and 120 roll and sheet films is different and that the method used to make the initial reintroduced format isn’t the same as that needed for wider formats.
Kodak Alaris said directly then that it was very likely that medium format and sheet film sizes of the color transparency film would be made available, and has since confirmed that 120 and sheet films will be made this year.
View this post on Instagram
We know you’re anxiously awaiting the arrival of larger format Ektachrome E100 Films. We are diligently working on bringing them to market, with a wide coating trial of the 120 format film planned for late July! Photo of Pei Ketron @pketron Photo by @jonblack___ #ektachrome #e100 #kodakprofessional #believeinfilm
In recent posts on its Kodak Professional social media accounts, Kodak Alaris has said directly that it will be testing coating processes for 120 roll film, saying ‘We know you’re anxiously awaiting the arrival of larger format Ektachrome E100 Films. We are diligently working on bringing them to market, with a wide coating trial of the 120 format film planned for late July.’
The posts are accompanied by a picture of a girl holding a Pentax 67 medium format camera, but which was shot as part of an early trial of the 35mm format version of the film. The side of the picture is marked ‘Ektachrome 100 in 120?’
We shall have to wait and see. The company’s T-Max, Portra and Ektar emulsions are already available in sheet formats, but to special order. For more information on Kodak films see the Kodak website and the Kodak Professional Ektachrome E100 technical data sheet.