How to Pay Off Your Film School Student Debt FAST! Student debt is a serious problem in the world today. It has become the #1 form of debt in the world, surpassing credit cards. Film students have it pretty rough in general but when it comes to student debt it downright abusive. They come out…
If you’ve been following entertainment news this month, you probably heard about David Benioff and D.B. Weiss signing a huge overall deal at Netflix.
The Emmy-winning writers and showrunners were courted heavily over the summer and they finally landed a $250 million deal at Netflix. Over the next five years, they’ll be creating new TV and films for the streamer. Netflix is probably hoping to be the home of the next major cultural TV moment, just like Game of Thrones was for HBO.
But Benioff and Weiss have a prior commitment. In 2018, they were tapped to write and produce a trilogy of Star Wars films for Disney, to be released starting in 2022. So what does this new Netflix deal mean for the movies?
The Boys is Amazon’s breakout hit show. But how does a show about revenge and nihilism get so many viewers?
We’re in a state of superhero glut and I kind of love it. As a kid who grew up reading comic books, watching the cultural embrace of my passion has been one of my greatest joys.
Superheroes are about the best of us. What humanity can be if they have hope, justice, and a moral compass?
So why do I like The Boys so much?
The Boys is about how much corruption is worked into absolute power. It’s about the perversion and sale of the American dream, and the corporate payouts that play into having people taking care of us at all times.
Check out this teaser from Amazon with a Behind the Scenes look at the show.
Hold on to your butts: The Second Generation 360 Camera may be rebranded.
If a series of leaked images are any indication, we’re about to get a new GoPro Hero8, plus a redesigned 360 camera with a new name. But will these new action cameras be a serious redesign with innovations, or just another dot upgrade? It’s a more competitive field now with DJI in the mix, so GoPro‘s next generation camera has to be a serious answer.
Following JinniTech’s strategy, Apple is likely to use the same arguments pertaining to Raw patents
One thing I hate about the great amount of technology that has exploded on our scene in the last 15 years, is that litigation usually walks hand in hand with innovation.
And all too often, it’s Apple that’s in the center of it.
So when the news broke today that Apple was suing RED and requesting that the courts invalidate their patents over ProRes RAW, was anyone really that surprised? And the interesting part is, it may not have happened without the chaos caused by JinniTech’s Jihad over RED’s proprietary technology status.
The news broke over at EOSHD, which looks to have gotten ahold of the lawsuit filed in Federal Court by Apple’s lawyers against RED. In the lawsuit, Apple states that it had engaged the services of British imaging scientist Cliff Reader, to demonstrate that RED’s Raw patent protection claim was indeed “unpatentable” and that U.S. Patent No. 9,245,314 should be invalidated.
Apple filed two petitions with the US Patent Office that RED’s Rawcode patent for recording RAW internally is invalid and not patentable. The story was broke by EOSHD.com today. I’m no lawyer but I do know Apple is a huge company and if they want to use Raw for internal recording or stretch ProRes Raw … Continued
It’s that time of year where the kids are once again getting up earlier than they want, breakfasts are fast, buses are waiting on and learning begins anew. What better reason than that for a new Useful Tools for Editors?
First a little note on this series … I find these tools all over the place. Some are things I come across on my own, some are recommended to me, some are found via the ‘net and all the various social media, message boards and forums posts one might encounter in life. Some are things I use regularly. Some are things I have tried and either don’t want to do a full review or are things that are cool but I don’t think warrant a full review. Some are things I’d never use myself but they look useful enough someone else might find them useful. And some are probably crap but one would never know until that actually use them so buyer beware. Whatever the case I appreciate the developers taking time to make them, the readers taking time to try and maybe buy them, and all the fellow editors and post-production people out there who are also finding them.
Now on to some Useful Tools!
A new set of audio maintenance and repair plug-ins is the Accusonus ERA4 bundle. These plug-ins cover most all of the common audio issues you might encounter while editing and help fix ’em. Included in the $149 Standard Bundle is: Noise Remover, Reverb Remover, De-Esser, Plosive Remover, Voice Leveler and De-Clipper.
We covered the announcement of these tools on PVC and I’ve had a chance to work with them a time or two and I really like them. They are designed for simplicity and feature a single knob as the primary control. IMHO this makes it perfect for video editors who don’t want to dig deep into confusing settings that often only yield marginally better results. How much is your time worth?
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There is also a $499 Pro Bundle that adds De-Esser Pro and ERA-D which is for “deep and sophisticated denoise and dereverberation.” It’s interesting to read some of the details about the products on the Accusonus site as they definitely have some technology behind the tools. If you’re interested they do have a full featured free trial available and the plug-ins work in most all the video editing tools you might use. For further reading about them check out Oliver Peter’s review as it’s nice and in-depth and really all you need to know!
Do you work with image sequences? Then $94 Ramma might be for you as it’s “designed to take the pain out of finding problems when working with image sequences of animation or video.” That might seem like a simple thing but if you’ve ever had to troubleshoot an image sequence to find the bad frame then you might be on board with what Ramma can do for you.
One thing I’ve always loved about doing Useful Tools for Editors is that I often find a ton of other useful tools from developers that I explore. The creator of Ramma also makes Faera. It’s an app for your iOS or Android device that is “for screen replacement vfx with minimal design intrusion.” The image below from the developer’s site is all you need to see to understand what it does.
There are a number of options to customize the screen replacement color and markers. For $15 downloaded via the mobile app stores, it’s yours.
You may already have the useful Final Cut Library Manager (which has a free and paid version) but if you want a simplified way to take control of bloated Final Cut Pro X Libraries spend a couple of bucks on FCPX Diet. It’s noted as being for archiving and will easily delete renders, transcodes, analysis files and … uhhh …. original media. You probably want to be extra careful with that last one but there is also an option to archive external to the Library.
NLEs these days all create a ton of supporting analysis and cache files. I like how there are quite a few FCPX tools designed to tame them. I wish we could get something similar for Adobe Premiere Pro. Like anything though that reaches into the many files an app creates to support what it does be aware of what you’re doing and backup before doing anything destructive!
If you feel you must mark the beats on a Final Cut Pro X audio clip then give BeatMark X a try. At just a few bucks it’s another low cost tool that could same some serious time if you like to mark beats.
BeatMark X uses XML to interchange with FCPX. Is there anything XML can’t do? If you’re a Premiere user you can also mark beats in there too. Personally, I don’t do any kind of auto-beat marking but if you need to it’s there!
Another neat little FCPX tool is FXBOOMERANG that will take an XML and then list “audio and video effects, transform, crop, distortion, stabilization, rolling shutter, automatic adjustment (EQ, loudness, hum reduction), LUT, clips formats different from Timeline format (frame rate and size), conformed clips (ex: 24p in a 25p Timeline), speed effects, compositing ( opacity for example), spatial adaptation (fill or none), muted clips (with V key), audio level at -96dB.” That’s most of the data you might have about the timeline! It will even list these items in multicam, synchronized and compound clips. Yet more power from the XML.
If you need some help grouping a complex sync map with Avid Media Composer (and you’re not using the latest Avid update) then Acme Tools Grouper might be just the tool for you. Acme Tools Grouper does its thing by taking an AAF of a sequence and creates a grouped sequence out of that you then import back into Avid via a new, downloaded AAF. If that sounds a whole lot like GroupItForMe.com then you’re onto something as it’s virtually the same thing as far as I can tell. GroupItForMe has a patent pending note on their website so we’ll see what comes of this. In the meantime, here’s how to use Acme’s version:
When it comes to attribution here’s what they say on the Yellowstone website about the sounds: “They may be downloaded and used without limitation; however, please credit the “National Park Service ” where appropriate.”
There is also a video library of some really nice wildlife and sights around the park. They too can be downloaded for free as an H264 mp4.
For FCPX/After Effects users, Trickster is the most useful tool I’ve come acress in a long, long time. It puts recently modified files/apps/whatever at your fingertips, making mundane tasks like importing from AE to FCPX a breeze. pic.twitter.com/PrjH3u6EvH
Weddings are a nonstop whirlwind of technical and creative challenges, and the more knowledge and tricks you can have for both categories, the better. This awesome video follows a photographer behind the scenes at a wedding and focuses on his use of off camera flash to help you learn how to quickly and effectively turn dull and drab lighting into professional images no matter where you’re shooting.
Booking clients is easy once you understand how you can be their solution. If a potential client made it from a search engine to your “About Me” page, they’ve somehow pre-qualified themselves as a client.
The new Blackmagic Pocket Cinema Camera 6K has landed. It offers (up to) 6K resolution, a Super 35 sensor, and a Canon EF mount. Aside from those changes, what are the main differences (or similarities) between this one and the older Pocket Cinema 4K? In case you are already a proud owner of the 4K version, will it make sense to upgrade? In the above video and in this article I’ve tried to answer this question.
BMPCC 6K (Left) VS BMPCC 4K (Right)
Blackmagic Design, the company who engraved on its flag to cater us, the filmmakers, with high quality “on the budget” tools for filming/editing and postproduction, has done it again by delivering a camera that obviously managed to stir our swamp. Personally, in all my cinema5D years, I haven’t seen such a phenomenon where people endorse a camera so fast. Probably Blackmagic Design did something right. Apparently, when it comes to “value for money”, people are more forgiving when some (important) features are missing. But for now, let’s leave usability aside as this is not the essence of this article.
8Sinn cage. Perfect fit
Stay Tune – Three Parts Continues Coverage
As this camera proved to be of great interest for many, we’ve decided to dedicate the extra time to review it inside out. Here in part one, I’m talking about how the new camera compares to the older BMPCC 4K. The second part, which I took the new BMPCC 6K for a short spin and shot a short documentary with it, will see the day of light early next week. The third part is a bit more technical. Gunther, my colleague, will conduct aDynamic Range, Latitude and Rolling shutter tests during next week. Of course, we will share our results with you guys as soon as we have them ready.
EF Mount VS Micro Forth Third Mount
BMPCC 6K vs. BMPCC 4K – The Differences
Let me start from the obvious… Unlike its 4K brother (or is it sister?), the new 6K camera can be used for filming in up to 6K resolution in different frame rates. The nice thing is, that even when filming in the highest resolution and codec, a fast SD card can still be used for convenient internal recording. (BM RAW 3:1, 6144 x 3456. We heartily recommend using Angelbird V90 cards. They are fast and reliable). Mind you that this will work when filming in 24/25p. If your wish is to film in 50/60p, CFast 2.0 cards will become your best friend. Both cards options are rather limited when it comes to capacity, so a feasible solution will be to use an external SSD. Again, I can recommend using Angelbird as I’m yet to be disappointed with their media quality or, customer service. (Wish the same could have been said about Lexar. What a horrible customer service experience. NEVER again!).
By the way, speaking of resolution, mind you that recording in 6K is available in Blackmagic RAW codec only. (4K can be recorded in ProRes). I guess Blackmagic design wanting people to convert and use their DaVinci resolve platform for the purpose of editing.
Unlike its sister (or is it brother?), the sensor inside this camera is larger than the one found inside its 4K sibling. (Super 35 vs. Micro Four Third). In fact, it is a little bit smaller than other S35 sensors, especially those made by Canon, but who are we be too so picky…
In general, the advantages of having a larger sensor are a wider field of view, easily manipulating depth of filed and, depending on the sensor pixel count (and pixels size), better lowlight capability.
Active Canon EF Mount:
BMPCC 4K has a Micro Four Third lens mount. The new BMPCC 6K is now equipped with an EF lens mount. It’s absolutely legit to ask if Blackmagic did the right choice here, but in all honesty, I do understand why they went this way. The good thing, it’s time to air brush some dusty EF mount lenses. I thought I’ll never use them again… The less good thing, any other modern mount could have taken this camera to a different level when it comes to lens usage flexibility (shorter flange, bigger chance for adaptivity). In a way, that’s where the older BMPCC 4K shines. The MFT mount is very adaptable. Throw a Metabones Speed Booster EF to MFT ULTRA 0.71X on it and bang, your field of view becomes wider (even more than the one found in the new camera), and on top, you gain one stop of light.
As a result of using the EF mount on the new BMPCC 6K camera, NOT all cages suited to the 4K model will fit. We can confirm that 8Sin and SmallRig cages will. In regards to Tilta’s cage, “as is”, the cage WILL NOT fit. With a little adjustment that forces one to move the front nose part (“Tilta’s logo”) and the very small rubber band under it, it will fit, BUT it will also be VERY tight and can cause some scratches to the camera body itself.
Up to 21.2MP still image capture. This is an improvement over the 8MP the BMPCC 4K offered. Will test this feature when in the field.
BMPCC 6K is $2,495 and the BMPCC 4K is $1,295. No doubt that both camera prices are fair, yet, it is a difference that should be mentioned.
Same Inputs and Outputs
BMPCC 6K vs. BMPCC 4K – The Similarities
Where to start. Both cameras share so much together. Excellent OS (The best in the industry to my taste), color science, 1920 x 1080 touchscreen 5″ LCD, buttons layout, general camera body structure (but the upper EF mount and lower ventilation ribs). Inputs/outputs, power options. Even the battery life is almost the same. The advantage goes to the new 6K camera as it was running about 6 minutes longer… (Yehhh). When it comes to autofocus performance, both cameras showed inconsistency, so each did a bit better on a different round (long story short, both behaved the same). Weight-wise, the BMCC 6K is 168g heavier. I guess I can live with this… When it comes to low light, I’ll try and take a closer look, but for now, it looks as if both are performing in a similar way. Dual native ISO values are the same, the cleanest image should be obtained when using ISO 400 and ISO 3200. Last but not least, even the rolling shutter effect seems to be visually similar. As I wrote before, we will test and come up with a number soon.
Both, the old BMPCC 4K and new BMPCC 6K are very efficient filming devices. At the end of the day, it really depends on your needs and budget. I guess if I was a BMPCC 4K owner, I wouldn’t rush to replace my camera, while if I was in the market for purchasing a new capable device, the BMPCC 6K would certainly be a candidate to capture the top of my list.
Music for the above video is courtesy of MusicVine. Get 25% off your next music license with code C5D25 (valid for one use per customer).
If you are an owner of the BMPCC 4K, please share with us your thoughts. Did it cross your mind to change your beloved 4K camera? If yes, did you pull the trigger? I’m genuinely interested to know why.
Hong Kong-based company Meike has launched new Canon RF and Nikon Z mount options for its full-frame 85mm F2.8 macro lens. The lens — which is currently available in Sony E, Fuji X, MFT, Canon EF and Nikon F mount systems — is a manual macro lens with an F2.8 to F22 aperture, 55mm filter size, 0 to 1.5x magnification, and 25cm (9in) minimum focusing distance.
The lens is constructed of 11 elements in 8 groups and comes in at just 500g (1.1bs). Like its previous full-frame counterparts, the is features an all-metal body alongside three manual adjustment rings for focus, macro focus, and aperture.
The 85mm F2.8 macro lens for Nikon Z and Canon RF is currently listed on the Meike website. No pricing information is available for these two new models, but the current versions currently retail for $269.99.
The Laowa 4mm f/2.8 fisheye lens is a new manual prime lens for Micro four thirds from Venus Optics. It offers extremely wide FOV (8mm full-frame equivalent) and can be used to create circular fisheye images, VR 360 content, or very wide shots even with additional crop (for example the windowed slow-motion mode with the BMPCC 4K). The lens is available now for pre-order.
Laowa 4mm f/2.8 Fisheye MFT Lens.
The Chinese lens company Venus Optics specializes in unique manual lenses. I feel like most of their products are somewhat unique and they are filling the holes in the lens market. They announced and teased a couple of new ultra-wide angle lenses during Photokina 2018. Among these lenses, there was also the Laowa 4mm f/2.8 fisheye lens for Micro Four Thirds (MFT, M4/3) lens mount. The development of this lens has now been finalized and it is ready for pre-order. What are its specs and features?
Laowa 4mm f/2.8 Fisheye MFT Lens
Laowa 4mm f/2.8 fisheye (8mm full-frame focal length equivalent) lens features an extremely wide 210° field of view, so it can create a circular fisheye perspective on Micro Four Thirds (MFT, M4/3) cameras. The lens is very small and lightweight – 4.8 oz (135 g). There is no way of using an ND filter with this lens, of course, so for the right motion blur when filming in bright conditions the iris will need to be fairly closed.
Laowa 4mm f/2.8 Fisheye MFT Lens.
I have to say from the sample images, that even wide open at f/2.8 this lens is quite sharp. Laowa never stops to amaze me in this regard. The sharpness is even better when stopping down the iris a bit and it is very good in the corners as well. This would be very useful when de-fishing the image or cropping out the center part for an ultra-wide angle shot.
Laowa 4mm f/2.8 Fisheye MFT Lens is quite sharp even at the edges.
The 3.1″ (80mm) closest focus distance (object to the sensor) is also quite impressive and it can help create some interesting compositions with blurred background. The distortion is obviously massive, but I believe that anyone who will use this lens will not be surprised by that. The images can also be de-fished to get ultra-wide angle shots. The sharpness of the 4mm helps to retain a clear image after the de-fishing process.
Why do I need an Ultra-wide Circular Fisheye Lens?
This lens can be useful for various applications:
360 VR content: Thanks to its wide FOV, it is good for creating VR 360 content. Creating a full 360º panorama is easier using a maximum of 2-3 images as opposed to shooting 6 images or more with conventional fisheye lenses.
Extremely wide circular shots: Obviously, sometimes it can be useful to create wide-angle “little-planet-like” images with black borders. Thanks to its low weight, the lens can be mounted on DJI Inspire X5 camera as well for creating a unique perspective.
Blackmagic Pocket Cinema Camera 4K HFR HD Crop mode: With the slow-motion mode of the BMPCC 4K there is additional crop. When using Laowa 4mm lens, the whole area of the image is covered and the footage will look like a regular fisheye lens. No other lens can get such a wide-angle slow motion out of the BMPCC 4K.
Laowa 4mm Fisheye Lens with the BMPCC 4K HFR crop mode.
Here’s a creative technique to add to your bag of tricks. In this 9.5-minute video, we’ll show you from start to finish how we took an ordinary scene and turned it into to go from day to night in one single exposure, in-camera.
Full disclosure: We want to thank Profoto for sponsoring this video and making it possible to create these incredible pieces of free education for photographers worldwide.
Before we jump into this tutorial, I want to mention the source of inspiration for this shot. Years prior, I saw this photograph on Sam Hurd’s Instagram and later found out he even taught this technique on his Patreon.
What’s funny to me is how his image stuck with me for years. One day in downtown Los Angeles while filming for the SLR Lounge workshop Lighting 3, I came to a scene where I thought, “man, this would be a perfect spot to split the scene into day vs night.” At that moment, I realized an image I’d seen Sam capture a long while back was still in my mind. At the end of this article/video, I’ll share a little message with you all, but for now, let’s get to the shot.
Before we walk you through the steps on how to capture this image, let’s discuss the gear you’ll need to make this shot happen in one single exposure:
Now, let’s walk through the setup using the acronym we devised for our Lighting 3 workshop that’s going to help really dial in the vision for this image: C.A.M.P.:
Composition: What do we want our scene to look like? Where do we want the camera to be? What’s the angle? What do we want our subjects to be doing?
Ambient Light Exposure: Choose the intention of the scene. Do we want a dramatic image (darkening the ambient light and using more flash) or do we want a softer image (brightening the ambient light and using a more natural power of flash)?
Modify/Add Light: Are your subjects visible in the frame or do they need to be chiseled out? Do you need to add an additional light source?
Pose & Photograph: Take your shot!
The reason why we created this was to try and establish the importance of thinking before doing. Before you even pick up your camera or touching your flashes, run through our C.A.M.P. framework and simplify your lighting process. Here’s how this shot broke down into 4 simple steps:
1. Decide On Your Composition
I immediately saw the leading lines created from the dots on the floor and my first instinct was to place our couple, BC and Taylor, in a position that would lead directly into them. I had them sit on either side of the center divider already knowing that that would stand as the partition for my night to day transition. I then had them hold hands over the center but look in opposite directions.
I placed the ND filter onto BC’s side to create a more dramatic/nighttime half of the image while keeping Taylor on the brighter/daytime side for a softer look. I then realized I would need a tripod to make this shot happen because holding the filter in front of my lens while balancing the Canon EOS R and Canon 28-70 f/2 is no easy task. It also comes in handy later because I needed to create a plate shot to composite out the flash to camera left, but more on that in a bit.
2. Dial-In Your Desired Ambient Light Exposure
This shot is rather unique when it comes to dialing in the perfect exposure simply because we are creating 2 different exposures: the right side of the frame needs to be just bright enough to ensure we aren’t losing details in the highlights, and the left side needs to be bright enough so that we aren’t losing details in the shadows because we are going to use that 4 stop ND filter over the frame.
I first set my camera to ISO 100, f/4, at 1/200th of a second to arrive at my first test shot for Taylor’s side of the frame (on the right). What you see above is that exposure, which is nice, but when I brought the ND filter over the left side of the frame and realized that 4 stops brought my ambient light on the left down too much, causing us to lose information in the shadows. I had some room to push the exposure on the right so I raised the ISO to 200 which kept the right side of the frame bright without blowing anything out while maintaining the drama on the left. This was the final ambient light exposure:
3. Modify/Add-In Off-Camera Light
Now that we’ve dialed in our ambient light exposure, we can see that BC is getting lost in the left side of the frame because of the ND filter. The first light that we start with is our main light — a Profoto A1 with a Grid and CTO Gel — (the flash that will light up BC’s face) placed to his right and a slightly behind his body. This light is firing at 8.0–9.0 power, which is around 1/2 or 1/4 w/s on a standard speedlight. We want this light to act as a spotlight on his face and body while still maintaining our shadows.
Next, we place a second light mainly for effect. My thought here was that if the sun were actually setting behind the scene, it might be reflecting off the street and coming into the frame. So we placed a second Profoto A1 with a CTO Gel sitting on the ground aimed at an upward angle. When working through the C.A.M.P. framework, always start with one light and then add as you go if necessary.
4. Pose, Direct, Shoot!
I wanted their expressions to be a bit more stoic since they were looking off in opposite directions. I placed the ND in front of the left side of the frame and ended up with this final shot:
And this is when my handy dandy tripod comes into play. You can clearly still see my main light on a stand in the left corner of the frame. This serves as my main shot with my subjects lit the way I want them to look in the final photo. I then asked my assistant to remove both lights and asked my couple to step out of the frame to get my plate shot. Once we drop these into Lightroom, we process both images the same way, open them in Photoshop, align the layers and place a Mask over one of the images and paint out the light stand. Working on a tripod, this process literally takes 5 seconds as you’ll see in the video tutorial.
You can see two different versions of the image here, one processed with more warmth while the other has a cooler tone to juxtapose the warmth from the lights.
Conclusion and Message
I wanted to leave you all with this message. It was Sam’s image that inspired me to get out there and play and try to put my own spin on this awesome technique. All of us are inspired by other photographers and artists around us in the industry. Stop being shy about sharing your sources of inspiration.
There is obviously a clear difference between downright plagiarizing someone’s work versus drawing inspiration from it. If you are a new photographer, don’t be afraid to credit the sources that inspire you. As an artist, it is wonderful to see that other people create ideas from the work that we create.
If you’re an established professional at the top of your game who refuses to credit your sources of inspiration, then maybe it’s worth thinking about why you’re afraid to do so.
P.S. If you enjoyed this tutorial make sure you check out more from SLR Lounge‘s location lighting series Lighting 3 and more of our photography education in our Premium membership.
About the author: Pye Jirsa is a wedding photographer based in Southern California and the co-founder of SLR Lounge. The opinions expressed in this article are solely those of the author. You can find more of Jirsa’s work here. This article was also published here.
What do oversize truck tailpipes, paleolithic sculpture, and the vibrancy slider have in common? And what might they have to do with helping us create more engaging photographs? Why do some abstract paintings move you and others don’t? Why should we react to an abstract work of art at all?
Chinese company Z Cam has launched its new full-frame 6K E2-F6 and full-frame 8K E2-F8 cinema cameras for preorder. The models, which were first introduced during NAB 2019, follow the previously launched E2 4K, offering consumers budget-tier high-resolution versions of the company’s professional cinema camera. Both models will start shipping in October.
The Z Cam E2-F6 and E2-F8 are cube-shaped cinema cameras sold without accessories, making the total cost to set up a fully workable cinema camera higher than the models’ respective $4,995 USD and $5,995 USD prices. Both the E2-F6 and E2-F8 are available with EF / PL lens mounts, and both models likewise feature Gigabit Ethernet connectivity, ZRAW support and full-frame CMOS sensors.
The E2-F6 model can shoot 4K / 120fps and 6K / 60fps footage with 15 stops of dynamic range, whereas the E2-F8 model can shoot 4K/6K/8K at 30fps with 14 stops of dynamic range. Both models feature 5G and 802.11n WiFi with an external antenna port, built-in stereo microphone, 3.5mm audio-in and audio-out stereo jacks, HDMI 2.0 Type-A, USB-C, two serial ports and aluminum alloy construction.
The E2-F6 is slightly smaller than the E2-F8 at 91.2 x 99.2 x 89.1mm (3.5 x 3.9 x 3.5in) versus 91.2 x 99.2 x 99.1mm (3.5 x 3.9 x 3.9in) — the company hasn’t disclosed the weight of either camera model. Both models can record in 8-bit H.264 and 10-bit H.265 with a max 300Mbps bit rate and 24-bit 48kHz audio. Likewise, both models are compatible with Sony NP-F series batteries, but they’re not included with the cameras.
The District 9 director announced via his Twitter late last night that he will be departing MGM’s RoboCop sequel due to scheduling conflicts. Blomkamp is hard at work on another horror/thriller, but MGM wants their robot hero back immediately.
This news comes about a year after Blomkamp was first hired to helm the film. The planned sequel uses a script by RoboCop writers Ed Neumeier and Michael Miner, with rewrites from Justin Rhodes. This screenplay, written in the 1980s, was originally conceived as a sequel to the 1987 film, but never happened.
Of course, RoboCop has had sequels, video games, and TV adaptations already, as well as a poorly received 2014 remake. RoboCop Returns was reportedly going to wipe the slate clean and ignore all the other films, much like 2018’s Halloween.