RED RANGER HELIUM and GEMINI now available to buy

RED has announced that the HELIUM 8K S35 and GEMINI 5K S35 sensors will be incorporated into the RED RANGER camera ecosystem. These two new alternatives create a robust lineup for creators who prefer an integrated, all-in-one system. This is an interesting move from RED. The RED RANGER MONSTRO 8K was announced earlier in the … Continued

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FUJIFILM 30TB LTO Ultrium8 Data Cartridge (LTO-8)

FUJIFILM has launched the LTO Ultrium8 Data Cartridge (LTO-8). The LTO-8 will allow for backup and archive of large-capacity data. The amount of data generated worldwide has exponentially increased in recent years with the increased demand for higher resolution RAW video. “Cold-data,” which is the term used for data that was generated a long time … Continued

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FUFIFILM 30TB LTO Ultrium8 Data Cartridge (LTO-8)

FUJIFILM has launched the LTO Ultrium8 Data Cartridge (LTO-8). The LTO-8 will allow for backup and archive of large-capacity data. The amount of data generated worldwide has exponentially increased in recent years with the increased demand for higher resolution RAW video. “Cold-data,” which is the term used for data that was generated a long time … Continued

The post FUFIFILM 30TB LTO Ultrium8 Data Cartridge (LTO-8) appeared first on Newsshooter.

RED RANGER camera ecosystem gets Helium and Gemini sensors

RED RANGER camera ecosystem gets Helium and Gemini sensors

With the addition of the two sensors to the RED RANGER camera ecosystem, RED Digital Cinema caters to those users who prefer an integrated, all-in-one system to the more modular RED DSMC2 camera.

The RANGER HELIUM 8K S35 and RANGER GEMINI 5K S35 is available now via RED’s global network of resellers, participating rental houses, and directly through RED. The two new alternatives now announced create a robust lineup, says RED, for creators who prefer an integrated, all-in-one system to the more modular RED DSMC2 camera. The cameras will be on display for the first time at IBC in the RED meeting room on the fourth floor of the Elicium at the RAI Amsterdam, from September 13-17.

Designed to meet the needs of high-end productions, the RED RANGER MONSTRO 8K VV has been well received by cinematographers since its launch earlier this year, and remains a rental house-only product, according to RED Digital Cinema.

Three sensor variants

The company says that all three sensor variants of the RED RANGER camera system include the same benefits of the compact, standardized camera body, weighing around 7.5 pounds (depending on battery). The system can also handle heavy-duty power sources to satisfy power-hungry configurations, and boasts a large fan for quiet, more efficient temperature management.

The RED RANGER camera system consists of three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap; integrated 5-pin XLR stereo audio input (line/mic/+48V selectable); as well as genlock, timecode, USB, and control. Both V-Lock and Gold Mount battery options are supported.

As with all current RED cameras, the RANGER can simultaneously record REDCODE RAW plus Apple ProRes or AVID DNxHD or DNxHR at up to 300 MB/s write speeds. It also features RED’s end-to-end color management and post workflow with the enhanced image processing pipeline (IPP2).

RED now offers two separate but equally robust product lineups that give content creators more creative choices. The DSMC2 ecosystem continues to provide the most dynamic and modular cinema camera for users who value maximum flexibility, allowing their imaginations to run wild with configuration options. RED RANGER is the perfect option for those that prefer a less complex and more standardized alternative.

RED RANGER camera ecosystem gets Helium and Gemini sensors

Feedback from customers

“In collaboration with rental houses to bring the RANGER MONSTRO to market, we have heard great feedback from customers, inspiring these two new variants,” said RED Digital Cinema President Jarred Land. “We’re excited to offer the RANGER line-up to a wider variety of professional productions and look forward to seeing the amazing images that are created.”

RANGER HELIUM and RANGER GEMINI ship complete with:

  • New Production Top Handle
  • Shimmed PL Mount
  • New LCD/EVF Adaptor D with improved cable routing when used on the left side of the camera
  • New 24V AC power adaptor with 3-pin 24V XLR power cable, which can also be used with 24V block batteries
  • Lens mount shim pack
  • Compatible Hex and Torx tools

Additionally, RED plans to introduce Canon EF Mount versions of both RANGER HELIUM and RANGER GEMINI later this year.

Pricing for the two new variants is $29,950/€27,450/£24,750 for RANGER HELIUM and $24,950/€22,850/£20,650 for RANGER GEMINI.

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Apple’s Fall Event: What We’re Expecting and What We’re Hoping For

If the rumors are true, we expect the iPhone to have a third rear-facing camera.

Tomorrow is Apple Day, the semi-annual event where Tim Cook comes out and gets us to open our wallets yet again for a new iPhone.

But if the rumors are true, there’s going to be a heck of a lot more than just the next generation mobile device. Of course, with a redesigned camera and a new look, you can bet that it will still be the centerpiece.

We’ll be live-tweeting the event and following up with deep dives on everything we learn. For right now, we’re going to make some educated guesses and check back later to see what we got right.

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How Jennifer Kent Brought the Brutal Horror of ‘The Nightingale’ to Life

Jennifer Kent’s “The Nightingale” is a brutal, unforgiving reckoning with Australia’s colonial past.

The history of colonization is bloody, brutal, and unforgiving. Such is Jennifer Kent’sThe Nightingale. The film—Kent’s follow-up to The Babadook—is an unflinching moral reckoning with Australia’s past. Kent, who is Australian, has dramatized the violent British takeover of Tasmania in 1825, and the subsequent near-eradication of its indigenous population. But where another period piece might have looked for redemption or glorification of some kind, Kent is concerned with nothing but the cold, honest, harrowing truth: this slice of history was hell for both Aboriginals and the Irish prisoners who have been transported to the island for hard labor.

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How Well Do Bebob’s V Micro Batteries Stack Up Against the Big Boys?

We take Bebob’s small V Micro batteries for a ride to see how they fare in harsh conditions compared to larger, more robust power options.

German manufacturer Bebob has been pushing innovation in battery technology, recently pioneering the new B-mount 24v battery for ARRI LF cameras. Although their V Micro Batteries are not totally new (they became available last year), they are a relatively fresh approach to the standard form factor for camera batteries that we’ve all come to know. Most notably they are, obviously, much smaller than your traditional V-mount or Gold Mount camera batteries. This is a step forward.

After using these batteries for a couple of months and taking them through some harsh conditions, here are my impressions.

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What Does the Feather Mean in ‘Forrest Gump’?

Is life random? Predestined? Is there a point to any of it? Maybe. And maybe “Forrest Gump” has all the answers, too…

It’s been 25 years since Forrest Gump graced the silver screen. It was a complicated movie that addressed some of the most important events of the 20th century, as well as some of America’s biggest scars. The movie had a lot to say, but not all of its messages were overt.

I love looking at the motifs and themes in cinema because there is so much to glean. One of the first things that caught my eye when analyzing movies was the symbolism of the feather motif in Forrest Gump.

Today we’re going to talk about that feather, about life, taking chances, and why said feather should be an inspiration for you as you navigate your own filmmaking journey.

Check out this video from The Take and let’s talk more about it after!

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IBC 2019: Boris FX acquires SilhouetteFX and Digital Film Tools

Boris FX acquires SilhouetteFX and Digital Film Tools

Boris FX acquisition of SilhouetteFX (SFX) and Digital Film Tools (DFT) adds highly-specialized feature film rotoscoping, paint, and photo editing plug-ins to the Boris FX suite.

Boris FX, the leader in integrated VFX and workflow solutions for video and film, announced that the company has acquired SilhouetteFX (SFX) and Digital Film Tools (DFT). The two companies have a long history of developing tools used on Hollywood’s biggest blockbusters and deep industry experience collaborating closely with the world’s most renowned VFX studios including Weta Digital, Framestore, Technicolor, and Deluxe.

The new merger marks the third Boris FX acquisition in recent years following Imagineer Systems (2014), and GenArts (2016), and builds upon the most powerful creative editing, visual effects, and motion graphics solutions currently available to the film and television post-production industry. Silhouette and Digital Film Tools join Boris FX award-winning flagships Sapphire, Continuum, and Mocha Pro.

Silhouette’s groundbreaking non-destructive paint and advanced rotoscoping technology was recognized earlier this year by the Academy of Motion Pictures (Technical Achievement Award) for its continued and lasting contribution to the world of film. It first gained prominence after Weta Digital, the visual effects company founded by director Peter Jackson, used the rotoscoping tools on King Kong (2005). Now the full-fledged GPU-accelerated node-based compositing application features over one hundred VFX nodes and integrated Boris FX Mocha planar tracking. For the last fifteen years, top feature film artists have used Silhouette on record-breaking box office hits including Avatar (2009), The Hobbit (2012), Wonder Woman (2017), Avengers: End Game (2019), and Fast & Furious Presents: Hobbs & Shaw (2019).

Filters for Photoshop and DaVinci Resolve

Digital Film Tools (DFT) emerged as an off-shoot of a Los Angeles-based motion picture visual effects facility whose work included hundreds of feature films, commercials, and television shows. The team used their strong practical understanding of photography, film and video editing, and in particular visual effects, to design highly-specialized software.

The Digital Film Tools portfolio includes standalone applications as well as professional plug-in collections for photographers, filmmakers, editors, and colorists. The definitive digital toolbox contains hundreds of realistic filters for optical camera simulation, specialized lenses, film stocks and grain, lens flares, optical lab processes, color correction, keying, and compositing as well as natural light and photographic effects. DFT plug-ins support Adobe Photoshop, Lightroom, After Effects, and Premiere Pro; Apple Final Cut Pro X and Motion; Avid Media Composer; and OFX hosts including Foundry Nuke and Blackmagic DaVinci Resolve.

Boris FX acquires SilhouetteFX and Digital Film Tools

Solutions for film, video and photography

“This acquisition is a natural next step to our continued growth strategy and singular focus on delivering the most powerful VFX tools and plug-ins to the content creation market,” says Boris Yamnitsky, CEO & Founder, Boris FX. “Silhouette fits perfectly into our product line with superior paint and advanced roto tools that highly complement Mocha’s core strength in planar tracking and object removal. Rotoscoping, paint, digital makeup, and stereo conversion are some of the most time-consuming labor-intensive aspects of feature film post-production,” continues Yamnitsky. “Sharing technology and tools across all our products will make Silhouette even stronger as the leader in these tasks. Furthermore, the DFT product has developed a loyal following in the professional photography market as an incredible set of Photoshop plug-ins. We are very excited to be working with such an accomplished team and look forward to collaborating on new product offerings for photography, film, and video.”

Silhouette founders, Marco Paolini, Paul Miller, and Peter Moyer, will continue in their current leadership roles and partner with the Mocha product development team to collaborate on delivering next-generation tools. “By joining forces with Boris FX, we are not only dramatically expanding our team’s capabilities, but we are also joining a group of like-minded film industry pros to provide the best solutions and support to our customers,” says Marco Paolini, Product Designer. “The Mocha planar tracking option we currently license is extremely popular with Silhouette paint and roto artists, and more recently through OFX, we’ve added support for Sapphire plug-ins. Working together under the Boris FX umbrella is our next logical step and we are excited to add new features and continue advancing Silhouette for our user base.”

Preview Silhouette 2020 at IBC 2019

“Silhouette has been an essential tool for us for over 15 years,” says Matt Mueller, Head of Optical, Weta Digital. “It’s a robust feature-packed tool that allows us to continually add to the sophistication of our roto and paint capabilities. We’ve developed a deep partnership with them over the years and look forward to continuing that partnership in this exciting new era.” Digital Paint Lead, Eddie Soria, adds, “The hand-paint capabilities, the automated paint strokes and the smart integration with other apps, make it my everyday software for any paint shot we have to deliver at Weta Digital.”

Both Silhouette and Digital Film Tool plug-ins will continue to be developed and sold under the Boris FX brand. Silhouette will adopt the Boris FX commitment to agile development with annual releases, annual support, and subscription options.

Attendees visiting IBC, which takes place between September 13-17, 2019 in Amsterdam, will have the opportunity to meet the team from Boris FX and preview the upcoming Silhouette 2020 release, currently slated to ship October 2019. Boris FX can be found at IBC in Hall 7, Stand A65.

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“Deragh Had Never Skydived Before…” Five Questions for Writer/Director Kazik Radwanski about His TIFF-Premiering Anne at 13,000 Ft.

Overwhelming anxiety, bad workplaces and ill-advised self-medication are all very on-trend for 2019—Kazik Radwanski’s Anne at 13,000 Ft is right for the moment. A Torontonian child care worker at a government-run facility, Anne (Deragh Campbell) is the protagonist of a handheld drama whose initial energy is very in a post-Dardennes vein, with nervy-but-not-illegibly-jumpy camerawork following her. One way to add production value to your lowish-budget production is suggested by the opening, where Anne skydives out a plane as part of a bachelorette party (!). The footage is clearly unfaked and my nightmare; smartly intercutting between the build-up and her job, a […]

Deity introduces HD-TX transmitter with recorder built-in

The new Deity HD-TX transmitter is a packed audio product that looks like a stick mic transmitter but it’s a whole lot more. Not only can it transmit 24bit/48kHz uncompressed lossless signal it also records directly into the unit making it a portable audio record without sacrificing quality as it also records 24bit/48kHz uncompressed lossless. … Continued

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20 Years Ago Stanley Kubrick Tormented Tom Cruise to Create a Strange Classic

They don’t make ’em like this anymore… Why?

1999 was a big year for movies, something we discuss elsewhere on this site as well. But we wanted to take particular note of the Independent’s recent write up of Stanley Kubrick’s final film.

It’s hard to turn the cultural clock back to the late 1990s. There was no streaming yet. As writer Ed Power reminds us, Tom Cruise had yet to jump on Oprah’s couch and none of us had seen Going Clear. Stanley Kubrick wasn’t just a legend of cinema, he was a working director still making movies.

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Five Questions for The Vigil Director Keith Thomas About His TIFF-Premiering Film’s Religious Horror

As a weighty, academic-like subgenre of the horror film, “religious horror” presents endless opportunities to explore both the occult and the minutiae of organized worship. Prepackaged with historical baggage and preconceived expectations, religious horror films play on our belief of the supernatural, however naively broad it may be; like any religion, most horror film films require some suspension of disbelief. While William Friedkin’s The Exorcist continues to stand as the most explicit cinematic example of clergy-meets-devil, other classics such as Rosemary’s Baby present a more subtle depiction of messianic workship: in an unexpected shock, the title character gives birth to […]

Diana Sanchez, TIFF’s New Senior Director of Film, on Her First Year at TIFF and the Future of Film Festivals

In March Diana Sánchez was promoted to the newly created role of Senior Director of Film for the Toronto International Film Festival. Previously, Sanchez was the Spanish language selector for the Canadian festival. She now oversees the programming strategy for the main festival; TIFF Cinematheque; Film Circuit, the Canadian organization’s nationwide film network; and theatrical programming at the TIFF Bell Lightbox. Given the size of that job, it was inevitable that she would have to relinquish her role as Artistic Director of the Panama Film Festival, the festival she helped start in 2011. Under her direction, the Panama Film Festival […]

What Is Foley Sound and Why Do You Need It?

What Is Foley Sound and Why Do You Need It?

Foley Sound can best be described as sound effects recorded during post-production while watching the edited picture. It is intended to blend with the rest of the soundtrack, which includes dialog, music or other recorded effects or ambient sound. Among the first uses of Foley was in 1926 for the Warner Bros. movie Don Juan, which was essentially a silent movie but had a synchronized music score added in post-production. Sword clashes in a fight sequence were also added and the art of Foley was born! However, it’s unclear if they were recorded separately or at the same time as the New York Philharmonic Orchestra.[1]

When sound was added to films in Hollywood in the late Twenties, movie studios created Sound Effects Departments to add this technique to their sound tracks. “Foley” didn’t become the name for post-synced sound effects until the 1960s during the breakup of the Hollywood studio system, when many Sound Editors started forming independent sound companies around Los Angeles. Those who had worked at Universal Studios had called it “Foley” because of the man, Jack Foley, who had run that department for Universal for over 45 years. Thus, while he was one of the first practitioners of the art that bears his name today, he did not, as common legend has it, “invent” the process.

There are several reasons you might use Foley sound in a film:

  1. The production sound doesn’t have the desired impact
  2. Sounds that couldn’t be made in production
  3. Sounds that make little or no sound in production
  4. For foreign dubs
  5. To fill in sound lost due to ADR (Automated Dialog Replacement)

Foley is only a part of the sound effects component of motion picture sound. The other elements are “BGs,” (background ambiances) such as wind, city traffic, birds, etc., and “hard effects,” which include gunshots, car engines, and doors. Hard effects and BGs are edited from recordings obtained either from the field or a sound library.

Foley is generally broken down into two categories, footsteps and props, and while Foley can be edited from library recordings, in the movie industry today they are often created custom for each film to make it sound more natural.

The Production Sound Doesn’t Have the Desired Impact

As we all know, movie production is make-believe. The impenetrable steel door you see on screen is most likely made of wood. In order to make the audience believe that the door is indeed steel when someone bangs on it or opens it, many components of metal sounds are added to the soundtrack create the illusion. Even regular doors might need some enhancing, especially on a set that was built for the production. It might look like a solid, Victorian door, but probably sounds like the hollow wood it really is.

Sounds That Couldn’t be Made in Production

Let’s consider a fight scene. These scenes are choreographed to make it appear as if fists are making an impact or bodies are flying across the bar and against the wall. It’s another illusion. In order for the audience to believe what is going on in the scene they must hear what they see -– the punch in the face, the body fall with the right intensity and timing against the wall. And what about that bottle someone smashes across his head? It’s fake and needs a sound, too! Horror movies are also good examples of this. Most practical visual effects (VFX) are unremarkable in this realm and computer-generated VFX have no sound, so many melons and vegetables are sacrificed to create the sonic, squishy experience of blood and guts.

Fun Fact: the prominence of footsteps in the Foley world accounts for the original job description of “Foley Walker,” which has now been replaced by either “Foley Artist” or simply “Foley by.”

Sounds That Make Little or No Sound in Production

Some sounds need Foley to help to make an impact. In this case, it’s simple things that might need enhancement, like the swing of a baseball bat before, “Strike one!” Or maybe it’s the sound of someone sliding down a rope or a zip-line. Adding this sound in post also helps continuity from cut to cut. The Picture Editor will cut the shots together, manipulating the pace, but when the sound is added in post, it’s continuous and no longer chopped up, so it goes smoothly across cuts.

Foreign Dubs

Foley has a further use – – beyond the “domestic” mix – – in the creation of the “music and effects” (M&E) mix that is sent around the world for the dubbing of additional language versions. Even if the recording of footsteps and general movement on the set does not need to be improved for the original version (OV), if they occur under dialog, they all have to be put back in so that the studios around the world only need to “add dialog” to create a version that matches the feel of the OV. A subtle sound that is also added to an M&E is cloth movement, known in New York as “rustle.” The Foley Artist will watch the film and will rub a piece of cloth to match the movements of the Actors. Of course, this cloth must be changed during the recording, as a satin dress will sound different than blue jeans or a nylon windbreaker!

To Fill in Sound Lost Due to ADR (Automated Dialog Replacement)

ADR is the recording of an Actor’s dialog in a studio, also to edited picture. This can happen for a number of reasons. It can be technical or it can be a rewrite of the script to make things more clear, or it can even be a different performance of the same lines. Whatever the reason, production sound is lost with ADR, so those sound effects need to be created.

What’s Sound Design, Then?

“Sound design” is a broad term that can overlap all three parts of the sound effects world, and is generally used to describe abstract sounds that have to be created. Perhaps the clearest examples of this come from the Star Wars universe, in which Ben Burtt had to create the now-iconic sounds from a variety of sources because Wookiees and TIE fighters…don’t exist![2] Additionally, sound design ambiances can often be indistinguishable from music.

It should also be noted that many films go to the trouble of recording sound effects “wild,” (i.e. not to picture) custom for a film, regardless of the size of the Sound Editor’s library. This will not only include overlap to the world of Foley as noted above, but also cars, guns, and ambiances. The recording of cars doors and interiors is important enough that when a new Foley stage was built at Skywalker Ranch in 2015, they did it in a building where George Lucas had previously-stored cars, and conveniently has a large door to drive them in.[3]

Fun Fact: for Blade Runner 2049, noted Foley Artist Andy Malcolm went on location for, among other scenes, the interiors of the Wallace Corporation.[4] In a sense, Malcolm is always working “on location,” as his Foley facility is connected to his home outside of Toronto, so when he needs a kitchen or bathroom, he has the real thing.

What’s a Foley Stage?

A Foley stage is a specially designed studio. It’s a place that is unique to the world of sound recording for its hodgepodge of surfaces and props, the latter often numbering in the thousands. Imelda Marcos would envy the collection of shoes on top Foley stages!

The need for a large variety of props is not just that they might need a typewriter at any given moment, but maybe they can use those keys for other sounds. For example, All the President’s Men begins with the proverbial blank sheet of paper and when the keys finally hit the screen in extreme close-up, they have a visceral impact that is aided by the addition of other sounds.

Fun Fact: sometimes the effort for reality in Foley will lead the teams outside their stages and into the “real world.” On Apocalypse Now, the footsteps on the Navy PBR (Patrol Boat River) were recorded using a videotape reference on a PBR on Coppola’s Napa, California estate.[5]

The surfaces (also known as pits) give Foley Artists the ability to walk, run, and skip on mud, concrete, wood, gravel, etc. While it might seem that one could have small, moveable boxes with each one carrying a different surface, over the years Foley Artists have come to realize that mounting the surfaces on the floor is the only way to create a proper, natural-sounding resonance. Some go so far as to say that the pits have to be connected to earth itself.

Water pits have evolved extensively, and now every major Foley stage has a well-thought-out water pit that just doesn’t contain the water but also takes into consideration the spillage so that it can work not only for a bathtub but also for a side of a river, where the water is not splashing onto tiles.

I Want to Know More!

If you are interested in this art and would like a visual demonstration, a great documentary to watch is Terry Burkes’ and Andy Malcolm’s Track Stars. It’s eight minutes that sum up the Foley process but also gives you a glimpse of how much an art Foley is. The key to good Foley is the Artist. Making things natural and seamless requires craft, whether it’s to simulate ordinary footsteps or the footsteps of an alien.


  1. Wainwright, Stephen R. (28 August 2012). “George Groves’ Work on Don Juan. The Official Website of George R. Groves. Retrieved 31 August 2019.
  2. “5 Iconic Star Wars Sound Effects and How They Were Made (12 January 2016).” Retrieved 31 August 2019.
  3. Blake, Larry (9 December 2015). “John Roesch at Skywalker Sound.” Mix. Retrieved 31 August 2019.
  4. Blake, Larry (5 January 2018). “Effects Become Music.” Mix. Retrieved 31 August 2019.
  5. Blake, Larry (15 November 2017). “Apocalypse Now REDUX.” Mix. Retrieved 31 August 2019.

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Remote identification ruling for drones delayed once again

Remote Identification (Remote ID) is the concept that drones should have a digital license plate. If officials can track who is flying where, when, and for what purpose, then drones may be permitted to fly beyond visual line of sight (BVLOS) and above people. DJI’s Vice President of Policy & Legal Affairs, Brendan Schulman, along with Mark Aitken, who serves on the drone manufacturer’s D.C. Advocacy Team, had brought a proposal to the Association for Unmanned Vehicle Systems International’s (AUVSI) annual XPONENTIAL conference over two years ago.

The lack of progress on this initiative, which will open up opportunities for commercial remote pilots, and safely integrate drones into the National Airspace System (NAS), is frustrating to both industry stakeholders and small business owners. Senators on opposing sides of the political spectrum recently united and urged U.S. Transportation Secretary Elaine Chao to take action. Rulemaking, which was initially scheduled to commence this past May, has been delayed to a proposed date of December 20, 2019.

The USDOT website has confirmed another delay on rulemaking for Remote ID.

This latest postponement has been confirmed in the August 2019 rulemaking report from the US Department of Transportation’s (USDOT) website. The report reads ‘This action would implement system(s) for the remote identification of certain unmanned aircraft systems. The remote identification of unmanned aircraft systems in the national airspace system would further address security and law enforcement concerns regarding the further integration of these aircraft into the national airspace while also enabling greater operational capabilities by these same aircraft.’

Commenting on the notice of proposed rulemaking (NPRM) has been pushed back from October 29th to February 1, 2020. These are projected dates, meaning that the publication of and commenting on the NPRM could potentially be delayed even further. AUVSI’s president and CEO, Brian Wynne, released the following statement regarding the USDOT’s latest significant rulemaking report:

It’s disappointing the rulemaking for remote identification has been delayed again. The need for remote identification cannot be overstated, as the advancement of the UAS industry depends on identifying and tracking UAS flying in the airspace.

‘It’s disappointing the rulemaking for remote identification has been delayed again. The need for remote identification cannot be overstated, as the advancement of the UAS industry depends on identifying and tracking UAS flying in the airspace. Remote ID is necessary for enabling advanced and expanded operations such as flights over people and beyond line of sight, which will provide significant benefits throughout our economy and society. Most importantly, remote ID is critical for ensuring airspace safety by helping law enforcement identify and distinguish authorized UAS from those that may pose a security threat. We urge the FAA to move as quickly as possible with rulemaking for remote identification to keep the skies safe for all aircraft — both manned and unmanned.’

Recently, the Federal Aviation Administration’s (FAA) Deputy Administrator, Daniel K. Elwell, had publicly stated that ‘we are making progress toward the full integration of drones’ and ‘the idea is to crawl, walk, and run, but we are doing so rapidly.’ Given this latest setback, coupled with another delay on the proposed rule for Section 2209, which will provide protections for drone flights near critical infrastructure, it seems like the FAA needs make an effort to ensure their actions are consistent with their words.