At IBC 2019, Ignite Digi released two new versatile powering solutions with the TB50 Hammerhead & Power Expansion Pack for MōVI Pro. TB50 Hammerhead: Dual Smart Battery Adapter The Hammerhead is a first of its kind, featuring 15V and dual voltage 15V/20-25V outputs giving users the ability to power any high draw camera setup. USB-C … Continued
You can learn a ton about how Vince Gilligan pulled off this top-secret movie.
Breaking Bad was a big deal. It still is.
Before it became one of the greatest television shows ever made, it was this “little engine that could” on AMC in its first season. It was also the first show to benefit from a boost in viewership thanks to rewatches on Netflix. For a show that went from little-watched to bonafide classic, it is nothing short of a miracle that Vince Gilligan and Aaron Paul managed to shoot El Camino, their top secret Breaking Bad movie, virtually undetected and without leaks. That kind of anonymity is unheard of for a title as popular and renown as a sequel chronicling Jesse’s post-Breaking Bad series finale life. So how did they pull it off?
If you are new to photography, you are probably wondering what a lot of terms mean, and one that you have probably heard quite a bit with regards to post-production is “nondestructive editing.” This excellent video tutorial will both explain what the term means and show you why it is an absolutely crucial thing for photographers of all genres.
It is an unfortunate thing, but we will all have to deal with a lowballing client at some point. What do you do when that happens? This great video discusses five tips that can help you deal with a lowballing client and possibly turn them into a paying customer.
Cineroid has just announced a new RGBWW flexible LED lights: the Cineroid CFL800. If you often work in small environments or you are a documentary filmmaker that needs a versatile compact fixture, this new Cineroid fixture looks perfect for you. Let’s take a closer look!
Cineroid CFL800 Features
During IBC 2019, we met with SoonGi from Cineroid to talk about their new RGBWW flexible LED light: the Cineroid CFL800. The Cineroid CFL800 measures 460mm x 240mm for a weight of just 300 grams (without ballast).
The Cineroid CFL800 features 2080 LEDs. Image credit: cinema5D
The Cineroid CFL800 is quite bright with a light output of 3400 lux at 1 meter. You can dim it from 0 to 100%, and you can adjust their color temperatures from 2700°K up to 6500°K with a claimed CRI of over 95. As this light is an RGBWW fixture, it consists of 2080 LEDs that are split proportionately between red/green/blue/tungsten. That way, you can reach nearly every color that you want.
As you can see in the video, the Cineroid team showed us how strong and durable the fixture is. You can roll the panel, bend it in any direction, walk on it, throw it on the ground and so on. The Cineroid CFL800 is made to survive life on set. Also, the fixture itself is waterproof – including the extension cord – but not the ballast.
The LED light controller. Image credit: cinema5D
Cineroid CFL800 Power Controller
To power and control the Cineroid CFL800, the fixture comes with a rugged power controller made out of metal and a 2 meters long extension cord (that can be extended up to 10 meters). The power controller itself is quite large and heavy at 500 grams. It features a beautiful RGB display and some control knobs.
The user interface is straightforward, and it is easy to scroll through the different menus to adjust the light output and numerous settings. Also, there is a couple of built-in light effects like firework, TV effect, lighting, and so on.
You can power the ballast – that powers the light – via the DC input or a battery plate. Three versions of the power controller are available: V-Mount, Gold Mount, or no battery plate. The light draws 120W of power.
The LED light controller. Image credit: cinema5D
Also, there is an ingenious feature in this ballast; you can use it to charge your V-Mount or Gold Mount battery. Finally, a 5V USB output can power your smartphone or some accessories.
On the sides of the power controller, there are a DMX port as well as RJ45 master/slave ports if you want to daisy-chain various Cineroid CFL800 lights together.
The LED light controller. Image credit: cinema5D
Pricing and Availability
The Cineroid CFL800 is available now for $1199.00, and it comes with the LED Panel, the power controller, a soft diffuser, a bracket with a spigot, the AC adapter, a carrying bag, and a manual. A 3-set version is also available for $3380.00.
The fixture that Cineroid showed us in this video is the larger CFL800 unit, but another smaller version, the CFL400 is also available. Both lights feature the same characteristics, but the CFL400 is a square light that measures only 240mm x 240mm.
What do you think of the Cineroid CFL800? Do you think a flexible RGBWW light could be useful for your type of shooting? Let us know in the comments!
The Manfrotto 645 FTT is a new tripod revealed at IBC 2019. Manfrotto have evolved the traditional twin leg tripod to a faster, lighter solution.
Regular twin leg tripods have two locks on the legs, it wasn’t possible to raise the tripod to full height without unlocking both sets of legs. A somewhat annoying design flaw, especially if you need to raise or lower the tripod with a camera on it.
Image credit: Manfrotto
The Manfrotto 645 FTT (Fast Twin Tripod) design features double tubed legs that can be released with a single release of the Ultra L-Lock. This design advances on the old double lock system found in other models of twin-leg tripods; raising the tripod from low to high can be done even faster without bending down. A similar feature to the Sachtler Flowtech.
Image credit: cinema5D
The tripod construction is available in aluminium or carbon fibre, with a 2 in 1 half ball; 100mm comes as standard, but this can be adapted to 75mm. This is beneficial for production houses or rentals that have different sized head pairings.
Also at the show, Manfrotto previewed the 635 FST tripod, this model has a single leg design, but with a twist lock to deploy the legs.
There is big competition from Flowtech, the innovative tripod design that is extremely popular in the video production industry. Can the Manfrotto 645 FTT break it’s reign?
Will this new take on the twin leg tripod win you over to buy one? What kind of camera setup would you use with the Manfrotto 645 FTT? Let us know in the comments.
Four years ago, when Samyang/Rokinon introduced their own take on cinema prime lenses, the XEEN lineup was born. Now, for IBC 2019, they introduce a new and improved line, called XEEN CF. Again, the first triple of lenses cover 24mm, 50mm, and 85mm, all three rated T1.5.
XEEN CF lenses are more compact and much lighter than the original XEEN lenses. The CF stands for Carbon Fiber and that’s one of the reasons these lenses are pretty lightweight indeed. Compared to the original XEEN 24mm with EF mount which tipped the scale at 1.2kg (2.6 lbs), the newer XEEN CF 24mm (again, with EF mount) only weights 900g (2.0 lbs). It’s smaller in size as well: 98.5 mm (3.88″) in length. The original XEEN pendant measures 121.7 mm (4.8″).
Older lens vs. new. XEEN CF Cinema Prime Lenses. Image credit-cinema5D
XEEN CF Cinema Prime Lenses
Since these are being advertised as cinema prime lenses, the XEEN CF sport all the good stuff you would expect: Smooth iris, long focus throw (200°), 0.8 pitched gears, lots of focus marks on the lens barrel, a decent number of aperture blades (11) and, of course, full-frame coverage!
If that list above isn’t satisfying enough, fear not! There’s more:
Bidirectional scales for pulling focus from both, operators or AC’s, side of the lens.
Unified positions of gears and same front diameter (95mm) for swapping lens hassle-free
Fully luminous paint for all markings on the lens
“X-Coating” for controlling flares, ghosting and internal reflections
Three mounts to choose from: EF, E-Mount or PL
Supports resolutions up to 8K
All these features are nice to see and they sure seem to be impressive on paper, but what about optical performance? Well, we haven’t had a chance to try one of these new XEEN CF lenses, yet (but we will sure do at IBC 2019 – our team is working the show floor as we speak!). The only hint we got so far is the video by Samyang below in which you can see some samples shot on XEEN CF lenses as well as some BTS footage.
Unfortunately, the video is only HD, a 4K version would be more adequate in order to really judge these new lenses but that’s what we have so far.
As you can see, the XEEN CF lenses make a lot of sense when used with a gimbal such as the Ronin 2 pictured in the video above. All three available lenses, 24mm, 50mm and 85mm, sport the same dimensions, same gear positions, and same front diameters. The 85mm is 100g (0.2 lbs) heavier than the other two, that’s it. perfect for quick lens swaps, especially on a gimbal or Steadicam.
Here is a quick overview of all the specs regarding the three available XEEN CF cine primes: 24mm T1.5, 50mm T1.5, and 85mm T1.5. Parts of the lens body is made of carbon fiber but the overall lens body is made of aluminum.
image credit: Samyang
So what’s next, you might ask? The XEEN CF instruction manual offers more specs of upcoming focal lengths: The alert reader will find specifications about a 16mm T2.6 lens and a 35mm T1.5 lens. According to Samyang/Rokinon, the 16mm and 35mm primes will be released in early 2020. You can check out the manual here.
16mm T2.6 and 35mm T1.5? Image credit: Samyang (instruction manual)
For now, only the 24mm, the 50mm, and the 85mm represent the official launch trio but as stated above, the lineup will grow quickly.
Pricing and Availability
The first three focal lengths 24mm, 50mm, and 85mm should be available soon. You can preorder these XEEN CF cine primes fitted with your mount of choice (EF, E, PL) through official channels. Each lens is $2,495.00.
The CFExpress cards announced at NAB are hitting the market ahead of Nikon’s update.
With Nikon set to expand their XQD Media Card slot to support CFExpress and bring 12-bit RAW to play, it looks like XQD will disappear overnight, in favor of the once and future king known as CFExpress. And while the high-speed card spec shares many characteristics with its lower-end cousin, it hasn’t been widely available. Until now. Lexar, ProGrade, and SanDisk have all hit the market with new cards for CFExpress supported cameras.
Lexar announced their line of CFExpress cards at NAB last Spring, and they are now available starting at 120GB for $199.00 and 256 GB for $399.
The Lexar CFExpress cards have a max read/write speed of 1750MB/s and 1000 MB/s respectively. There was also a 512GB model announced at NAB, which maxes out at 1650MB/s, but no word on availability for that model. All cards are rated to be shock/vibration and X-ray proof., and are now available for pre-order, with no actual shipping date given.
The Roland 4XCamera Maker app can connect four cameras at once for multi-angle video.
Roland is known mostly for its keyboards and professional musical instruments, but many (including me) may not know that they also have skin in the pro video market. But it came as something of a surprise that the company was aiming for the mobile filmmaking market with 4XCamera Maker, an iOS app that allows users to not only shoot and edit videos in 4K but also sync up with up to 3 other IOS devices while doing it.
Whether shooting a feature film, short film, or music video, the old axiom is true: time is money. The longer it takes to get coverage, the more its’ going to cost you. The mobile filmmaking style is a step towards providing affordable ways to tell stories, but the next step is to provide multiple camera angles from the same video source. That’s the promise of 4K, where you can take one shot and crop in to create another, then output in 1080p.
Last week Apple showed off the slow-mo video capabilities of the front-facing camera on its new iPhone 11 models through the use of ‘Slofies,’ a portmanteau for the words slow-mo and selfies.
At the time, the concept was presented as a humorous take on selfies — which itself is a shortened version of of the phrase self-portrait — but not much more. Turns out, that might not be the case, as Apple has applied for a U.S. trademark for ‘Slofie,’ which would give them the ability to limit how the word is used.
The ‘drawing’ used in the trademark filing to show the phrase attempting to be trademarked.
All of Apple’s iPhone 11 models feature a front-facing camera that can record up to 120 frames per second (fps). As detailed in its demonstration video, the result, when slowed down, is a humorous slow-motion clip that puts a — sometimes literal — spin on selfies.
According to the filing, Apple hopes to trademark selfies as the word pertains to ‘downloadable computer software for use in capturing and recording video.’ Apple says the intent of the filing is to ensure it ‘has a bona fide intention, and is entitled, to use the mark in commerce on or in connection with the identified goods/services.’
As pointed out by The Verge, this likely ‘means this trademark seems to be more about preventing other companies from making slofie-branded camera apps than it is about limiting popular usage of this totally made-up word.’
According to the filing, Apple paid $400 for filing the trademark application.
Most panoramas can easily be shot by hand but what happens if you want to shoot a multi-row pano? What if you want to create a truly “gigapixel” image that could require over 100 images? You’re going to need some hardware to help.
The trademark application, filed last Friday, aims to reserve the word “slofie” in connection with “downloadable computer software for use in capturing and recording video.”
A new feature in the iPhone 11 series smartphones, “slofies” will allow users to shoot selfies with the front-facing camera at 120 frames per second. When played back at a slower frame rate, the slow-motion footage can reveal details that weren’t previously possible with previous iPhone front-facing cameras.
“[T]his trademark seems to be more about preventing other companies from making slofie-branded camera apps than it is about limiting popular usage of this totally made-up word,” The Verge notes. “Apple has reason to want to prevent the creation of knock-off slofie apps, too, since slofies are meant to be exclusive to the new iPhones.”
Despite Apple’s efforts to trademark the term, it doesn’t look like it’ll appear anywhere within the iOS Camera app itself (yet), as users will still be selecting the “slo-mo” setting while shooting front-facing video.
On September 15, around 2,000 LGBT rights activists marched through Kharkiv in the first event of its kind in the eastern Ukrainian city. When the march ended, most of the participants left safely through a nearby subway station, but a crowd of far-right counterdemonstrators had gathered in a neighboring park, apparently on the hunt for LGBT activists attempting to leave on foot.
Video from the scene captured one slightly-built teenager with a streak of dyed hair trying to move through the burly opposition group.
Suddenly a tattooed man slaps the teen in the head and a mob chases him — kicking at his legs and punching him in the head — as his female friend, wearing a rainbow T-shirt, looks on helplessly.
After the teen is kicked to the ground amid chants and cheers, two masked men try to stomp on and kick him in the head.
Garanich has covered conflicts, mostly in the former Soviet Union, since 1991 and understands street violence better than most journalists. In 2013, he was famously photographed soaked with blood after being struck by a riot policeman during Ukraine’s 2013-2014 Euromaidan protests.
As the beating continued in Kharkiv’s Shevchenko Park, a second photographer, Andrew Kravchenko, captured what happened next. After the same tattooed man who had begun the violence grabbed hold of the badly hurt teen, Garanich stepped in to seize the boy from the man’s grasp and, without addressing the mob, simply walked the teen out of the situation.
In an email, Garanich states that he intervened “because there was a serious threat to [the teenager’s] life.”
Kravchenko agrees, saying if it were not for Garanich’s actions, the boy “could have been killed” by a mob which was hungry for violence and low on targets. “In short,” Kravchenko said on Facebook, Garanich is “a real man.”
Kharkiv police say they are aware of the attack in Shevchenko Park and “investigative actions are ongoing.”
About the author: Amos Chapple is a Kiwi photographer who makes news-flavored travel photos and writes for Radio Free Europe/Radio Liberty. He started off at New Zealand’s largest daily paper in 2003. After two years chasing news, he took a full-time position shooting UNESCO World Heritage sites. In 2012, he went freelance but kept up the travel. Since then, he has been published in most major news titles around the world. You can find more of his work on his website, Facebook, and Instagram. This article was also published RFE/RL.
Image credits: Header photos by Gleb Garanich/Reuters (left) and Andrew Kravchenko (right)
Profoto has unveiled a small studio light that was designed specifically for smartphone use. The Profoto C1 and C1 Plus are small enough to fit in a pocket, retaining the same portability of smartphones while offering more advanced lighting capabilities than what is offered by the average phone flash.
The Profoto C1 and C1 Plus both feature rounded designs, as well as automatic flash power and exposure alongside a manual control option. The lights are designed to wirelessly connect with the user’s smartphone using Bluetooth, after which point they work in tandem with the Profoto camera app.
Both models feature a Li-Polymer battery that recharges in two hours using USB-C. The fully charged battery can power up to 2,000 full-power flashes, also offering 30 minutes of continuous light for the C1 and 40 minutes of continuous light for the C1 Plus. Both models produce ‘close to daylight’ colors with a color rendering index >90.
The Profoto C1 model has a max 1600 lumens and 800 lux flash output, four warm and three cool LEDs for color temperatures ranging from 3000-6500K, and inner reflectors under the integrated dome diffuser for producing ‘natural shadows.’ When used as a modeling light, the model offers max 280 lumens / 140 lux and CRI 90-98.
The C1 Plus is more advanced, offering a max flash output of 4300 lumens and 1700 lux, a click-on magnetic mount for using light-shaping accessories, a 1/4″-20 thread for mounting the light, and compatibility with all of Profoto’s AirTTL remotes. When used as a modeling light, this model offers max 280 lumens / 140 lux and CRI 90-98. Both the C1 and C1 Plus feature manual capture buttons on the lights.
The Profoto C1 and C1 Plus lights are available to order from a number of retailers, including B&H Photo and Adorama, for $299 and $499, respectively.
Barry took over the 46th floor of a skyscraper in Midtown Manhattan and blacked out the 27,000-square-foot space by covering up the 160 windows with a 360-degree view of the city.
He then let the outside world shine into the camera by mounting 12 lenses pointed at the New York skyline.
The camera captured ultra-large-format analog photos using large rolls of photographic paper. The paper negatives were then contact printed into positive photos using iPhone flashlights as makeshift rudimentary tools for the process.
Here are a few of the giant prints that resulted from the effort:
Here’s a 7-minute film by Favorite Child Creative about the Skyscraper Camera Project:
CAME-TV Crystal V wireless video transmission kit has been announced at this year’s IBC. It features HDMI and SDI in and outputs, SDI loop out, and up to 500m signal reach. The transmitter can be powered with V-mount batteries and the receiver with NP batteries. Both units also offer DC7-24V Lemo connectors.
Previously, CAME-TV only offered Crystal 800 wireless video transmission set, which only had HDMI ports. The new Crystal V includes both HDMI and SDI connectivity. The new video transmission kit consists of two units – the Crystal V TX (transmitter) and Crystal V RX (receiver). According to CAME-TV, this set offers up to 500 meters (1,640 ft) distance (unobstructed) signal reach, which (if true) is a very good reach. It can be monitored with an app (available for both Android and iOS).
CAME-TV Crystal V TX includes both HDMI-in and SDI-in ports. Additionaly it features SDI loop out and USB 5V output. It has a V-lock mounting plate, so it can be powered via a V-mount battery. Thanks to a DC 7-24V two-pin Lemo power connector, the V-mount battery can also be used to power other devices, or even the camera itself at the same time. There is an optional NP battery plate for it as well.
Image credit: cinema5D
The Crystal V RX unit features HDMI out and SDI out connectors. It also has a DC 7-24V two-pin Lemo connector and an NP battery plate on the back. There is also a display to check the receiver status and adjust some controls.
In a press release on its website, Photokina has confirmed that Nikon, Leica and Olympus have all opted out of attention the 2020 trade show.
The press release, titled ‘Photokina 2020: An Industry in Transformation, a Decisive Chance for the Future,‘ buries the lede by first elaborating on the current state of the camera market and following it up with the significance of a trade show such as Photokina. The press release starts out saying:
‘The imaging industry is currently undergoing massive changes, which also have an impact on Photokina as the industry’s leading trade fair – and this in a dimension never seen before. While on the one hand the classic camera market reports strongly declining sales and turnover figures, the enjoyment of photography continues to grow – with a positive effect on the demand for pictures.’
Gerald Böse, President and Chief Executive Officer of Koelnmesse GmbH, goes on to say that Photokina ‘represents a unique opportunity’ and notes that ‘[Photokina is] relying on the major players of the industry to make the greatest possible use of this opportunity.’
It’s not until two paragraphs later the press release confirms three ‘major players’ won’t be attending the trade show after first expressing gratitude to multiple other manufacturers for attending:
‘”We look forward to strong demand and applications from both the new and the classic segments of companies like Canon, CEWE, GoPro, Sony, Panasonic, Kodak Alaris, Sigma, Tamron, Carl Zeiss, Hasselblad, Hahnemühle, Arri, Rode Mikrophones, DJI and Insta360,” says Christoph Werner, Vice President of Koelnmesse. These are contrasted by cancellations, including from Leica, Nikon and Olympus.’
The press release goes on to say these cancellations change nothing for Photokina 2020 and ensures that the show will go on, but losing three major manufacturers in a single year is never a good sign. We saw this happen with PMA years ago and once a few left the expo, the rest quickly followed.