Kipon has been making adapters for a long time and now they have stepped up with a new Pro Adapter range that consists of 13 models that allow users to use PL and LPL mount lenses on a variety of camera systems. All Kipon Pro Adapters have been precision manufactured, using strong stainless materials that … Continued
There are all sorts of tools out there for making cinemagraphs and “plotagraphs” by animating certain parts of your still photos, but you don’t need any of them. This short tutorial shows you how to create these animations using Adobe Photoshop.
This video was uploaded by Cristi Kerekes (AKA Eye Stocker) a couple of years ago, but it’s been making the rounds online today, and for good reason: it’s a straightforward, concise tutorial that shows you how to add smooth motion to any still photo, as long as the motion you’re trying to create is linear.
In the video, Kerekes uses a photograph of a mountain peeking out of the clouds, and the final product looks like this:
Attempting to explaining the steps in text will can sound a bit confusing confusing, but it’s extremely easy to understand (and replicate) when you watch Kerekes do it. Basically, he’s selecting the portion of the image he would like to animate, shifting it over as far as he wants it to move, and then using multiple duplicates of that selection in the video timeline to create a smooth motion effect that fades in and out to prevent any obvious jumps in the loop.
At the end, he adds one more layer and perfects his selection by masking in any parts of the photo he animated by mistake.
Of course, you could do the opposite of this by shooting a video and freezing part of it. For the particular example Kerekes uses, you could also shoot a time-lapse, assuming the clouds were moving. But if you’re just looking to have some fun with stills you’ve already shot, this is a quick and easy way to animate a section of your photo and create a looping GIF.
Check out the full video above, then visit Kerekes’ YouTube channel to see what he’s been up to since 2017. There are plenty more photo editing tutorials, effects tutorials, and gear reviews on there that are worth checking out.
Learn how Ang Lee, WETA, Jerry Bruckheimer, and Will Smith came together to create the star’s ultimate nemesis; his younger self.
Will Smith has been one of our greatest movie stars since the mid-1990s. His career has been a storied look at a guy who can legitimately do any genre or character. From comedy to drama, to action, to even period pieces, Will Smith can do it all.
But his greatest challenge might be playing himself, just younger.
Ang Lee’s Gemini Man comes to theaters this Fall, but the film has been a long time in the making. The spec was around in the early 2000s, but technology at the time never even hinted at the idea you could create a younger version of the actor in the lead role. Now, using the technology he worked with on Billy Lynn’s Halftime Walk, Ang Lee gets to have Will Smith play himself. And a computer creates the younger Smith based on the mo-cap performance of the current Will Smith.
We live in exciting times.
Liza Mandelup’s feature debut, ‘Jawline,’ swept Sundance and nabbed a Hulu premiere. Here’s how it all went down.
Growing up in a small, economically-struggling town in Tennessee, 16-year-old Austyn Tester didn’t expect fame and fortune in his future. Then, he became a YouTube star.
Similarly, Mandelup didn’t expect too much from her first feature film, about a star hopeful who was banking on his good looks and positive messaging to launch a celebrity career. Then, her film got into Sundance—and got picked up by Hulu.
Tester and Mandelup’s success converge in Jawline, which follows Tester on his journey from regular high schooler to social-media star. He does this mainly from the comfort of his own room, where thousands tune into his YouNow live-streams to gain inspiration and satisfy fangirl crushes. Mandelup spent four years following Tester, filming in between gigs on commercial shoots and applying for documentary grants where possible. Jawline is an intimate, unjudgmental portrait of social-media stardom, with its lightning-quick rise and fall.
Netflix’s new bonus policy is a step to keep projects and directors like Martin Scorsese from heading to rival studios.
Netflix is infamous for paying top dollar to talent and filmmakers, buying out their backend participation with huge upfront payments to secure their services. So, no residuals. Which sucks, in the long term. Now, the streaming giant is considering a bonus plan to help keep A-list talent happy and to prevent the from taking their projects elsewhere.
Netflix plans to pay filmmakers, actors and movie producers a bonus if their films are successful, according to Bloomberg. “The measure of success would depend on the movie,” said sources familiar with the plan who asked not to be identified because the deliberations are private. So, in the case of prestige, Oscar-bait projects like Roma or Martin Scorsese’s upcoming The Irishman, films that fall under this category could have their incentives linked to how many awards they win. Some films, Bloomberg reports, could earn bonuses based on viewership tiers. (The latter may make Netflix’s ratings more transparent.)
The Tokina 135mm T1.5 Vista prime cinema lens was announced as the seventh lens in Tokina’s Vista prime cinema lens lineup. It features the same physical specifications as the rest of the Vista series and it comes in PL mount, EF mount, Sony E-mount, Micro four thirds mount, and LPL mount. Priced at around $9,000 it should start shipping in January 2020.
Tokina cinema lenses portfolio includes the original Vista prime series, the Vista One prime lenses (announced earlier this year), 100mm macro lens, and few zoom lenses. At IBC 2019, Tokina showed its new 50-135mm T2.9 MKII cinema zoom lens and the Tokina 135mm T1.5 Vista prime. If you are interested in the new zoom lens, check our other article. In this article, we only focus on the new fast 135mm Vista prime.
Tokina 135mm T1.5 Vista Prime Cinema Lens
Tokina Cinema positions its Vista Prime series of lenses on top of their lineup as high resolution, large image circle, modern optics. All lenses from this series have a very fast maximum aperture of T1.5 and their 46.7mm image circle covers sensors well beyond full frame, like the RED Monstro 8K or ARRI Alexa LF cameras.
Optical design of these lenses shows virtually zero focus breathing. Till now the Vista cinema lenses included six lenses with focal lengths from 18mm to 105mm. The newest addition Tokina 135mm T1.5 Vista is complementing the lineup and extending its reach from the previously longest 105mm lens. It features the same physical specifications as the rest of the lenses in Vista line. The 135mm lens weighs around 3kg. The focus and iris gear rings all match across the Vista line.
The Tokina 135mm T1.5 cinema lens will be available with PL mount, EF mount, Sony E-mount, and Micro four thirds mount. LPL mount version will also be available. The mount is interchangeable but should be performed at an official service center or local Tokina distributor.
Price and Availability
The price for the new Tokina 135mm T1.5 Vista Prime has been set to $9,000. That might seem like a lot of money, but it is actually quite affordable compared to its competitors (specs-wise) from Zeiss or ARRI. Tokina plans to start production of the lens at the end of this year with delivery to its first customers in January 2020.
What do you think of the new Tokina 135mm T1.5 cinema prime lens? Do you have experience with other lenses from Tokina’s Vista Prime cinema series? Let us know in the comments underneath the article.
A few days ago, ARRI announced a new high output directional LED fixture: the ARRI Orbiter. During IBC 2019, we had the chance to take a quick look at this new modular fixture that should come out next year.
ARRI Orbiter – Main Features
The Orbiter is ARRI’s latest modular and directional LED light that was announced a couple of days ago. You can read our full article here for more details about the technical specifications.
In short, here are the main highlights of this new light:
- Features a six-color light engine for high color rendition and accuracy. It is possible to go from very warm color temperatures of 2000K up to super-cold 20.000K. You can also dim to light from 0 to 100% with no color changes.
- There is a built-in color sensor for matching ambient light. The light is also weatherproof.
- Thanks to the Quick Lighting Mount, you can switch the front optic. These lighting modifiers includes an open face modifier, a projection lens, a light dome, and light banks.
- According to ARRI, the Orbiter is a potent light; its output is superior to a 2K Tungsten Fresnel.
- 4” full-color display, quick navigation buttons, Also, you can remove the control panel and use it handheld with a 5 or 15 m (16.4 or 49.2 ft) control panel cable.
- Internal power supply, wireless DMX, and 3-pin XLR battery input.
The idea behind this light is to buy a single point LED light and modify it via various lighting modifiers to change the beam of light. Whether you need intense hard light or a very soft diffused beauty light, the ARRI Orbiter can suit nearly every shooting scenario that you can imagine.
Pricing and Availability
Pricing of the ARRI Orbiter depends on the optics you want to go with it, but it starts at $7.200. The Orbiter comes in two versions: a traditional “manual” yoke version, as well as a pole-operated version. Also, it will be available in two colors: classic Metal/Blue or Black.
The ARRI Orbiter should begin to ship during the first quarter of 2020, and you can already pre-order it.
What are your thoughts around this new ARRI Orbiter eco-system? Do you think it could be a useful product in your kit/rental list? Let us know in the comments!
The post ARRI Orbiter – Quick Look at the New High Output Directional LED Fixture appeared first on cinema5D.
The SmallHD Cine 7 now has integrated camera control for RED DSMC2 cameras. The previous ARRI-compatible-only touchscreen now has an array of camera control for current RED cameras.
The SmallHD Cine 7 was announced back in April this year.
It’s a 7” panel featuring all of the current monitoring features you would expect from a new high-bright SmallHD display, with the addition of touchscreen access to all monitor settings, as well as support for advanced camera menu systems.
ARRI control rolled out with the initial announcement, with touchscreen control possible through the Ethernet connection on the Cine 7 monitor.
The SmallHD Cine 7 now has full support for RED DSMC2, offering touchscreen access for settings such as exposure, clip info, playback and media through REDLINK Command Protocol.
With RCP (REDLINK Command Protocol) through existing third party software-based systems, you can control pretty much every feature available on a RED DSMC2 system.
It will be very interesting to see how many settings the Cine 7 can delve into.
There is known support for white balance and exposure, recording, media, playback and clip settings.
What looks nice is the variety of displays you can quickly switch between – perimeter view, top, and bottom overlays as well as full screen.
Control is through hardware – a bolt-on 5-pin connector that links to a RED DSMC2 CTRL port.
On the Cine 7 monitor itself – it’s a 7” high bright 1800 nit display, 1920X1200 in resolution with 100% DCI-P3 Color gamut.
It supports 10-34V 2A DC power via 2-pin Lemo to keep the setup slim. Or use the removable battery bracket to mount your V lock, Gold Mount or Sony L Series batteries.
The former larger battery systems are more reserved for when using the 7’ touchscreen monitor off the camera.
In these configurations, SmallHD also has the Cine 7 available with integrated wireless Teradek Bolt RX systems – the Cine 7 500 RX for compatibility with Teradek/SmallHD Bolt 500 transmitters, and the Cine 7 500 SK RX for use with Teradek Bolt 500,1000 and 3000 transmitters.
A Cine 7 500 TX is also available for camera on-board as a 500-foot transmitter.
All TX/RX models have a slim-profile integrated wireless unit with aerials.
The RED DSMC2 control can be purchased separately for $500. This includes the software update as well as aforementioned Lemo bolt on, control cable, neoprene case, and bnc cable.
However, a current offer is on to purchase the Cine 7 that includes the RED software package for free.
Are you interested in having camera controls on your on-camera monitor? Let us know in the comments below.
The NextoDI NPS-10 is a portable standalone backup storage device. It can quickly copy and verify files from SD, microSD, CF, Cfast, XQD, or CFexpress cards (depending on the version device you get). It comes without internal drive, but accepts SATA SSDs and 2.5″ HDDs up to 7.2mm thick.
The NextoDI has been part of TVLogic for a while already. At this year’s NAB, they introduced their new compact standalone backup device NextoDI NPS-10. The device is already shipping since June 2019. We received one at the office for testing and decided to ask some additional questions about it during IBC in Amsterdam.
NextoDI NPS-10 Portable Backup Device
There are two SD card slots and a microSD card slot on the left side of every NPS-10. There is one more memory card slot at the top of the device and the exact type of the slot depends on the NPS-10 version. The device comes in three different versions – With XQD slot (which also supports CFexpress cards), a version with CF slot, or, with CFast card slot. At the bottom of the device, there is one USB-C slot and one USB-A slot.
NextoDI NPS-10 will not only copy the material from the inserted cards, but it is also able to verify them. There is an option to only copy the files quickly or to copy and verify them. When inserting the same card again, users can choose to only copy new files. That means the NPS-10 will automatically recognize which files have already been copied and skip them. This feature is intended to save time in the field.
NextoDI NPS-10 does not come with an SSD. Users are free to choose whichever size of the SSD they prefer the most. Right now, maximum capacity SATA SSDs available is 4TB, but the device supports much larger sizes. It supports traditional spinning 2.5″ SATA drives as well (with 7.2mm or less in height). Thanks to XCopy technology, copying speeds are very fast, especially when SSD is used.
The device comes with a protective rubber frame, which also provides a better grip. The rubber frame slightly differs in color depending on the exact model (exact card slot) used. Operating NextoDI NPS-10 is single-handed. There is only one wheel on the right side, which also acts as a button. With the help of scrolling, Short press, and Long press, users can navigate through the menu and use all the functions of the device.
NPS-10 also has a color LCD screen. It helps not only with menu navigation and monitoring the information given by the device but also with the status of the copying process. The screen can also show a preview of any stored video or photo. You can check supported formats in the specs list below.
Key specs of the NextoDI NPS-10:
- Display: 2.4″ 64K color LCD with 320×240 resolution
- Card support: 2x SD (UHS-II) slot, 1x MicroSD slot, 1x CF or CFast or XQD/CFexpress slot
- Storage: 2.5″ SATA drive with 7.2mm and less height
- File system: FAT32, exFAT, UDS, HFS+ (memory card)
- Video preview: DV, DVCPRO HD, MPEG2 4:4:4/4:2:2/4:2:0, XF-AVC 2K/4K, AVCHD, H.264, AVC-Intra, XAVC 2K/4K, AVC Ultra 2K/4K, DNxHD 2K, ProRes 2K/4K
- Image codec: JPEG, TIFF, RAW (ARW,CR2, CR3, DNG, NEF, ORF, PEF, RAF,RWL, RM2, SRW
- Internal battery: Rechargeable Li-Pol 4,000mAh (3.7V) battery (3 hours charging = 2 hours X-Copy operating time)
- Power: Rechargeable via USB-C cable (with power bank or PC, output 2A or more)
- Computer interface: USB 3.1 Gen 2 (up to 10 Gbit/s)
- OS compatibility: Windows XP (SP 2, 3 with exFAT patch upgrade), Windows Vista, 7, 8, 10, MacOS 10.6.5 or later, Linux 2.4.18 or later
- Dimensions: 129.5 x 77 x 25.3mm (5 x 3 x 0.99″)
- Weight: 200g (0.44 lbs) without internal drive
Price and Availability
The NextoDI NPS-10 has been available for a couple of months already, so most distributors should have it in stock now. The price is around €379 ($390) for every version. The only extra cost would be the SSD of choice.
What do you think of NextoDI NPS-10? Do you use this or similar device for file backup on location? Let us know in the comments underneath the article.
In a new announcement from Profoto, the company’s first ever studio lights for smartphones have been unveiled. The C1 and C1 plus are small, portable, handheld bulbs that can be used to enhance any casual phone snaps.
Canon’s mirrorless lenses have gotten off to quite an impressive start, though the bodies still have some catching up to do when it comes to innovation. Canon might be pushing that envelope a bit next year, though, as new rumors have uncovered the potential release of the ROS Ra, a full frame mirrorless camera designed specifically for astrophotography.
If you go to Instagram and search #120mm or #120mmfilm right now, and you will find over 740,000 posts by budding and experienced film photographers alike. There’s only one problem: there is no such thing as 120mm film. And a new movement/website is doing its best to set the record straight.
This gauntlet has been taken up by our friend Bellamy Hunt at Japan Camera Hunter, fellow sticklers at Emulsive, and, at the center of the battle for truth-in-film-photography, the website 120not120mm.com.
As all three of these sources point out, somewhere along the line, someone (and this includes some major online retailers) decided that 120 film could be called 120mm since 135 film also happens to be 35mm wide. The thing is, 120 is not 120mm wide, it’s 61mm wide (thanks Bellamy) and it wasn’t named for its size in any way shape or form.
— EMULSIVE (@EMULSIVEfilm) September 6, 2019
120 film is so named because it was the 20th daylight-loading roll film on flanged spools that Kodak produced. It’s a numbering standard that began with 101 and continued on until we reached 120, which “survived the test of time and is the only medium format film still being produced today.”
As the 120not120mm website explains, all of the roll film format designations we use today were created by Kodak. Over time, Kodak’s designations became the standards we know: 110, 135 (or 35mm), 120 and so on.
“It’s those standards which help ensure any interested party can use a set of predefined, universally understood specifications to produce a photographic film and/or cameras that use it,” reads the website. “They are also the reason why you can use – for example – 35mm film made in the USA today in 35mm film cameras made a century ago in Europe.”
Unfortunately, not everyone knows this: hence the prevelence of 120mm, 120mmfilm, 120mmfilmphotography and others as broadly used hashtags.
If you want to be part of the solution, the 120not120mm website gives you a few options. You can spread the word; you can use the hashtag #120not120mm on social media; you can point people to the 120not120mm website; and, last resort, you can gently nudge “serial offenders” towards the truth.
Don’t go harassing people, it’s an easy mistake to make, but as film photography sees a much-deserved renaissance and more newbies begin shooting 120 film, let’s not turn 120mm into the next “literally.”
Thomas Burman, Emmy-winning make-up artist, and Martin Samuel, Oscar-nominated film and celebrity hair stylist, will receive Lifetime Achievement Awards at the Annual Make-Up Artists and Hair Stylists Guild Awards, (MUAHS, IATSE Local 706) honoring outstanding achievements for make-up artists and hair stylists in motion pictures, television, commercials, and live theater. The black-tie awards gala returns […]
Godox has unveiled the R1 and RF1, a pair of LED-powered lights designed to be compact and portable for photographers and videographers on the go.
Before we dive into the good stuff though, let’s go ahead and address the elephant in the room—yes, theses lights and their accompanying dome accessory bear a striking resemblance to Profoto’s new C1 and C1 Plus lights.
The functionality is slightly different and Godox doesn’t consider its R1 and RF1 units ’studio’ quality, but it’s difficult to overlook the uncanny similarities between the four units.
With that out of the way, let’s get down to the details. Both the R1 and RF1 are compact lights that feature integrated magnets for Godox’s AK-R1 round head accessories (sold separately) and securing to surfaces for easy mounting. The units are charged via the onboard USB-C port and settings are controlled via the Godox app over Bluetooth.
The R1 is the entry-level version that features RGB LED lights with variable color temperature (2500K-8500K) and a Television Lighting Consistency Index (TLCI) of >95. The R1 is designed for continuous use with variable power output and a features battery life rating of one hour when used at full power.
Godox says the R1 features 14 different RGB lighting modes—including ‘music,’ ‘lightning,’ ‘screen,’ ‘candlelight’ and more—as well as 8 other modes that change the color temperature.
The RF1 is identical to the R1 with the expiation that unlike the R1, which is limited to continuous mode, the RF1 features Godox’s 2.4Ghz Wireless X System, which turns it into a flash when used with computable Canon, Nikon, Sony, Fuji, Panasonic, Olympus and Pentax camera systems.
Godox doesn’t offer any information on output power, recycling time or even pricing and availability information. We have contacted Godox regarding these details and will update the article accordingly when we hear back. Until then, we’ll just have to wait and see. That said, it’s probably a safe bet that both of these units will come in much cheaper than the $299 and $499 price tag Profoto is asking for its C1 and C1 Plus units, respectively.
Over two decades ago, Canon introduced a very unique feature in some of their film SLRs: eye-controlled autofocus. Recently, the company filed a patent that shows a similar system being worked on. Is it a feature you would like in your camera?
If you want to piss off a majority of professional photographers, show them a smartphone camera rig setup and explain how great it is. Better yet, show them an article about an iPhone-only wedding photographer. I’ve seen this reaction countless times, and it’s especially prevalent when you look at smartphone photography accessories.
Companies who promote products for high-end cameras while also introducing low-end products know this, which is why the official Profoto C1 YouTube video has comments disabled. In fact, every video I’ve checked that features the C1 in any way on the Profoto YouTube Channel has comments disabled, in contrast to their other content where discussion is welcomed.
Translation: Profoto understands that this product is going to piss you off.
At the same time, they can’t not sell things like the C1. As a company with a niche market that continues to get more… niche-er… they absolutely cannot afford to ignore the smartphone photographer. And as much as there is a big part of me that wants to sneer at and deride Profoto for a product many of you will argue is a sham, or a piece of garbage, or an attempt to make a quick buck, if I were to do so I’d be missing the bigger picture.
Smartphone photography is not only a thing, in photography as a whole, it’s the thing. It’s the only thing. It’s the inevitable future. Hell, it’s the unavoidable present.
Mock it all you want, there is a reason that every major smartphone maker spends at least a portion, and often a majority, of their marketing efforts around the camera. Just look at the iPhone 11 Pro, which is getting a ton of media surrounding its triple camera setup, new night mode and other photography features. For Huawei, the camera is the selling point. Same for the Samsung Galaxy products, and especially the Google Pixel.
A couple days ago, I was driving downtown in San Francisco and one of the several billboards that Apple buys prominently showed the new lens array of the iPhone 11 Pro. That somewhat weird looking rear of the phone, staring right at me. Next to me, my wife asked me what the big deal was, and why did the cell phone need three cameras.
I thought about it for a bit, and found myself defending Apple. I explained that phones aren’t phones anymore: they’re cameras that happen to make calls, give directions and hail Ubers.
Right now, us fans of higher end photography are all about bigger sensors, better autofocus performance and better low-light performance. Maybe even throw video performance in there too, since guys like me think that’s important. But sensors are already huge, and over the last five years or so they have become relatively cheap to produce (thanks to Sony). Autofocus is insanely good, even when you’re looking at the low end of the market. Low-light performance? Have you seen how good modern cameras are in low-light? They’re all excellent!
The amount of room separating the “best” from the rest of the pack is shrinking, and the number of people who are even willing to buy high-end cameras is shrinking even more. The fact of the matter is: you don’t need to buy the latest camera, or even the second latest camera, to make fantastic photos anymore.
And consumers aren’t.
Sales figures across the board are down (except for Sony who seems to be invulnerable to industry-wide trends right now). I argue that the a7R III is the best camera to buy right now, because the A7R IV has made it drop in price, and you don’t need the A7R IV (more on that in another piece).
But consumers still buy cell phones, and though the sales aren’t as high as they once were, they still buy them by the truckload. Thing is, everyone wants a cell phone. Everyone needs a cell phone. There are so many more people to sell to than the numbers Canon, Nikon, Sony and Panasonic are aiming at.
Admittedly, cell phones still have a lot more work to do when it comes to making advancements in photo technology—Apple, for example, is still working with the same 12 megapixel sensor they’ve been using for years—but advancements in computational photography are changing and growing by leaps and bounds with each new iteration.
Just look at what Google started with Night Sight.
So… what does this have to do with the Profoto C1? Well, Profoto would have to be pretty dense to not see the writing on the wall: the professional photo market is not sustainable. It is shrinking, and nobody knows how far it will shrinks before things settle. What is known, though, is that whatever it shrinks down to is not going to be enough to keep a high-end lighting brand afloat. They have to look to the future, at what they can sustain. If their goal is to stay a photography-oriented company, the answer is smartphone photography.
Profoto’s one big “miss” is pricing, since the price of their C1 is absolutely absurd for the market they’re aiming at. $300 to $500 is outrageous, plain and simple. That, and anyone could have predicted that a Chinese company, in this case Godox, was going to immediately release a competitor that will cost an arm and a leg less; in fact, the Godox R1 and R1F were technically available first.
But pricing aside, Profoto at least has the right idea. They know they have to market to the growing segment of what photography is becoming. They won’t go the way of Kodak who was all-but-killed off by its own creation, or at least they do not plan to go quietly.
Serious photographers may not like it. They may continue to complain about it as the inevitable waves of the future wash over them. But bitter insistence against the coming flood can’t hold back the cold reality: you cannot stop this.
Headlining our Deals of the Week, Apple is offering a big $250 discount on the 13″ MacBook Pro.
This week in filmmaking deals: Atomos has dropped the price of the Shinobi 4K Monitor to $299, while Apple is offering big savings on the 13″ MacBook Pro. Also, save 30% on a Gitzo Traveler Tripod and get a travel backpack and camera strap for free. Quasar Science has extended their Summer Sale, so you have until the end of the year to save big on their best lighting gear, including a Rainbow Q50R Quad Kit. And for this week’s deal from Adorama, save a massive 40% on a Sennheiser XSW-D Wireless Interview Set.