Editors in Hollywood have been reporting a widespread problem of Mac Pros crashing that are running Avid Media Composer. The reports indicate that Mac Pros shut down and then refuse to reboot back up. This has caused big delays and problems for major productions using this combination of Avid Media Composer and the Mac Pro. … Continued
The Teradek Bolt 4K Upgrade Program allows customers to trade-in eligible Bolt products for credit toward the new Bolt 4K. If you are thinking of upgrading to the new 4K Bolt you can trade an existing Bolt product in much the same way you would trade in a used car to get a discount on … Continued
Big things have small beginnings. Ten years ago today, Newsshooter published its first-ever article. Back in those days, we were known as DSLRnewsshooter. Above is the first ever post written on the site by Co-founder Dan Chung. It was 46 words long and featured a single photo! DSLRnewsshooter was set up so working news, documentary … Continued
Last weekend, I took my iPhone 11 Pro Max for a test in Sequoia National Park.
I decided to mainly test the ultra-wide-angle camera and there’s no better subject to film than the park’s huge trees. In terms of camera, we need to separate photos from videos.
The 11 Pro is a huge update compared to the previous model. Photos look better, night mode is insane, portrait mode is improved and the wide-angle camera really makes a big difference when you are trying to capture landscape or architecture.
In terms of videos, there is a slight improvement when it comes to noise (on the wide and telephoto lens) and mainly bug fixes from the previous model. For example, the extended dynamic range was working very poorly for me on the iPhone X/XR/Xs; the skin tones used to look very weird and when I was filming sunset/sunrise there was something off in the way the iPhone was managing the highlights. Now that that is fixed, the image looks much more natural. The stabilization is absolutely incredible and I think we are near a point where you don’t need a gimbal anymore, period.
IBC 2019 is the end-of-the-year pro video/digital cinema convention held in Amsterdam.
Whenever we think we have the media cycle down for the announcements of new cameras and gear, it seems as if we get thrown for a loop. This year, the disruptor was IBC 2019. The convention takes place in Amsterdam and over the past few years, it felt as if IBC would have a few new announcements, but usually nothing earth-shattering. It’s strange, NAB in Las Vegas in the spring used to be the big announcement show, but over the past few years, companies seemed to stop placing as much importance on NAB attendance and new product announcements, and it shifted to Cine Gear, which takes place in the late summer in Hollywood. For 2019, IBC was where the action seemed to be with new product announcements.
We already published quite detailed stories on the two new camera announcements from IBC: the introductions of the Canon C500 MKII and the Sony PMW-FX9 digital cinema cameras, both hotly awaited follow-ups to already successful cameras, Canon’s C300 MKII and the C200 to an extent, and the FX9 updating and expanding upon Sony’s successful PMW-FS7 MKII and it’s still-in-the-lineup original FS7. The introduction of these cameras somewhat took me by surprise as they both reside in a sort of financial strata that many of us mistook for all but dead. Prior to the announcements of both of these cameras, key players like Canon’s C300 MKII, Sony’s FS7, the Panasonic EVA 1 and recently, the Panasonic Varicam LT had all dropped below $10,000 retail.
Higher-end digital cinema cameras like the RED camera line, the Arri Alexa, Alexa Mini and Amira, as well as last year’s Sony Venice, all sell for well over $25,000. As you can see, prior to IBC 2019, there was a definite “desert” of pro digital cinema cameras that sell between $10,000 and $20,000. The Canon C500 MKII, listing for $15,999, and the Sony PMW-FX9, listing for $10,999, have definitely changed up the marketplace once again. The lower end of the digital cinema market, with mirrorless cameras, still tops out with Panasonic’s S1H at a list price of $4,000.
As we’ve discussed before, the overall market for cameras is shrinking and has been for a while. Personally, I think the massive success of mirrorless cameras for pro video production, sometimes as an A camera but more often with the mirrorless serving as a gimbal, plant camera or in-car B camera, reflects this downward trend in the market. The consumer side of the camera business is making that market look dismal with very low sales, fewer and fewer new models introduced as that market moves to mostly mobile phones for photography and video. The introduction of the new Canon and Sony point to those two manufacturers still feeling that mid-level production is buying, and still needs, new camera technology, which is refreshingly optimistic.
There Were More Than Cameras at IBC 2019
Besides cameras, there were lots of other interesting gear announced at IBC 2019. Here’s a little point-by-point wrap-up of what I think made these announcements significant:
The most interesting audio announcement for me was the introduction of updated Sound Devices Mix Pre recorder/mixers. The originals hadn’t been on the market for that long and from what we’ve heard, have been a pretty big success as far as sales.
Sound Devices added a time code generator to all three models in the lineup (the originals could only read and distribute existing TC) and the addition of 32-bit float support for recordings. This new 32-bit feature essentially makes audio recording almost foolproof. You can record too low of a level sound and because of the incredible clarity and super-low noise floor, you can amplify and increase the volume by a huge degree with no appreciable noise penalty. If you record the signal too hot, likewise, there’s so much dynamic range the recording will often be perfect, even if recorded “too hot.” The new models are the Mix Pre 3 II, Mix Pre 6 II and Mix Pre 10 II.
One of the most interesting new lighting technologies that exhibited at IBC was the Carpetlight LED Fabric-Based Panels. These new LED lights are super lightweight and very flexible when compared to many other flat-panel flexible LED panels. These lights utilize conductive thread instead of wire to drive the bi-color LED bulbs, resulting in a flexible LED panel that’s lighter and much easier to mount than most existing flexible LED panels. While the Carpetlights aren’t inexpensive (U.S. pricing hasn’t been announced yet, but in Europe, the prices range from €1,799 to €14,900 depending on size), the prices do look competitive for pro-level panels when compared to Arri, LitePanels, etc.
Blackmagic Design announced the Video Assist 12G, a monitor/recorder that’s available in two sizes: 7 inch and 5 inch. The new Video Assists feature an all-metal design with a brighter 2,500 nit screen than the now-discontinued Video Assist models. The monitors record to either single (5 inch) or dual hot-swappable (7 inch) SD card slots in a variety of 10-bit 4:2:2 ProRes or DNx formats, at frame rates of up to UHD in 60P. Blackmagic’s BRAW codec is also supported with the Canon C300 MkII and Panasonic EVA1.
The Video Assists record to SD cards, but it’s also possible to record direct to a USB SSD drive like the Samsung T5 over a USB-C connector. Since the older Video Assists were discontinued, this market for monitor recorders has pretty much ceded to the Atomos products, which are excellent, but it’s good to see healthy competition from Blackmagic for the same market.
It’s a Wrap
There were, of course, dozens of other new products introduced with a lot of various grip and lighting products debuting, as well as some other new microphones, but overall, IBC 2019 seemed to feature a lot of new technology that continues on from Cine Gear. There was some discussion chatter flying around in the weeks leading up to IBC 2019 that Panasonic might debut a new camera and that Sony might introduce the long-awaited A7 SIII, but neither rumor turned out to have legs. Overall, attendance was decent and the number of new products introduced means that manufacturers are still bullish on the pro video and digital cinema markets, which is encouraging for all of us who are always looking for the best new tools to use in our work.
Lightroom is an intricate program full of numerous features — sometimes so many that it can be easy to miss out on a particularly useful tool that can make your editing life both easier and more efficient. This excellent video will show you one of those tools.
Honoring the best in U.S. prime time television, the 71st Primetime Emmy Awards was held on September 22, 2019 at the Microsoft Theater in Downtown Los Angeles, California. The Awards show was broadcasted live by Fox without a host for the fourth time in its history. Watched by 6.9 million viewers in the United States, […]
Canon has come out of the gate firing on all cylinders when it comes to lenses for their mirrorless RF mount. One of the most interesting lenses in that lineup is undoubtedly the RF 85mm f/1.2L USM, the mirrorless version of one of the most popular portrait lenses of all time, the EF 85mm f/1.2L II USM. How does the mirrorless version compare to its DSLR predecessor? This helpful review will show you.
SLR Magic announced the expansion of their lineup of MicroPrime CINE lenses with the addition of a 21mm T/1.6 and a 50mm T/1.4. Let’s take a closer look at these lightweight lenses for MFT cameras.
SLR Magic MicroPrime CINE 21mm T/1.6 and 50mm T/1.4
The SLR Magic MicroPrime CINE lenses are lightweight and affordable cine lenses. They are available in various lens mounts: Sony E-Mount, X-Mount, and MFT. You can take a look at the review of the X-Mount versions we did earlier this year. To complement the existing lineup of lenses for MFT (Micro Four Thirds) cameras that consist of a 12mm T/2.8, 18mm T/2.8, and 25mm T/1.5, SLR Magic just introduced two new lenses.
In terms of construction, these MicroPrime CINE glasses have a lot in common. The front diameter of these lenses is 85mm for clip-on matte boxes, and they have an 82mm thread front. They are made out of metal, and the focus/aperture rings have standard 0.8 mod/32 pitch gears.
The first one is the MicroPrime CINE 21mm T/1.6, which is equivalent to a 42mm lens (35mm equivalent). The lens design consists of 13 elements in 11 groups. The total weight is 700 grams.
The second one is the SLR Magic MicroPrime CINE 50mm T/1.4, which is a pretty narrow focal length on a Micro Four Thirds sensor, equivalent to a 100mm prime (35mm equivalent). The lens design consists of only six elements in five groups, for a total weight of 630 grams.
Pricing and Availability
These lenses are available now. Both the CINE 21mm T/1.6 and the CINE 50mm T/1.4 retails for $599.00 each.
What do you think of these new MicroPrime CINE lenses? Did you shot with an SLR Magic lens before? Let us know in the comments!
The post SLR Magic MicroPrime CINE 21mm T/1.6 and 50mm T/1.4 Announced appeared first on cinema5D.
During IBC 2019, we talked with Jennifer from Saramonic about their new wireless microphone system: the Saramonic Blink 500. The advantage of this compact wireless system is that it works with any camera but also with smartphones. Let’s take a closer look at it!
Saramonic Blink 500 Features
The Saramonic Blink 500 is a compact and versatile clip-on wireless system that you can use with a camera or a smartphone. This wireless system operates in the 2.4 GHz spectrum, and the Blink 500 can automatically choose the best channel to work in. You can use a wireless system that utilizes the 2.4 GHz bandwidth anywhere in the world without a problem. The maximum distance between the transmitter and receiver is 164 feet/50 meters. Also, the Saramonic Blink 500 systems utilize 24-bit / 48 kHz resolution to capture your audio.
In total, depending on your needs, six packages are available, but they all share the same transmitter. The Saramonic Blink 500 TX features dedicated gain buttons so you can adjust the signal level and even mute it. The transmitter is small and has a built-in microphone with an Omni pickup pattern as well as a 3.5mm jack input. That way, you can choose if you want to put it in your pocket and use it with a lavalier (that is included), or directly clip it to your shirt if you are in a hurry. Also, like the RØDE Wireless Go, the built-in clip doubles as a cold-shoe adapter.
On the receiver side, you have a couple of options to choose from:
- A “standard” dual-channel receiver that plugs into your camera via a 3.5mm jack output. Note that you can use two transmitters with only one receiver.
- A receiver with a Lightning connector that you can use with your iPhone and iPad.
- A USB-C version for Android smartphones/tablets.
The transmitter and receiver run on an internal battery that lasts up to five hours, according to Saramonic. You can recharge the internal battery via the USB Type-C port on the side of the receiver/transmitter. The smartphone receivers are powered via the Lightning/USB-C port and don’t have an internal battery.
Pricing and Availability
The Saramonic Blink 500 is available now, and the camera kit with a transmitter and receiver starts at $179.00. Various packages are available depending on your needs. Also, you can buy additional emitters/receivers later down the road to expand your kit.
What do you think about the Saramonic Blink 500? Do you think it can be a versatile alternative to the RØDE Wireless Go? Let us know in the comments!
The post Saramonic Blink 500 Wireless Microphone System Announced appeared first on cinema5D.
Aputure has revealed details and specifications of its latest release. Unveiled at IBC 2019, the LS 600d LED light is the company’s most powerful continuous light so far, in what they are calling “600 watts of raw LED power.”
There’s no doubt the iPhone 11 Pro’s new triple camera and computer vision tech has significantly improved the smartphone’s camera performance, especially in low light. But how far has the phone really come, and can the results hold up against a DSLR in the hands of a wedding photographer?
San Francisco-based wedding photographers Jamie and Lauren Eichar of Eichar Photography wanted to find out, so they took the new iPhone 11 Pro out alongside their trusty Canon 5D Mark IV for a fun engagement shoot with a couple of their friends, and then posted the photos side-by-side for people to compare.
“Ever since portrait mode on the iPhone has been a thing we’ve been using our phones for fun on engagement shoots and wedding days for some quick portraits that we can send at the end of the day,” Jamie tells PetaPixel. “With the new iPhone’s focus on the camera improvements and Apple adding the ‘Pro’ label to this phone, we thought it was the perfect time to see if this could actually replace our DSLR in some instances.”
You can see the photo shoot up top, or scroll down to see each of the comparisons in turn—one photo on iPhone, one photo on Canon. Most readers of this site can probably tell which is which without much fuss, but could most clients? The quality seems to hold up surprisingly well:
“We were definitely expecting the iPhone 11 Pro to perform well on the shoot, but we had no idea it would actually be comparable to our DSLR,” says Jamie. “Obviously, the iPhone still has room to improve in order to catch up with our professional cameras. [But] with the ability to use the wider camera for portrait mode and the improved quality of the images altogether I think this is the closest we’ve gotten from a phone.”
Of course, it wasn’t all positive. Portrait mode, even with three cameras, still doesn’t always work right.
“Using the three cameras on the iPhone to create the effect of true depth of field made for a lot of instances where it was so close to perfect, but just messed up,” says Jamie. “The iPhone 11 Pro is hit or miss when there are small gaps or it can’t find the edge of the subject and it isn’t able to recognize that there is a need for the background to be blurred in those areas.”
This comparison shows portrait mode vs non-portrait mode, both taken on the iPhone 11 Pro. If you click to enlarge, you can see how the phone had a lot of trouble with the grass—their friend on the left almost looks like he’s floating as a result:
Still, Jamie was pleasantly surprised with the results. “I think that this could be the future of where cameras are heading,” he tells us. “Despite being fun tech on a smartphone, you can actually fool someone into thinking that some of these photos were taken on a pro-level camera. I don’t think we’re far off from seeing computational photography becoming mainstream.”
We’ve read much the same in the comments section of PetaPixel for months now: people asking for and expecting computational photography to have a massive impact on “real” cameras in the near future. A close look at the full res files from Jamie and Lauren’s test will easily reveal which is which, but in several of the compositions, many (perhaps most) clients would probably be happy with either of the results.
To see the full photo shoot and side-by-side comparison, check out the full video up top. And if you want to see more of Jamie and Lauren’s work, be sure to visit their website or give Eichar Photography a follow on Instagram.
Credits: Photos by Eichar Photography and used with permission.
A new Chinese optics manufacturer has released the DULENS APO 85mm F2, a manual medium telephoto prime for Canon EF and Nikon F camera systems.
Although not much is known about DULENS itself, Newsshooter is reporting it’s been told that the optical engineer behind DULENS is the same who helped bring the NiSI F3 and MAVO prime lenses to life.
The lens, which is inspired by the Zeiss Sonnar series, is constructed of seven elements in six groups and includes an Apochromatic element to reduce chromatic aberration. It measures 5.8cm (2.28in) long, weighs 350g (12.35oz), features a 29-degree field-of-view, uses a 55mm front filter thread and has a minimum focusing distance of 90cm (35.43in).
Below are a number of high-resolution sample images shared on the product listing. These were shot with the lens on a Lumix S1 using an EF adapter:
The lens is available to pre-order in black and silver varieties for Canon EF and Nikon F camera systems. It’s currently listed for ¥2999 (approximately $420) on Chinese retailer Taobao, but Newsshooter says the company intends to release the lens in the United States and Europe market for $599.
We have contacted the retailer for more information on the lens and availability and will update this article if and when we receive a response.
Having completed what proved to be one of the most challenging shoots of my career, I was then faced with the task of editing and compositing the images. Due to my inexperience, getting the results that I wanted using Photoshop proved to be a steep learning curve. Here’s how I went about it.
Earlier this week, the Canadian Green Party was caught in a Photoshop gaff that toes the line between silly and troubling. As reported by the National Post it seems a photograph of the party’s leader, Elizabeth May, was Photoshopped to add a green party logo and a reusable straw, putting it more in line with the party’s environmental policies.
Nobody seems to know when, how, or why this edit was made, but a party spokesperson did admit that Photoshop was used on the image, which appears on the party’s homepage. The spokesperson told the National Post that “Photoshop was used to add in a different cup that displayed the Green Party logo” and when you compare older, cropped copies of the same image that are in circulation, the addition of the straw is obvious:
The edit has people shaking their heads because of what it implies: that the absence of a reusable straw (or maybe the presence of a plastic one?) could possibly be egregious enough to justify outright photo manipulation, and risk getting caught.
Obviously, in this case the manipulation is comical—the story more of a late-night punch line than a serious political misstep or case of “fake news”—but in a world where the veracity of photography and photojournalism is constantly called into question, these kinds of silly missteps only serve to further erode the public trust.