Frame.io has hired Michael Cioni as their Global SVP of Innovation. Cioni joins Frame.io from Panavision where, in a similar role, he spearheaded numerous breakthrough products and workflows, including the Millennium DXL 8K large-format camera system. Prior to that, he was president and CEO of digital post company Light Iron, which he founded in 2009 … Continued
On this week’s Go Creative Show podcast, the cinematographer of Joker, Lawrence Sher ASC talks all about why the movie is such a polarizing film. Host Ben Consoli and Lawrence also discuss the lighting and camera tricks that gave Joker its unique look, how they worked around Joaquin Phoenix’s leg injury, the camera and lenses … Continued
The Russo Brothers and their screenwriters on Avengers: Endgame reveal how they pulled off the highest-grossing movie of all time — and how you can learn from them.
There is life before, and life after, watching Avengers: Endgame. Whether you have been there from the jump with 2008’s Iron Man, or just entered the Marvel Cinematic Universe for the first time with this summer 2019 blockbuster, the work directors Joe and Anthony Russo and screenwriters Christopher Markus and Stephen McFeely did to tie together and wrap up three phases worth of Marvel movies is an unprecedented feat. It’s also something all filmmakers, no matter the size or scale of their films, can learn something from.
We made the time to listen to the filmmakers’ commentary and took notes of some essential tips that can make your process and collaboration in general more effective. We love this movie 3000.
Writing and directing comedy has always been hard. Recently, people like Todd Phillips have been saying it’s near impossible. But we need comedy now more than ever. And we’re getting it from all over.
You’ve no doubt heard a few times from a few sources. Comedy isn’t doable anymore. Comedy is under fire. You can’t be funny. Or some variation on this sentiment. True or not, it seems to be a chorus of voices almost discouraging people from going into comedy. As if comedy wasn’t already hard enough.
The bigger problem? The world needs comedy. Whether it is in movies or television, the genre is a staple of either and necessary for fans of both.
We don’t want creators to shy away from it. In fact, we want to encourage everyone to make comedies without worrying about the modern-day ‘dangers’ or concerns that surround it. The good news is comedy is just as doable as ever, but if you want to do it there are a few simple things to keep in mind that can help you be better at it, but also avoid the sorts of issues people are talking about.
Oh, and the best part?
Get those sunglasses ready. Atomos unleashes the full power of the Shogun 7 at 3000 nits.
Atomos has officially released its latest firmware update (which was demonstrated at IBC 2019) for the Shogun 7, AtomOS 10.3, which promises to be much more than an incremental update. In fact, the company contends that this update is so significant, it will be visually noticeable if you compare the Shogun 7 before and after installation of the update.
If you need a visual reference, check out the video below from Atomos:
AtomOS 10.3 leverages the Shogun 7’s 360 zone backlight to effectively double the output from 1500 nits up to a searing 3000 nits of peak brightness. Just to be clear, this is not globally doubling the brightness of their panel, rather, it uses highly localized controls to allow much more accurate HDR monitoring. That means that your blacks will remain truly black, and not lifted or milky, while providing up to 3000 nits for the brightest part of your scene. As a result, it is still recommended to use the 1500 nit “daylight” mode for when you are outside and just need to see a brighter image on the display.
Landscape photography is a tricky genre that takes the confluence of multiple threads of technical prowess, creative thinking, and a bit of luck from the elements to create a successful image. This helpful video will give you lots of great tips to improve your landscape photography.
“Video quality is powerful but it’s not the whole thing.” Paul Xavier speaks about how the message of your video is more important than the gear you are using.
Michael Cioni, who spearheaded numerous breakthrough products and workflows, including the Millennium DXL 8K, moves from Panavision to Frame.io, to take the role as Global SVP of Innovation.
Frame.io recruits Michael Cioni to help lead the next wave of film-tech innovation, starting with the development of breakthrough camera-to-cutting room technology. Cioni, one of the industry’s most prominent production and post workflow experts, joins Frame.io from international camera company Panavision, where, in a similar role, he spearheaded numerous breakthrough products and workflows, including the Millennium DXL 8K large-format camera system.
At Frame.io, Cioni will lead a new LA-based division focused on the continued investment into cloud-enabled workflows for motion pictures and television—specifically, automated camera-to-cutting room technology. “Frame.io is not only looking to strengthen today’s use of the cloud, we’re also driving increased creative control by reducing the time it takes for media to reach editors in offsite cutting rooms,“ says Cioni.
Michael Cioni sees the future
This move to Frame.io, the world’s leading video review and collaboration platform used by over 1 million filmmakers and media professionals, may come as a surprise to some, but it’s all part of Michael Cioni’s search for the future. Back in 2013, at Light Iron’s blog, a text under the title “Michael Cioni Sees the Future” penned by Dan Ochiva states that “…Post houses turning out dailies won’t exist by 2017, he says in his Tumblr blog, for example. What’s more, his own company’s future, the rationale of why Light Iron makes its money today – audio sync, windowburns, watermarking, versioning, color space conversions and even the job of the digital imaging technician – will itself go away by 2021 as ever smarter cameras finish each day’s projects and sends it to cloud servers.”
The whole text, which you can read following the link, makes it easier to understand this move. Michael Cioni founded the post house Light Iron, which was acquired by Panavision in 2015. For more than a dozen years, he has supervised the Digital Intermediate and workflows on hundreds of feature films including “Whiskey Tango Foxtrot”, “Gone Girl”, “Muppets Most Wanted”, and “The Social Network”. He also lead the development of Panavision’s newest file-based camera, the 8K Millennium DXL.
New direct camera-to-cutting room collaboration
“The professional filmmaking process is going through the largest functional change since the shift from analog to digital,” says Frame.io CEO, Emery Wells. “While cloud-based technologies are already transforming every industry, we understand moving more of the filmmaking process to the cloud presents several unique challenges: security, file sizes, and scale. Since day one, we have built Frame.io to solve the issues that we lived working in post-production.”
When it comes to security, Frame.io has responded to Hollywood’s unique needs by making it a cornerstone of the platform. “Frame.io has invested deeply in security so that customers experience safe, documented, and trustworthy cloud accessibility of their highest-value media,” says Cioni.
Additionally, “Hollywood’s attention to image quality, archiving, and future-proofing are all core aspects of the Frame.io platform,” Cioni says. “Emery and I both know what it means to work with large creative teams, so at Frame.io we are developing a totally new direct camera-to-cutting room collaboration experience.”
A robust camera-to-cloud approach
Frame.io has been 100-percent cloud based since day one. “We started seeding new workflows around dailies, collaborative review, and real-time integration with NLEs for parallel work and approvals. Now, with Michael, we’re building Frame.io for the new frontier of cloud-enabled professional workflows,” Emery says. “Frame.io will leverage machine learning and a combination of software and hardware in a way that will truly revolutionize collaboration.“
With Cioni, Frame.io’s vision for the next generation of professional cinema workflows will be completely anchored in cloud-based technologies. “A robust camera-to-cloud approach means filmmakers will have greater access to their work, greater control of their content, and greater speed with which to make key decisions,” says Cioni. “Our new roadmap will dramatically reduce the time it takes to get original camera negative into the hands of editors. Directors, cinematographers, post houses, DITs, and editors will all be able to work with recorded images in real time, regardless of location.”
As the lines between production and post-production continue to blur, this move uniquely positions Frame.io to respond to the pervasive need for global studios and creatives to collaborate without geographic boundaries or borders.
The post Michael Cioni: Light Iron founder joins Frame.io as Global SVP of Innovation appeared first on ProVideo Coalition.
Walter White is dead. Jesse is on the run. Listen to Vince Gilligan talk to Rich Eisen about the Breaking Bad movie.
Ever since Breaking Bad ended, fans have debated the fate of Walter White. Some conspiracy theorists have asked if Walter somehow survived that epic blood bath at the white supremacist’s compound. Other people wondered if that was his voice we heard at the end of the El Camino trailer.
Well, Gilligan just did an episode of The Rich Eisen Show where he confirmed what 99 percent of us already believed…
“Yeah, I’m gonna give you that one, Rich, because I love you so much. Yes, Walter White is dead. Yes.”
So how can you make a movie about one of the best TV shows ever?
When Gilligan got the idea to follow Jesse’s life after the series finale, he knew it would be hard to keep that project quiet. They kept secrets on set by pretending to be filming a commercial for a Breaking Bad tour company. Which is awesome.
Sound Devices unveiled their new 833 Portable Compact Mixer-Recorder at IBC in Amsterdam. The recorder features 6 mic/line preamplifiers, 8 channels, a 256 GB internal SSD, and dual L-Mount charging and powering.
The US-based company Sound Devices has been producing high quality audio equipment for years. They are mostly knowns for their audio recorders and mixers. This year, the company already announced the new MixPre II (which is already shipping since the end of August, watch our IBC hands-on news video here), the new premium portable mixer-recorder Scorpio, and now they are announcing an even more portable Sound Devices 833 compact mixer-recorder.
Sound Devices 833 Portable Compact Mixer-Recorder
Like the popular Sound Devices 633, the 833 is small, lightweight, and compact. Its dimensions are only 5.1 x 22 x 17cm (2.0″ x 8.7″ x 6″) and the weight is 1.25kg (2.75 lbs) – unpackaged and without batteries.
The Sound Devices 833 has 6 mic/line preamplifiers, 8 channels, 12 tracks, 6 analog outputs, and ultra-accurate timecode. Many features have carried over from the Sound Devices’ larger Scorpio, such as the new preamplifier design, 2 SD card slots, dual L-Mount charging and powering, and an internal 256 GB SSD. The 833 features industry-renowned Dugan Automixing for up to 8 channels.
The 833 recorder features 320×240 transflective LCD display with good sunlight visibility to monitor all the important functions. Larger touchscreen display is available via USB-connected SD-Remote app.
In addition, Sound Devices has recently partnered with Sony to add SuperSlot compatibility to the new Sony DWR-S03D Digital Wireless Receiver. The DWR-S03D joins other RF receivers from Audio Limited, Wisycom, Sennheiser, and Lectrosonics in implementing SuperSlot compatibility. SuperSlot receivers may be used with the Sound Devices Scorpio mixer-recorder and the SL-6 wireless distribution and powering system. The new Sony receiver is expected to ship later this year.
The new Sound Devices 833 is now available for pre-order. The price has been set to $3,995.
What do you think about the Sound Devices 833? Do you use any audio recorder from Sound Devices? Let us know in the comments underneath the article.
The post Sound Devices 833 Announced – Portable Compact Mixer-Recorder appeared first on cinema5D.
Apple has made a lot of noise with its camera-festooned iPhone 11 models, but beyond the lenses and hardware is a lot of interesting software. It’s arguably that software that’s driving the biggest changes to photography to date.
|This image, and the photo below, leaked on PhotoRumors two months ago.|
Early this morning, two new products from the world’s leading drone manufacturer, DJI, were listed with the Federal Communications Commission (FCC). After being rumored for the past two months, the Mavic Mini is now officially on the FCC’s site. While the second filing is not labeled with a product name, it’s likely going to be a remote controller for the compact, foldable drone. The filings are FCC ID SS3-MT1SS51905 and FCC ID SS3-MR1SS51905.
It has been well over a year since DJI released a consumer-grade drone. The last two major products from the Chinese manufacturer are the Mavic 2 Pro and Mavic 2 Zoom, announced at the end of August 2018. The timing for releasing the Mavic Mini isn’t random. Not only is the Holiday season upon us, competing American manufacturer Skydio recently starting accepting reservations for its compact Skydio 2 drone. Shortly after GoPro announced its Karma drone, in September 2016, DJI responded by introducing the original Mavic Pro at a swanky event.
DroneDJ was the first to report on the Mavic Mini after photos were leaked online two months ago. One notable feature that will make it worth the purchase for some consumers is the rumored weight.
In the United States, a drone must be registered with the Federal Aviation Administration (FAA) if it weighs more than 250 grams (0.55 pounds) and less than 25kg (55 pounds). If speculation is spot on, the Mavic Mini will weigh 245 grams at takeoff negating the need for registration. Rules and regulations are more lenient in other countries where a drone weighs less as well.
It’s coming soon when it appears in FCC database. pic.twitter.com/td4LmGla1L
— OsitaLV (@OsitaLV) October 9, 2019
Here are a few of the rumored specs for the Mavic Mini:
- The DJI Mavic Mini will offer a remote since controlling a drone with a smartphone is a less than ideal experience.
- It will have a flight time of up to 18 minutes.
- Unlike the Spark, which is similar in size, it will have obstacle avoidance sensors.
- The drone will have a range of 3.1 miles (5 km) and a top speed of 31mph (50 km/hr).
- The drone will have a 12MP, 1/2.3” CMOS camera that can shoot up to 4K/30p, 2.7K/60p, and 1080p/120p video.
- The expected retail price should be around $399 and the release date is expected soon to coincide with the Holiday season.
DJI owns a majority stake in camera company Hasselblad. There isn’t any word on whether they’ll incorporate their technology into the Mini’s camera as they did with the Mavic 2 Pro. The latter is currently the only drone in the company’s product line that features a camera with Hasselblad’s signature Natural Color Solution. DJI requested a short-term secrecy cycle of 180 days in a Confidentiality Letter from June 25th. While that gives them until late December to release the Mavic Mini, the Holiday season may expedite the release as soon as this coming month.
Dry or desert conditions provide incredible photographic opportunities. However, these places can expose your camera to a significant amount of sand and dust. The Namib and Etosha are two of the driest and dustiest places on Earth. Thank goodness for rain covers!
Shutterstock Editor, the stock image company’s free online image-editing web app, has added a new feature called Remove Background. With this tool, users can easily remove the background from images in order to isolate the subject, making it possible to incorporate the extracted element or person into other designs.
You asked, we listened! Announcing the Image Background Remover in #ShutterstockEditor that lets you remove the background from any image.
— Shutterstock (@Shutterstock) October 8, 2019
Shutterstock Editor offers users access to custom canvas sizes, such as ones intended for ebook covers and Instagram posts; users can also create their own custom canvas size. Images can be uploaded from an online destination using a URL or from the user’s computer, plus there’s the option of selecting an image from Shutterstock’s collection. The web app also offers access to free design templates.
The new Remove Background tool, which is found in the UI’s ‘Image Tools’ section, simply requires the user to select the areas of the image they want to keep and the areas they want to remove. When tested, the entire selection and removal process was very fast and accurate. The feature is live for all users now.
Grips have such an important job on a set. Here are some of the tools that allow them to get stuff done.
If cinema is magic, then those who make it are magicians.
Directors are flamboyant stage magicians with expert-level misdirection. Cinematographers are brilliant mentalists. Editors are masters of close-up sleight-of-hand. But grips — they’re escape artists who build elaborate sets with trap doors, mirrors, and secret compartments. They’re able to get themselves out of anything.
It takes an immense amount of technical knowledge and creativity to work as a grip, but what are some of the most important pieces of gear they use to do their job?
Indy Mogul’s Ted Sim talks with Hollywood grip Martin Torner, who has worked on everything from Iron Man 2 and Thor, to Agents of S.H.I.E.L.D and Curb Your Enthusiasm, about essential grip gear. Martin reveals which equipment is most useful on an indie film set, how they’re used, and how much they’re going to cost you.
Check out the video below:
A team of researchers from the University of Utah have made a major breakthrough in optics by developing a new kind of flat lens that’s only ten microns thick, making it “a thousand times thinner than regular lenses.” And apparently, it doesn’t sacrifice performance.
The breakthrough was published in the Journal PNAS, and it’s primarily being hailed as an advancement applicable to drone use, military imaging, and mobile photography. These lenses could replace the current optics inside smartphones, allowing manufacturers to do away with the dreaded “camera bumps” that have become so common.
Compared to the millimeter-thick lens elements inside, say, the new iPhone 11 Pro’s triple camera system, U of Utah associate professor Rajesh Menon says that the lens they’ve developed is “a hundred times lighter and a thousand times thinner, but the performance can be as good as conventional lenses.” You can see a picture of the flat lens below:
Menon and the rest of the team achieved this breakthrough by using microstructures. Instead of one large curved element, you have thousands of these microstructures that, together, focus light on an image sensor to the same degree as much larger and thicker traditional lenses. “You can think of these microstructures as very small pixels of a lens,” explains Menon in an article published by the University of Utah. “They’re not a lens by themselves but all working together to act as a lens.”
It wasn’t easy. The team had to develop a fabrication process with a new type of polymer, and algorithms that can calculate the geometry of the microstructures so they focus light properly. But the result is a lens that is “20 times thinner than a human hair” and can be made out of plastic to cut costs even further.
In their paper, the researchers focused on smartphone cameras and military applications, since the new lenses are capable of night vision imaging as well. But forget that… our imaginations immediately travel to a future where every lens is a pancake lens. Imagine comfortably hand-holding a 600mm f/4 while out shooting wildlife, or capturing fast action from the sidelines?
Of course, there’s no word on when (or if) they’ll be able to apply this technology to the large lenses and sensors that traditional photography typically relies on, but something tells us it isn’t a matter of if, but when, flat lenses revolutionize photography as we know it.
Image credits: Photo by Dan Hixson/University of Utah College of Engineering.
Built with the latest high-density 16Gb components, the new DDR4 memory kits from G.SKILL are the perfect choice for pushing the performance limits of high memory capacity, in powerful workstations.
If you are never happy with the system memory your computer has, maybe it is time to change. Just wait till the end of 2019 – it’s not that far – when the new 32GB memory modules from G.SKILL make it to the market. When I built my recent PC, I opted for two 16GB modules for a total of 32GB, although my actual motherboard supports up to 128GB of system memory (32GB single DIMM capacity) through its 4 x DDR4 DIMM sockets. I wanted to use 32GB modules, for a total of 64GB, but 16GB were the “sweet spot” in terms of price, as availability of 32GB was not widespread.
It still isn’t, at least at consumer level, but its going to change, and G.SKILL will release Q4, 2019, new high-capacity, high-performance memory kit specifications based on 32GB modules across several memory series, including Trident Z Royal DDR4-3200 CL16 256GB (32GBx8), Trident Z Royal DDR4-4000 CL18 128GB (32GBx4), Trident Z Neo DDR4-3600 CL18 128GB (32GBx4), and Trident Z Neo DDR4-3800 C18 64GB (32GBx2). Built with the latest high-density 16Gb components, these DDR4 memory kits are the perfect choice for pushing the performance limits of high memory capacity.
256GB memory for powerful workstations
This means that it becomes easier, for anyone in similar conditions to mine, to acquire 4 modules of 32GB to expand system memory to a total of 128GB. It does not stop there, though. With the availability of higher density memory at the consumer level, G.SKILL memory is pushing the performance boundary to DDR4-3200 on current HEDT platforms with up to 8 modules of 32GB for a total of 256GB. G.SKILL demonstrated that the Trident Z Royal DDR4-3200 CL16 256GB (32GBx8) is validated on the latest X299-based ASUS ROG Rampage VI Extreme Encore motherboard and the Intel Core i9-9820X processor. Such extremely high-capacity memory kits are the ideal choice for powerful workstations or for systems running multiple virtual machines.
The new 32GB modules also mean that it is possible to break the DDR4-4000 barrier, and the new Trident Z Royal DDR4-4000 CL18 128GB (32GBx4) confirms it. These high capacity 32GB modules are no slouch when it comes to high frequency, breaking through DDR4-4000 CL18 with 128GB (32GBx4), as shown by G.SKILL in tests with the ASUS ROG Rampage VI Extreme Encore motherboard and Intel Core i9-9820X processor.
Fast memory modules for Intel and AMD
Even if you do not own a HEDT ( High End Desktop) system, it’s now possible to reach a total of 128GB on current 4-DIMM motherboards, and that’s a lot. First examples tested by G.SKILL include the AMD-optimized Trident Z Neo series, the Trident Z Neo DDR4-3600 CL18 128GB (32GBx4) being stress-tested on the MSI MEG X570 GODLIKE motherboard and the AMD Ryzen 5 3600 processor.
At the extreme limits of AMD Ryzen 3000 platform, G.SKILL is also releasing a blazing dual-module behemoth kit of 64GB (32GBx2) at DDR4-3800 CL18 under the Trident Z Neo series, validated on the MSI MEG X570 GODLIKE motherboard and AMD Ryzen 9 3900X processor. So, whether you’re a Intel or AMD user, faster and bigger memory blocks are coming to the market soon. Consult the table on this page for a list of memory specifications based on the new 32GB modules. These ultra-high capacity performance memory specifications will support the latest Intel XMP 2.0 for easy overclocking and will be available via G.SKILL worldwide distribution partners in Q4 2019.
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