ScopeBox 4 from divergent media will be available from the 29th of October. ScopeBox 4 looks to be an impressive update to the companies existing ScopeBox platform. While we don’t have all the information about ScopeBox 4 yet, I can tell you that it features a multi-window UI, a false color palette, HDR color science … Continued
After strong user feedback towards recently announced EOS cameras in which Canon originally ditched 24p recording, Canon promised to release a firmware update which will add 24p (23.98fps) video recording mode to these cameras. The update will be available for both Full HD and 4K UHD resolutions starting with the EOS 90D and EOS RP in late October, followed by PowerShot G7X Mark III, G5 X Mark II, and EOS M6 Mark II.
When Canon recently introduced their new cameras with uncropped 4K UHD video, the EOS 90D DSLR and EOS M6 Mark II mirrorless, many users pointed out with disappointment that these cameras do not support 24p mode anymore (video recording with 23.98 fps). It seems that Canon listened to these numerous complaints, because they now promised to release a new firmware update, which will fix that and bring 24p to their cameras after all.
The 24p feature will come via a series of future free firmware updates for selected models. Once installed, the cameras will be able to shoot 24p (23.98fps) in both Full HD and 4K resolutions.
The first Canon models to benefit from the new 24p (23.98fps) firmware will be the recently launched EOS 90D and EOS RP in late October. The Canon PowerShot G7 X Mark III and G5 X Mark II will follow by the end of December and the EOS M6 Mark II update will be available during 2020.
This announcement comes after the recent availability of the new firmware version 1.3 for EOS RP and 1.4 for EOS R which further enhances the eye and subject detection AF performance of both mirrorless cameras.
While Canon offers 24p in their older cameras, they somehow decided not to include it in the new releases. No information was given why. Thankfully, they changed their opinion after strong user feedback.
What do you think of this step from Canon? If you use Canon for your video work, would you have missed the 24p feature? Let us know in the comments below the article.
The post Canon to Include 24p (23.98 FPS) Mode via Update to Recently Launched EOS & PowerShot Cameras appeared first on cinema5D.
Nikon just announced a new mirrorless camera with an APS-C sensor: the Nikon Z 50. This new camera is the little brother of the Nikon Z 6 / Z 7 cameras that features Full-Frame sensors. Also, a new range of lenses has been introduced, the Nikon NIKKOR Z DX series. This new line-up of affordable zoom lenses is compatible with Z mount cameras with APS-C sensors – like the Z 50. At the moment, two lenses are available: the NIKKOR Z DX 16-50mm F/3.5-6.3 VR and the NIKKOR 50-250mm F/4.5-6.3 VR. Let’s take a closer look at these new products!
Nikon Z 50 – A Z Mount Camera with an APS-C Sensor
The Nikon Z line of cameras that came out in 2018 consisted of only two cameras with Full-Frame sensors: the Nikon Z 6 and Z 7. But, Nikon just introduced a smaller – and more affordable – camera that features a 20.9 MP APS-C sensor: the Nikon Z 50. This new Z mount camera is quite an exciting move from Nikon because it is a direct competition to other APS-C DSLRs cameras in their line-up like the D7500.
The Nikon Z 50 is a camera with a small form factor that only weighs 395 grams (without battery/memory card). Otherwise, don’t let this small size fool you, because it is competent. For filmmakers, it can record videos in 4K UHD at up to 30 frames per second, and up to 120p in FHD. Footage are recorded onto an SDHC/SDXC memory card as MOV/MP4 files in an H.264/MPEG-4 codec. At the moment, there is no information if you can output a clean/uncompressed video signal from the mini HDMI (type-D) port.
So, except the fact that the Nikon Z 50 features an APS-C sensor instead of a Full-Frame one, what makes it different from its big brothers the Z 6 and Z 7? Well, not a lot of things: it lacks the N-Log color profile, timecode support, and the headphone jack. While these three things can seem minor for photographers, these are big deals for filmmakers.
The video bitrates are the same as in the Nikon Z 6 and Z 7 cameras: 144 Mbps in UHD 24/25/30p, and also 144Mbps at 100/120fps in 1080p. For normal speed 1080p recording (24/25/30p), it’s only 28Mbps, and 56Mbps once you switch to 50/60p.
Nikon Z 50 – A Camera For Vloggers?
The Nikon Z 50 features interesting tools and characteristics for an entry-level camera such as:
- An integrated pop-up flash.
- Built-in Wi-Fi and Bluetooth connectivity to transfer your photos/videos and control your camera via your smartphone.
- A weather-sealed body made of magnesium alloy.
- Autofocus with eye-detection that works in both photo and video mode.
- A 3.2″ touchscreen LCD. The screen can flip up, but you can also flip it down 180° in selfie mode.
- There is a 0.39″ OLED EVF.
- It can shoot stills at up to 11 frames per second.
- There is a timelapse mode.
So is the Nikon Z 50 the perfect B-camera for Z 6 and Z 7 shooters? It depends if you are shooting in N-Log with your primary Z 6 / Z 7 camera, but if it’s the case, I suggest putting the extra money on a Z 6.
To go with the Nikon Z 50, two zoom lenses have been introduced. These new NIKKOR Z DX lenses are only compatible with Nikon Z cameras that feature an APS-C sensor. Indeed, they are not compatible with the Nikon Z 6 and Z 7, but you can use them with the Nikon Z50.
Nikon NIKKOR Z DX 16-50mm F/3.5-6.3 VR
First is the Nikon NIKKOR Z DX 16–50mm F/3.5-6.3 VR pancake zoom lens. This compact and lightweight – only 135 grams – glass should fit the small form factor of the Z50 perfectly. The 16-50mm focal length is equivalent to a 24-75mm (35mm equivalent), which is an excellent all-around zoom to have. Otherwise, it is not the fastest lens out there, with an aperture going from F/3.5 down to F/6.3.
The lens design consists of 9 elements in 7 groups, including 1 ED element and four aspherical elements. The aperture diaphragm consists of 7 rounded blades, and the minimum focus distance is 20 cm at 16mm. There is a built-in VR stabilization motor to compensate for the lack of sensor stabilization of the Z50. The front filter is 46mm. Also, you can re-assign the focusing ring to other settings such as aperture control or exposure compensation.
Nikon NIKKOR Z DX 50-250mm F/4.5-6.3 VR
The second lens is the Nikon NIKKOR Z DX 50-250mm F/4.5-6.3 VR zoom. This telephoto lens should be perfect for portraits on-a-budget or wildlife photography, for example. The NIKKOR 50-250mm features a built-in VR stabilization motor and is relatively compact with a total length of 110mm (collapsed) for a weight of 405 grams.
The lens design consists of 16 elements in 12 groups, including 1 ED element. The aperture diaphragm consists of 7 rounded blades, and the minimum focus distance is 50 cm at 50mm. The front filter is 62mm, and you can also re-assign the front focus ring to other functions.
Pricing and Availability
The Nikon Z 50 should ship in November for a price of $856.99/999€. The NIKKOR Z DX 16-50mm F/3.5-6.3 VR zoom lens retails for $296.95. Finally, the Nikon NIKKOR Z DX 50-250mm F/4.5-6.3 VR retails for $346.95. Both lenses should also ship in November. Also, various kits are available with one or both lenses.
What do you think of the Nikon Z 50? Do you consider getting it as a B-cam for your Nikon Z 6 / Z 7? Let us know in the comments!
The post Nikon Z 50 and Two Nikon NIKKOR Z DX Lenses Announced appeared first on cinema5D.
Light stands are not known for being inconspicuous, and as such, if they are in your shot, they can be a real pain to deal with. However, with some careful planning, you can make it super easy to quickly composite the light stand out in Photoshop, and this helpful video will show you exactly how to do that.
It seems like something out of a tv show, but sadly, it’s real life. A stalker found and assaulted a Japanese music star after zooming in on the reflections in her eyes in selfies she posted on social media.
It’s a sad day for the photo industry. Imaging Resource, one of the most respected and uncompromising camera review websites in the world, is shutting down. The news became official earlier today when founder Dave Etchells sent an email to some of his friends and colleagues in the industry.
DPReview broke the news in a touching editorial piece written by Senior Editor Barney Britton, who has known and worked in friendly competition against (and often collaborated with) Dave and the team at IR for over a decade.
“The photo industry is, by and large, a friendly and close-knit community. A community of nerds, sure. And not a few misfits, but bonded together over a common interest in photography and technology,” writes Barney. “As king of the nerds (and I know he would have no problem with me saying that) Dave has been a central, and literally towering figure for 20 years.”
We couldn’t agree more. I, too, have had the pleasure of meeting Dave on several occasions and even working with him while on the PR side. He was, and continues to be, both one of the kindest people in our industry, as well as one of its most knowledgeable and scrupulous editors. We wish him all the best, and have good reason to hope that we’ve not seen the last of Dave or the rest of the talented team at IR.
|Figure 4 (from the paper linked below): Realized CMOS test chip: (a) photograph of the packaged chip, (b) screenshot of the layout.|
German researchers have developed a pixel design with the potential for massively increased dynamic range. Their design, reported in the ‘Advances in Radio Science‘ journal isn’t limited by the point at which it saturates, meaning it can continue to capture more highlight data when other sensors would become overwhelmed.
Unlike conventional CMOS chips, their ‘self-resetting pixel’ doesn’t simply ‘clip’ when it becomes saturated, instead, it resets and has a circuit that counts how many times it’s had to reset during the exposure. It also contains a conventional analog-to-digital conversion circuit, so it is also able to measure the remaining charge at the end of the exposure.
|Figure 2 (from the linked paper above): The working principle of the self-reset pixel.|
This would mean that you don’t need to limit your exposure to protect highlight data and can instead set an optimal exposure for capturing your subject, safe in the knowledge that this won’t result in blown-out highlights. In their paper, the researchers from Institut für Mikroelektronik Stuttgart created a series of test pixels with different designs, and will now focus on the one that gave the most linear response to different light levels, both in terms of its reset characteristics and its conventional ADC mode.
|Figure 1 (from the linked paper): Schematics of the analog and digital parts of one pixel cell and a global control for all pixel cells.|
Before you get too excited, though, this work is still at a fairly early stage and is primarily focused on video for industrial applications, though lead researcher Stefen Hirsch tells us: ‘basically it should also be possible to use for still images.’
At present, the additional counting circuitry ends up meaning the light-sensitive photodiode in each pixel is very small, making up just 13% of the surface area of huge 53μm pixels. A move to a stacked CMOS design, with the circuitry built as different layers, would increase this, with potential for 20μm pixels with more of the area being light-sensitive. A three-layer design could allow still smaller pixels. For perspective, the pixels in the 12MP Full-Frame a7S II are around 8.5μm, so there would need to be a lot of work done to find a way to produce a sensor useful as a consumer video or stills camera.
First trailer for JUNGLE CRUISE:
Director: Jaume Collet-Serra
Release Date: 24 July 2020 (USA)
© Vincent Frei – The Art of VFX – 2019
Richard Terborg is a conceptual fashion, portrait and fine-art photographer from Holland. Known for his bold and crazy colors, Richard is just as bold and crazy in real life. In a fun way, not a ruin your life way.
Amblin TV will adapt Masters of Air for Apple and we can’t wait.
Deadline is reporting that Steven Spielberg’s Amblin Television and Tom Hanks and Gary Goetzman’s Playtone have made a deal with Apple for a limited event limited series based on the Donald L. Miller book Masters of the Air: America’s Bomber Boys Who Fought the Air War Against Nazi Germany.
As a Spielberg and Hanks lover — plus a history buff — I cannot wait for their follow-up to Band of Brothers.
Masters of the Air chronicles the history of the American Eighth Air Force in World War II. The source material tells the true story of the American bomber boys during the war that “brought the war to Hitler’s doorstep,” according to a description on Amazon.
Want to make your filmmaking voice heard but have no idea how? Cinestudy wants to help you.
Cinestudy, formerly Framelines from PBS, has begun releasing multiple filmmaking projects online for free. Starting with a mini-horror movie that anyone can download, edit, and then release online — all in Ultra HD 4K — students from several schools have already begun to upload their edits, some for their class assignments, others just to show what they can do.
“I taught myself filmmaking right before online tutorials and I just wanted to put out there high quality content that people can learn from”, says Peter John Ross, creator/director. “I’m making projects I wished I had available when I started to make movies and learn editing.”
For the Halloween season, Cinestudy has released a mini-Horror movie project where students and hobbyists can edit their own movie centering on a serial killer chasing a young woman around a warehouse. Shot entirely in UltraHD 4K, all of the footage is available for download. And it is totally free because of a generous donation by the cinematographer and owner of Zabolights, Greg Sabo.
Create a 60-second story for the Halloween-themed contest.
It’s 4:00 in the morning… and someone, or something, is knocking at your door… What is it?
Well, that’s up to you!
The LaCie COLLECTIVE’s current video contest is the perfect fit for the Halloween season: Use your imagination, creativity, and filmmaking skills to create a 60-second video for The Behind the Door Challenge.
All videos need to follow the same suspense-building prompt: It’s 4 am, and someone or something is at the door. But from there, the freedom is yours.
The Resident Pro for this challenge is Colombian film director and creature master, Miguel Ortega. You’ve seen his work in Thor, A Night at the Museum, and Krampus among others.
Adobe has launched a redesigned Creative Cloud desktop app offering what it says is a more intuitive way to access and update applications, browse and install new apps, manage and share assets, and more. In addition, the new desktop client makes it easier to browse Adobe’s products across different platforms and categories, including mobile, web, and photography.
As demonstrated in Adobe’s newly published video, the new Creative Cloud desktop client provides direct access to the company’s tutorials and other helpful resources, a full-screen Library view and the ability to directly manage and share assets, and a new search tool for finding stock images, fonts, and other ‘creative resources.’
According to Adobe, its new Creative Cloud desktop app will replace the existing client. The software is currently rolling out in Germany and France; it is scheduled to arrive in Japan on Friday followed by the US and other regions next week.
Phoebe Waller-Bridge is a force of nature. She can write, act, and produce better than most people on this planet. So what lessons can we learn from her?
Maybe I’m just a dumb American, but it seems like Phoebe Waller-Bridge came from nowhere a few years ago. I watched Fleabag and was blown away. Then I tuned into Killing Eve and was shook it was the same writer.
And don’t even get us started on the droid she played in Solo that hooks up with Lando.
Phoebe Waller-Bridge is easily one of the greatest storytellers on the planet. And I wanted to learn everything I could from her career and work.
So here are ten writing lessons to help you kick ass in your pilots, features, and polishes.
Today, cameras are easy to use. The skill of photographers has shifted from learning how to handle a camera to learning how to handle what happens in front of it. Do you have this skill?
In 2010, the world’s tallest skyscraper was completed in Dubai. Standing a staggering 2,722 feet tall, the Burj Khalifa towered over the next tallest building by over 700ft. It was a feat of engineering, and a beautiful and shining addition to one of the most impressive skylines in the world. But they didn’t consider one issue: feces. In this way, the Burj Khalifa and the new Nikon Noct lens have something in common.
With 163 habitable floors designed to hold 35,000 people, the Burj Khalifa’s residents can theoretically produce over 7 tons of poop per day. Why does this matter? Because the Burj Khalifa was constructed without first building the proper sewage infrastructure that such a building required. Without a fleet of sewage trucks, the building would have figuratively collapsed under the weight of its own literal feces.
Dubai had built their “Halo piece,” their shining example of what they could do as a nation, without first making sure that their foundational pieces were ready to support it.
When a company (or in this, country) builds a Halo piece, you don’t expect the response to be quite as vitriolic as we’ve been seeing over the last 24 hours since Nikon unveiled the 58mm f/0.95 Noct. Ever since it was announced as in development, it has been a polarizing lens. But the mocking responses to its release yesterday still can’t possibly be what Nikon was expecting.
A Halo product is supposed to bring applause, or at least awe, not contempt and ridicule. So what happened?
Of course there are those who hate even the idea of a manual-only lens on a mirrorless still camera body in 2019, and I can see their point. The $8,000 price tag is also a lot more than many of us were expecting, though as a Halo product it sort of falls in line with the concept of a rare, specialty lens. So as much as I originally thought it was too much, I reconsidered when I thought about who was even going to buy this thing.
Does that customer care about the price? Probably not.
So why am I still upset? I think it’s because I don’t like the message it sends to those who actually use the Nikon Z System.
I have been critical of the lens release schedule for the Z cameras since the system was announced last year, and even the new additions to the roadmap that were announced yesterday don’t really appease me (mostly because the additions are incomplete, aperture values left blank). In my opinion, Nikon’s lens roadmap has from the very beginning felt repetitive and out of order. Seeing the NIKKOR Z 58mm f/0.95 S Noct lens in there, by itself, isn’t all that bad. The problem is the timing of its release, and the lenses its listed next to.
My beef with Nikon stems from the fact that I believe the Nikon Z System is intended to be for professional shooters. That is to say: that the Z6 and the Z7 are intended to be pro-level bodies for pro-level shooters. Whether or not they actually are is irrelevant, that was their intention.
When the Z system was announced, it launched with three lenses quickly available: the 24-70mm f/4 S, the 35mm f/1.8 S and the 50mm f/1.8 S.
That felt odd to me, since the Z system was being advertised as a professional camera. None of those lenses screams professional to me. In fact, when I saw them announced I immediately said, “but isn’t anyone buying this going to feel compelled to replace all three of those lenses as soon as something faster comes out?”
The 24-70mm f/4 was, to me, the most egregious offense. Anyone picking up the Z7 or Z7 at launch would feel compelled to get the 24-70mm f/4 because it’s the most versatile native lens available, and at the time we weren’t sure when we would get the 24-70mm f/2.8. We knew “2019,” but without being given a specific month, it was hard to rationalize waiting for it if you needed a usable, versatile lens either soon or right away.
It turns out the lens was released seven months ago, so the wait wasn’t that long, but by then it was too late. Now, you very likely have two equal focal length zoom lenses, and one of them is objectively worse than the other. If you own the 24-70mm f/4 and the f/2.8, the f/4 is probably gathering dust a closet right now, and you’re going to have a hard time reselling it.
The situation I just described will start to sound familiar when we look at the 35mm and the 50mm as well. And the case for the 14-30mm that was released this year, too. And the 85mm f/1.8. And the 24mm f/1.8.
Too many of the lenses on the roadmap feel like enthusiast-grade placeholders that will get professional-grade replacements sooner or later. All of these f/1.8 lenses feel like stop-gap money grabs, where Nikon knows you need the focal lengths more than you care about speed, so you won’t think about how you’re going to have to re-buy all these lenses within five years.
When you compare this strategy vs that of Canon or Panasonic (both of whom are moving at a snail’s pace in comparison), you might think it better since there are more options. But I argue that Canon and Panasonic are respecting me as a consumer more than Nikon is. In four years, if you subscribed to the Nikon Z System, you’re going to have two 50mm, two 24-70mm, and a 14-24mm f/2.8 to pair with your 14-30mm f/4. And it seems likely you’ll have a faster 35mm, 24mm, and 85mm, too.
That’s a lot of money wrapped up in optics that you’ll be sorely tempted to replace because there is no benefit to having these slower lenses once faster versions come out.
So when I see the 58mm f/0.95 S Noct lens release slotted in here, right in the middle of a convoluted lineup, it just makes me upset, and that has nothing to do with the optical excellence of the Noct or its price tag. You don’t release a Halo product like this when your usable lenses are in the state that Nikon’s are currently in. To me, the Noct feels like the an insulting cherry piled atop the ice cream sundae of insults that is the current Nikon Z-Mount lens roadmap.
The time, money and engineering resources that it took to create this lens feel like they could have been better used elsewhere.
The Noct would appear like a completely different lens if it were standing atop a well-rounded professional lens library that Z Series users could be proud of. But in the middle of a release schedule with so many holes it it? With so much repetition? It strikes me as insulting and out of touch.
In other words: this shining beacon of engineering only makes the sewer trucks and lack of proper infrastructure that much more obvious.
Previously, I wrote about what can happen when someone asks for proxies without talking about what they’d be used for.
In my example, the proxies were to be used by a transcription service. The issue was file size. With all the uploading and downloading, very small files would have been helpful instead of the 1920×1080 mp4s provided.
However, there’s another issue to consider: timestamps. Transcripts usually have a timestamp at the start of a bite, change of thought or change of speakers. The times come from a counter that is started at the beginning of the file.
Transcripts that have timestamps that start at 0:00 can’t really match up with the original footage unless it also starts at timecode 00:00:00:00. If you’re working on only one clip, this might not be an issue. If you have several hours or days of interviews, it can be a real issue.
Although you could try to modify the timecode of the original clip so that it starts at 00:00:00:00, that can get messy as you move through the post-production workflow. It’s better if you try to keep all the metadata unchanged.
There are also ways to enter timecode at the transcription service. But if you have multiple clips, that’s a lot of work. An easier option is to use a transcription service that can sync transcripts to the timecode of the clip instead of just starting at 0:00.
In other words, the transcript of the start of a sound bite will use the actual footage timecode, like 13:25:14:00, as opposed to simply 0:00. That way you can easily track bites within your footage. Some editing applications even allow you to attach the transcripts to the clips in your bin.
Sounds great, doesn’t it? It is, if that’s what actually happens. But if you merely send “a proxy”—a generic, one-size-fits-all proxy—to the transcription service, there’s a good chance it won’t work. It won’t have timecode. Why? If the proxy maker created a typical mp4, it won’t have timecode.
Note: There is a way to get timecode into mp4s, but it’s not easy. Even then, it might not be supported by the transcription service.
But, if the proxies that are created are QuickTime movies (.mov), there’s a timecode track in the file that can be used. The QuickTime movies can even use the h.264 codec (like you would for an mp4) to reduce the file size.
By sending a QuickTime movie that has the timecode of the original footage embedded in it, you’ll be able to get transcripts with all the bites timestamped properly. No need to add a timestamp offset—it just happens.
All of the above is just another reason for people to ask a few questions when someone “needs proxies.” But what about proxies for actual editing? Next time.
Nikon’s newly announced Z50 mirrorless camera may be one of the company’s most important announcements. With sales falling across the industry, product lines will need to consolidate, and the introduction of an entirely new line sets a very significant precedent. Nikon had strong performances in the DSLR era, with cameras like the D3, D300, and D700 as standouts, but were later to the game with significant mirrorless cameras. Is the Z50 the right direction?