Leica has announced the SL2 mirrorless camera, the successor to the SL1 with full-frame, 47MP CMOS sensor. Just like any Leica camera, the SL2 features the same simple design language they are known for. With clean lines and simple aesthetics, designed and crafted in Germany with an all-metal construction. That does make it heavy, at … Continued
Yesterday, I was at the Children’s Hospital of Philadelphia shooting for Flashes of Hope, a wonderful non-profit organization that gets photographers like myself to volunteer their time and create portraits of kids who are literally fighting for their lives. These portraits are given to the families for free. Flashes of Hope is a truly wonderful group.
It can take a moment to convince these families to overcome shyness and mistrust, and allow themselves to be photographed. The chapter coordinator often uses the phrase, “professional photographer” or “professional portrait” to give credence to our work. I have heard this term in many other situations.
I hate it.
For me, the term “professional photographer” is cringe-worthy. I dislike the idea that just because I am paid to do something it infers that I have talent. I know this is not true. There are many, many talented amateur photographers out there who have a wonderful way of seeing and know how to turn that vision into great photographs. There are also many “professional” photographers whose work is boring, derivative and soulless. My self-esteem does not come from being paid, but from creating work that touches others. While I acknowledge that the term “professional photographer” is a convenient shorthand is still bothers me deeply and always has.
While it takes a lot of guts, discipline and a “bit of crazy” to build a career in photography it does not mean you have the ability to touch another’s souls with your pictures. That magic is rare and comes from somewhere that is independent of a paycheck.
Do me a favor: next time you introduce a “professional photographer,” try saying “talented” instead. It will spread a bit of joy on a photographer’s day, which might just help them create a bit of magic, beauty and love.
About the author: Zave Smith is a passionate photographer who was raised and trained in the Midwest, and is now based out of Philadelphia and New York. You can find more of his work on his website, Instagram, and Facebook.
Doctor Sleep producer Trevor Macy reveals how he and director Mike Flanagan made their Stephen King sequel sound like The Shining.
Doctor Sleep reaches back into the past of Stanley Kubrick’s The Shining to tell a surprisingly tear-jerking story about addiction, family, and grief — it just happens to be told within the confines of a horror movie. Not just any horror movie, however, but rather the sequel to one of the greatest horror movies ever made — a classic whose fanbase has obsessed over it like it was the Zepruder film.
Our friend Roger Cicala over at LensRentals recently decided to take on a few optical “platitudes” that he’s always hearing, and see if the data can back them up. So, are “all lenses the same at f/8”? And is it true that you “don’t need primes because I shoot everything stopped down”? Let’s find out.
These tests were broken down into two parts, with part one testing some expensive 35mm f/1.4 prime lenses, and part two testing two “bargain” primes against two expensive zooms—specifically: the Canon 35mm f/2 IS USM and Tamron 35mm f/1.8 SP Di VC USD against the Canon 24-70mm f/2.8L II and Sigma 24-70mm f/2.8 DG OS HSM Art.
To test the lenses and compare them to one another, Roger created field curvature plots for each lens as he stopped it down. The charts show how sharpness improves across the frame and into the corners the closer you get to the “peak” sharpness around f/5.6 or f/8.
The data for the Canon f/2, for example, looks like this as you stop down:
You’ll want to check out Part 1 of this series on LensRentals to learn how to read these charts, but the most over-simplified version I can possibly come up with (and which will no doubt earn me Roger’s wrath in the process) is that yellow equals sharp, the X-axis represents the distance from the center, and the Y-axis represents focus position. So the very center point of the graph represents the center of the lens with ideal center focus. If you go right or left from there, you’re moving further away from center; if you go up or down you’re front or back-focusing the lens, respectively.
There are two charts per aperture value because one chart shows the tangential and one shows the sagittal plane, which are typically sharpest at different focus positions, leading to astigmatism.
When you average out the sagittal and tangential field curvature plots into an overall graph, you get something that roughly “mimic[s] how sharp the lens is overall when you take a picture.” The average of the Canon 35mm f/2 lens at f/8 looks like this:
This is how Roger was able to test various zoom and prime lenses, all tested at 35mm, as he stopped them down to see how they sharpened up across the frame. It’s also how he’s able to show, pretty definitively, that those platitudes he’s tackling lack the real-world subtlety that platitudes always lack.
If you need a TL;DR of all the results, this excerpt from Roger’s conclusion should do the trick:
If you plan on shooting stopped down, a good f/1.8 or f/2 prime is nearly, but not absolutely, as good as the more expensive f/1.4 primes. A good zoom lens, even stopped down, is not as good as the inexpensive prime, at least at the edges of the image, but it will be close enough for most people most of the time. Depending on their copy. The zoom is going to be less predictable and have more variation, so that answer is a bit more copy specific.
A zoom is often the best choice of lens. But it’s never the best lens.
If, on the other hand, you’re an optics nerd and you want to dive into the details, head over to LensRentals and see all of the test results for yourself. Even if you’re not nerdy, this info can save you money, and help you avoid repeating platitudes like “all lenses are the same at f/8” or “this zoom is as good as a prime.”
Image credits: Photos and test results by LensRentals and used with permission.
Previously, I talked about creating proxies to use for remote editing. The original footage remains in one location—not linked to the project—and only the proxies are used. I emphasized that you should make sure that the proxy files are created in such a way that they easily and faultlessly link up with the original footage. You can’t just assume that you did it right because if you didn’t, it may not be an easy fix.
Before you start any editing, it’s important to test to ensure everything will link. In addition, it might prevent you from having to take some of the drastic steps I mentioned last time, like changing filenames or timecode.
Testing is simply following the steps you’ll use to finish the project. Ingest your proxies into the edit software that will be used for the offline cut. Put all your proxy clips onto a timeline and then export that timeline via whatever method your finishing software requires: XML, project, etc.
Next, using another edit machine, import the sequence into your finishing software and relink to the original footage. Did the software find all the clips? And did it find the right clips?
Using another machine should accurately simulate what will happen when you finally relink the footage to the sequences. Moving to another machine ensures that all the links are “broken” to start with. But if you don’t have a second machine to simulate the workflow, try things like removing your original footage drive or renaming proxy folders and original footage folders and originals and then see if you can relink.
When you point to different folders, it might take a few steps to relink. Usually, the software finds all the clips in the selected folder and also in subfolders. I don’t consider a few steps like that a failure.
A failure is if you have to manually relink lots of files, one by one. A failure is if files link to the wrong clips. And a failure is if some clips can’t be linked at all. While doing this testing might seem tedious, it’s not as tedious as relinking files one at a time. Believe me.
If you’re using a specific application and have found a proxy workflow that tests well, don’t assume other applications will work just as well with that workflow. In my experience, two applications perform better than others in relinking footage:
Blackmagic DaVinci Resolve does a good job. With its core focus originally on color correction, Resolve, at its inception, had to deal with relinking footage that didn’t originate in the application.
I’ve often heard that one of Avid’s advantages is that it has “a strong and reliable database.” With Avid’s Media Composer being used in features and television series—think lots of footage—the software needs to have a database that’s reliable so that relinking is robust.
But even with those applications, testing is still important.
I’m not through with proxies. Next time, I’ll talk about using them to reduce the performance requirements on your edit machine.
Adobe MAX 2019 ended last night with, perhaps, the most anticipated event of the whole show. No, it wasn’t the reveal of Photoshop for iPad; we’re talking about the “Adobe Sneaks” showcase, where the company demos some of the craziest early-stage technology being developed by Adobe employees.
This year’s R&D showcase was hosted by Adobe “evangelist” Paul Trani and comedian John Mulaney, and included AI-powered editing tech for automatically adding the photographer back into group photos, animating still images using just a talk track, and even relighting a photograph after the fact. Scroll down to watch all of our favorite demos from the showcase.
Project All In
Project All In is for adding the photographer back into the group shot they’re taking. Simply input two images (one with, and one without the photographer) and All In will use face recognition to automatically identify the missing person and add them back into the shot.
Of course, this is already possible manually, but All In does it auto-magically.
Project About Face
As shown on stage, this tech can identify if a portrait has been modified, draw a heat-map of the modified areas, and then even undo the modifications with a relatively high degree of accuracy.
Project Sweet Talk
Using just a still image and an audio file, Project Sweet Talk can animate the portrait so that it “speaks” the words in the recording.
Project Image Tango
Project Image Tango takes the texture from one image and the shape from another, and blends them together seamlessly. On stage, it’s used in the Adobe Fresco app to paste the texture and colors from a real-life nature photograph of a bird into the shape of a basic sketch.
Project Light Right
We’ve saved the best for last. Project Light Right is a Sensei-powered tool that allows you to “relight” a photograph after it was taken. We’ve seen something like this from Google and UC San Diego back in July, but that was specific to portraits. As shown on stage, Project Light Right can change the time of day in a landscape photograph and even relight video footage.
It’s important to note that none of what was shown here is “guaranteed” to show up in a future build of Photoshop or Lightroom or Premiere Pro. But the more enthusiastic the public is about any particular piece of technology, the better the chances that Adobe will dedicate the funds and hours required to make it a reality.
Let us know which you liked best, and then head over to YouTube to see all of the Sneaks that Adobe showed off at MAX last night.
The EOS Ra is Canon’s first full frame mirrorless camera for astronomical photography, a camera based on the EOS R but adapted to capture the unique colour of deep space and constellations.
In the words of poet Quintus Ennius, “No one regards what is before his or her feet; we all gaze at the stars.” Helping to gaze and capture the beauty of the stars and beyond, Canon announced the company’s first full-frame mirrorless camera for astrophotography, the EOS Ra. Built off the EOS R system the new camera combines new features, such as four times greater transmittance of hydrogen-alpha (Hα) light of 656.3 nm compared to the original EOS R, launched in September 2018. For astrophotographers and hobbyists who enjoy capturing the detailed splendor of the night sky, the new EOS Ra will be an ideal camera to shoot with.
Canon’s passion for astro photography has led the company to create other models, within their DSLR family, now it is the time for mirrorless to get a camera designed to shoot the stars. “As a group of photographers who are passionate about capturing what we can’t see with our naked eyes, the new EOS Ra is designed for astrophotographers looking to capture vivid imagery of the night sky.” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
The EOS Ra inherits the EOS R’s fastest autofocus in the world , the ability to focus in light conditions as low as -6EV , a 35mm full frame CMOS sensor with approximately 30.3 million effective pixels and a DIGIC 8 image processor. While boasting this advanced and cutting-edge optical technology, EOS Ra is a modified EOS model developed in direct response to the specific needs of astrophotographers looking to capture the unique colour of deep space and constellations.
DSLRs do not vibrate, just move the mirror up
Featuring a new infrared blocking filter (IR filter) allowing even higher hydrogen alpha (Hα) light to reach the imaging sensor, the EOS Ra allows photographers to effortlessly capture, crisply and clearly, the distinct red colour of nebula – an interstellar cloud of dust made up mostly of hydrogen and helium – impossible to capture on a traditional camera where the UV/IR cut filters block the IR light that gives these nebulae their red colour.
With its mirrorless design and full frame sensor, EOS Ra is an ideal camera choice for photographers looking to capture stunning images of deep space. With no mechanical mirror system, vibrations are minimized making sure images are sharp, says Canon, forgetting that with DSLRs and SLRs one would always move the mirror up before the exposure, and most modern models allowed for the camera to settle for a few seconds before exposing the film or sensor. So, no vibration too…
Cropping to APS-C
Still, there is no doubt the EOS Ra promises good results. Its high performing Canon-developed sensor offers a mix of high ISO performance, high resolution, fast readout and exposure latitude, ensuring interstellar images are of unprecedented quality. As with all its products, Canon’s heritage in optical excellence runs true in the EOS Ra – unlike some cameras with non-Canon-developed sensors – all 30.3 million of the camera’s pixels are used – meaning no pixels are missed which could result in areas not being captured and stars lost. However, should a connected telescope eyepiece not cover the full image area of the sensor, the EOS Ra also allows the image area to be cropped to an APS-C area of approx. 11,6 MP (4176×2784) or several other crop ratios.
With Dual Pixel CMOS Auto Focus (AF), the EOS Ra features a range of AF and MF focus functions ensuring images are of unparalleled optical excellence – including when captured in low light conditions. Retaining the -6EV AF from the EOS R, low light performance with RF lenses and existing EF lenses is possible. When used with a telescope, focus assist functions like focus peaking and magnification up to 30x – that’s three times more than the EOS R – astrophotographers can be sure that focusing with any optical device is simple and quick.
4K movie and time-lapse
With its 4K movie and 4K time-lapse capabilities the EOS Ra is also the first astro camera on the market with a 4K movie function, so it will be interesting to see what users will be able to create with this new model, made to “shoot for the stars”.
Sharing the same mount as the EOS R, the EOS Ra has been designed to maximise lens design possibilities. The RF lens mount enables a radical new optical design – the 20mm flange back and wide 54mm mount diameter has made it possible for Canon engineers to design new lenses that weren’t achievable before. With lenses remaining at the foundation of the EOS System the camera, and system, is also compatible with three lens mount adapters, photographers have a wide choice of lenses and telescopes to use with EOS Ra. More than 70 EF and EF-S lenses can be used with Canon’s innovative EOS R System, adding new functionality to existing optics, while maintaining the excellent levels of performance and functionality previously seen with EOS DSLRs . As when attached to an EOS R, the Canon mount adapter enable users to maintain their setup whether using RF or EF and EF-S mount lenses.
Available in December 2019
EOS Ra’s compact and lightweight design makes the camera easier to attach to a telescope – perfect for photographers shooting for long periods of time. Combining existing EOS ergonomics with new controls the camera provides maximum control with familiarity. Such features include a Vari-Angle touch screen, which also makes the camera comfortable for photographers shooting in any position with the benefit of having up to 30x magnification to check focus. The EOS Ra’s Electronic Viewfinder means photographers can really shoot what they see with the ability to view their subjects clearly in the dark.
EOS Ra, like the EOS R, supports connection via EOS Utility and the Canon Camera Connect application. This allows remote camera control for still and video via USB or via wireless. The software can be downloaded free of charge from the Canon support website. Such feature enables remote shooting, for example indoors on a cold evening, and time lapse operation.
The camera’s Bluetooth and Wi-Fi capabilities make connection to a smartphone and transferring of images and video simple. This connection also allows for remote control of the camera from a smartphone or tablet. In addition to this, accurate GPS data from your smartphone can be added to images for extra clarity of their capture location.
The Canon EOS Ra full-frame mirrorless camera is scheduled to be available in mid-December 2019 for an estimated retail price of $2,499.00 for the body only.
Canon has just released their latest addition to the EOS R lineup of mirrorless full-frame cameras: The Canon EOS Ra. As the name suggests, this camera is a close relative to the EOS R but the little ‘a’ hints to its real purpose: Astrophotography!
The new Canon EOS Ra (as in astrophotography). Background image credit: Brian McMahon via unsplash.com
This new, special version of the original EOS R is not a whole new camera, however it does come with a bunch of features dedicated to astrophotography. If you are into this rather complicated field of photography, you’ll know how difficult it is to capture a decent shot of the milky way. There are a lot of details to take into account and a light setup can quickly grow big and cumbersome. The new Canon EOS Ra is here to help.
Canon EOS Ra – Focused on Astrophotography
One of the major hurdles you will run into, when specializing on astrophotography is a matter of physics: There may not be as much visible light in outer space, but there is so much more invisible infrared radiation that pollutes other wavelengths, such as so-called H-alpha rays! And these hydrogen alpha rays (Ha, 656.28nm) are exactly the ones you want to capture in order to create an accurately colored shot of distant galaxies. So the IR blocking filter of the original EOS R has been modified, in order to let these wavelengths saturate the sensor – without being polluted by infrared light. With this modification, the Canon EOS Ra is able to capture about four times the amount of these rays in comparison to the EOR R camera. Distant nebulas and other celestial objects can be captured without the need of dedicated accessories or further modifications.
In order to aid with focussing, which is tricky when shooting (very) far away objects in combination with wide angle lenses, the Canon EOS Ra offers a 30x magnification within the EVF and in live view. The original EOS R offers a mere 10x magnification.
This camera is a special kind of tool for special tasks. So don’t go buying one of these if you just want to capture normal worldly images: Due to the tweaked IR filter the colors will be off! You can, however, add another filter in front of your lens to counteract the modification. While that somehow defeats the purpose of the camera a bit, it still offers you the possibility to use the EOS Ra as a normal camera, which is good.
As stated above, the Canon EOS Ra is pretty much an EOS R with some modifications, so the specs are pretty much the same, as well:
The absence of image stabilization in stills mode might sound strange, but in reality you will use a tripod for capturing galaxies. Always.
Is it Worth it?
If this camera is a worthy addition to the R lineup? Well, it’s a special camera for a special purpose. If you’re an astrophotographer this might be big news: A fully self-contained full-frame mirrorless camera dedicated for capturing stars? Sounds great! However, if you’re a regular normal stills shooter or an indie filmmaker, this camera might not be for you. Personally, I would be more content seeing a “pro” version of the EOS R more suited for filmmakers, of course, but who am I to judge…
The Canon EOS Ra is currently available for pre-order and it should ship pretty soon.
Panasonic has just announced a new, free firmware update for selected LUMIX cameras. The S1 and S1R gain the previously promised CFexpress support, the G9 gets a huge boost to video recording with 10-bit 4:2:2 modes, and the GH5 and GH5S both gain enhanced functionality, including AF. All of these updates will be available on November 19th 2019, on the LUMIX Global Customer Support Site.
Free firmware update for Panasonic LUMIX cameras.
We already got used to regular firmware updates from Panasonic. The Japanese camera manufacturer constantly updates and enhances their cameras, and keeps bringing very useful new features – which is definitely a good approach. Some updates are to be paid, some are free. Today, Panasonic has announced a major firmware update for multiple popular LUMIX cameras, which is free of charge. The update will be available on November 19th 2019.
Panasonic LUMIX S1 and S1R – CFexpress Support
Although Panasonic’s main pro-video-oriented full-frame mirrorless LUMIX camera is now the S1H (our review is available here), the LUMIX S1 still remains a great, affordable full-frame choice for many filmmakers. You can read more about the LUMIX S1 in our first hands-on review, V-Log test, and Rolling shutter test articles.
Panasonic’s LUMIX S1 and S1R will now be getting an update to firmware version 1.3. This update brings CFexpress support to the XQD camera slot. This new media format can reach speeds that are up to 300% faster than the current XQD cards, featuring the same form factor and interface.
LUMIX S1 and S1R. Image source: Panasonic
The cameras also gain compatibility with the Profoto Air Remote TTL-O/P and Connect-O/P for wireless flash setups. Other compatibility-related changes include an expanded support for Sigma L-mount lenses. Users can now assign functions to the Fn buttons of selected lenses and take advantage of the optimized performance of Body I.S. with lenses adapted, using the MC-21 Mount Converter.
Improved AF performance signifies that AF+MF can now be used in AFC mode, and it is possible to set continuous AF on the live view screen in Creative Video or other video recording modes. Additionally, users can now set exposure manually in High-Speed Video. The update also contains other smaller improvements.
Panasonic LUMIX G9 – 10-Bit 4:2:2 Video Recording Added
Panasonic’s LUMIX G9 was designed as a stills-first camera, but it seems like many users wanted to have pro video features in the G9 as well. With the new firmware update version 2.0, this camera gets in line with its GH-line siblings, when it comes to video features.
LUMIX G9. Image source: Panasonic
This includes 10-bit 4:2:2 in 4K both internally and externally. For internal recording, this maxes out at 4K 30 fps, but externally via HDMI, it improves the max frame rate to 60 fps. Variable Frame Rate settings are added, too – Full HD from 2-180 fps and 4K from 2-60 fps. Users can now pick up the optional DMW-SFU1 Software Upgrade Key to unlock V-Log L and Waveform Monitor. HDR gets available too. This is a huge boost for the G9’s video functionality.
There are other changes coming with the G9 firmware version 2.0, which are included in the updates for the GH5 and GH5S, as well.
Panasonic LUMIX GH5 and GH5S – AF Performance Further Improved
As stated above, following updates (GH5 firmware version 2.6 and GH5S firmware version 1.4) are shared with the G9 firmware version 2.0. The top new feature here is the compatibility with the Profoto Air Remote TTL-O/P and Connect-O/P, much like the S Series.
Panasonic has also further improved AF performance, including Animal Detect for the GH5S and G9. Other smaller changes are the addition of AWBw, highlight-weighted exposures, for instance.
You all know our show product news coverage from trade shows such as NAB, IBC, Photokina and many others around the world. Now, we are trying something new: We’re taking care of the stage content at our local “Photo+Adventure” Show in Vienna, putting great filmmakers on stage to talk about what’s happening in our industry! And of course, it’s going to go online on cinema5D later, with some stuff being streamed live.
cinema5D Film+Video Stage at Photo+Adventure 2019
9th to 10th of November 2019, Vienna Exhibition Center
We’re hosting a lot of great and interesting guests and we wouldn’t be cinema5D if the content wouldn’t be going online as videos on our Youtube channel and Facebook page. Thanks to CineLive.at and Bobo.at, we are able to offer a high-quality multicam setup from that stage.
Much (but not all!) of the content from the schedule below will be live streamed on Youtube and Facebook, so make sure to stay tuned to our channels during the weekend.
Thomas Kiennast AAC will talk about shooting the incredibly elaborately produced musical film “Ich war noch niemals in New York.”
cinema5D Film+Video Stage Schedule:
Saturday, 9th of November:
(Subject to change) – TIME ZONE: CET (Central European Time)
Guests / Presenter
Guests / Presenter
Florian Eder (Etas – DJI Distributor)
DJI Drones: Mavic Mini, Mavic 2 Pro, Mavic 2 Zoom – Which one is right for me?
Philip Bloom, Hans von Sonntag, Nino Leitner
Panel Discussion: Large Format Cameras: Canon C500 Mark II vs. Sony FX9. A tough choice …
Philipp Piber (Austro Control), Thomas Kirschner (DoP/Produzent), Florian Eder (Etas – DJI Distributor), Nino Leitner
Drone rules: Where can I fly and what do I have to do? Austria and abroad.
Simon Hall / Blackmagic Design
Video Editing in DaVinci Resolve 16 – Basics
Medium-Format filming with the FUJIFILM GFX100
Hans von Sonntag
Filming with the Canon C500 Mark II & Sumire Primes
Thomas Kiennast, Nino Leitner
Panel Discussion – Thomas Kiennast about the shoot of the musical film “Ich war noch niemals in New York”
Simon Hall / Blackmagic Design
Color Grading in DaVinci Resolve 16 – Basics
Hans von Sonntag, Nino Leitner, other guests tba
Panel Discussion – Shooting with Vintage-(Look)-Lenses – K35, Sumire, etc.
Shooting Fujinon MK lenses on the Blackmagic Pocket 4K
Vienna Film Commission – Elisabeth Kuntner
Shooting in Vienna – What to do?
Sunday, 10th of November:
(Subject to change) – TIME ZONE: CET (Central European Time)
Guests / Presenter
Guests / Presenter
Austrian Association of Cinematographers – Kurt Brazda, Wolfram Zöttel, Nino Leitner, other guests tba
Work situation in our industry – a race to the bottom or a lot of chances? (Focused especially on Austria)
Simon Hall / Blackmagic Design
Color Grading in DaVinci Resolve 16 – Basics
Medium-Format filming with the FUJIFILM GFX100
Johannes Loreck – Canon Austria
Filming with “special” EF lenses from Canon you might not know – Johannes Loreck
Robert Krüger, Thomas Meyer (Kyno) & Wolfram Zöttl
Post Production Workflow & Asset Management with Kyno
Alexander Boboschweski, Florian Lichtenberg, Alex Marik (Etas), Nino Leitner) other guests tba
Multicam Live-Editing with CineLive.at, Canon Cameras & Lenses and Blackmagic Hardware & Live Streaming
Simon Hall / Blackmagic Design
Video Editing in DaVinci Resolve 16 – Basics
Peter Wyrwich / Rotolight
Rotolight Titan X2 – the most versatile LED light ever?
Shooting Fujinon MK lenses on the Blackmagic Pocket 4K
Amateur vs. Professional Filmmaking – Are the differences blurring?
Philip Bloom will talk about shooting on the FUJIFILM GFX100, FUJINON MK lenses on his Blackmagic Pocket 4K and also be part of the panel discussion of C500 Mark II vs. FX9 …
We will update this post with details every day until the show on the weekend. Stay tuned!!
Profoto has announced it’s collaborated with Panasonic to bring Profoto Connect and Profoto Air Remote TTL support to the manufacturer’s cameras. As Panasonic said in its own press release today, owners of the LUMIX S1R, S1, GH5, GH5S and G9 models can update their firmware in order to use the two Profoto wireless transmitters.
The newly supported Profoto Air Remote TTL-O/P and Connect-O/P wireless transmitters can be attached to a supported Panasonic camera’s hot shoe for full TTL/HSS capability with the maker’s AirTTL flashes. This is one aspect of the overall Panasonic firmware updates, which also bring things like support for CFexpress Type B cards, better support with Sigma L-mount lenses and the MC-21 mount converter, and more.
The Profoto Connect is available for $299 and the Profoto Air Remote TTL is available for $429. The Panasonic firmware updates, meanwhile, can be found on the company’s support website.
To coincide with the release of its SL2 camera system, Leica has also released the Multi Function Handgrip HG-SCL6, a longwinded name for the optional SL2 battery grip.
The HG-SCL6 adds a vertical shutter button, dial controls and a second BP-SCL4 battery that should effectively double the battery life of the camera. The grip on the HG-SCL6 matches the profile of the grip onboard the SL2, which should be a dramatic improvement over the grip found on the SL and its battery grip (HG-SCL4).
The grip is currently available to pre-order (Adorama, B&H) for $995.
Filmmaker Daniel DeArco is back with the promised Part 2 of his tutorial on creating cool and compelling “match cuts” to up your transition game. In Part 1, he showed you how he captured the three shots that he would be using to create the match cut; in Part 2, he takes us the rest of the way there in post.
The clip that DeArco is creating in this video is this short transition made up of three different shots:
As he was putting together this two-part tutorial, DeArco realized that the key shot he’s using isn’t exactly “beginner-friendly” given the amount of work it takes to capture and splice together these three shots. So in this video, he starts out by putting together a very simple, easy-to-shoot and easy-to-edit match cut using a roll of tape and a bowl of fruit.
Then, once he’s done creating that clip, he dives back into the original three-clip sequence and brings you along as he edits that one together into the more complex final product.
If you want to follow along with any of this—be it the beginner-friendly “warmup” or the more complex key shot—check out the video’s description on YouTube where you can download all of the clips involved and follow along in Premiere Pro for yourself.
And if you want to see more from DeArco, “smash that subscribe button” while you’re there.
Most outdoor photography tutorials are focused on getting the shot: what equipment to use, how to set up your camera, and how to edit your shots. But in his latest video, Danish photographer and former special forces soldier Morten Hilmer takes some time to address an even more important topic: how to stay alive.
If you’re a landscape, wildlife or nature photographer who wants to wander off the beaten path to capture your images, this video should be required watching (in addition to reading some outdoor survival guides and taking at least an introductory first aid course). In it, Hilmer—who was a member of the elite Danish special forces unit known as the “Sirius Dog Sled Patrol“—demonstrates some of the equipment he finds most useful when he’s on his “photo adventures and expeditions.”
If you want to skip straight to the survival portion of the program, that starts around the 6:25 mark. From there, Morten shares some tips and talks about some of the most critical equipment he caries on trips—equipment that can legitimately save your life if something were to go wrong in the wild. The items he demos include:
A small mirror
Note: Hilmer demonstrated all of this gear at a shooting range where he was cleared to test all of this equipment.
Check out the full video for a breakdown of all of this gear, demos on how to use it, and safety tips born out of real outdoor experience and survival training. As Morten explains in the video, this might be more “boring” than talking about the latest lenses, but this information and gear could save your life… and you can’t say that about a lens.
Leica builds upon the SL mirrorless camera in some major ways with the SL2, but is it a good option for filmmakers?
This morning, Leica announced its brand new full-frame mirrorless camera, the $5995 SL2, which seems to have a lot to offer both photographers and filmmakers alike.
Built with an impressive 47MP full-frame mirrorless CMOS sensor with Maestro III processor, the SL2 shoots 5K at up to 30fps, Cine4K at up to 60fps, and 1080p at up to 180 fps. It offers 8/10-bit recording through an SD card (10-bit through HDMI output), autofocus with face and body tracking, built-in body image stabilization, and Cine Mode for cinematographers, which, according to Leica, “transforms the SL2 into a manually controlled cine camera,” changing “aperture” to “shutter angle”, “ISO” to “ASA”, and “f-stops” to “T-stops” when you attach a cine lens.
It also comes with a variety of other features that will satisfy some of the needs of filmmakers, including focus peaking, zebra, safe overlays, a mic and 3.5mm headphone jack, a new OLED EVF with 5.76 million dots of resolution.
Canon announced that Premiere Pro and FCPX will now support H.265/XF-HEVC recording for the XF705 4K camcorder. Premiere is also compatible with the Canon EOS C500 Mark II RAW Light files.
The new version of Adobe’s Premiere Pro includes support for the H.265/XF-HEVC recording format of Canon’s award-winning XF705 4K professional camcorder. Similar support is also available on the current version of Final Cut Pro (version 10.4.7). This is something users had asked for, as the new new format brings improvements over the previous H.264 standard, such as improved file compression and bit-rate reduction.
“Software updates like these from Apple and Adobe for the Canon XF705 are critical for working professionals who come to expect and require the very best from their Canon equipment,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is excited to continue working with companies like Apple and Adobe to ensure that the updates needed to meet the needs of our end-users are available.”
Canon Cinema RAW Light
XF-HEVC, sometimes referred to as MPEG-H Part 2 or ITU-T H.265 is the latest video coding standard presented by the ITU-T Coding Experts Group and the ISO/IEC Moving Picture Experts Group organizations. The new format incorporates many improvements over H.264/MPEG-4 AVC including the ability to allow for significantly improved file compression performance relative to the existing standards. Users can experience up to a 50 percent bit-rate reduction over the prior format with equivalent image quality.
The new release of Premiere Pro also provides support for Canon’s newly announced EOS C500 Mark II cinema camera. The new camera can record in Canon’s proprietary Cinema RAW Light format, which provides the benefits of RAW recording in a more compact file size. The Canon RAW Plugin for Final Cut Pro will be updated in December to enable support for Canon Cinema RAW Light files from the EOS C500 Mark II cinema camera.
Final Cut Pro version 10.4.7 is currently available from the Mac App Store and the latest Adobe Premiere Pro release will be available in early November 2019. For more information, visit Canon’s professional website.
At Adobe MAX 2019, Chief Product Officer Scott Belsky announced the Content Authenticity Initiative – a nascent and ambiguously defined way for attribution to travel with an image and allow consumers to know, in the words of Adobe VP Dana Rao, that “the content they’re seeing is authentic.”
In announcing the initiative alongside partners The New York Times and Twitter, Belsky said, “Together, we’re developing an industry-wide standard to allow creators to put their mark on their work and have that attribution accompany that piece of content across different platforms, posts and stories.”
What exactly is it?
Details are murky. But the initiative sounds like an idea composed of two main parts:
A metadata standard that captures creator information (akin to IPTC) and tracks changes to the original file. This could be some sort of distillation of the History panel in Photoshop.
An image registry, which acts as a centralized (or perhaps a decentralized mechanism using blockchain technology) repository of metadata.
Don’t get too excited
On its face, the announcement and alliance seems like a positive development for photographers to address issues of “orphaned” works. But there are a few reasons to be skeptical:
Metadata standards for attribution already exist. The problem is that many social media platforms strip the metadata. Sites that don’t strip the data, rarely display it. Google Images took a step in Oct 2018 to display copyright and creator info.
Image registries have never succeeded. In the past, the lack of support and adoption by major players (e.g. Google Images) has spelled doom for image registries. Adobe’s support is a huge boost in the right direction.
Adobe hasn’t clearly defined their goal. Is attribution the most important (great for creators)? Is authenticity most important (great for news sources, good for creators)?
A much broader coalition is needed. Top-tier news organizations already vet their photo sources and provide attribution, so the NYT’s involvement doesn’t do much for photographers or consumers. Twitter’s support is non-trivial but without similar support from Facebook, Instagram and other social media platforms that have been plagued by misattribution, theft, manipulation, etc, the initiative is likely to fail.
Amplification of “fake” news/content is unaddressed. Belsky states, “…over time consumers will expect content to come with attribution.” I think this is fallacious thinking. Misinformation will spread even if you label it as such. We’ve all seen friends post satirical pieces only to have their friends and followers take it seriously. Attribution is an important foundational step, but until media platforms disallow amplification of “inauthentic” content (e.g. removing “Share” links or making content less visible in news feeds), misuse and theft will remain rampant.
It’s early days, so let’s hope
Adobe’s motivation for addressing this problem seems sincere, and they undoubtedly have many smart people thinking about the issue. Hopefully they will be able to persuade a critical mass of companies to join the initiative and develop and deploy the technologies needed to make it a success.
About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.