There are a couple of new, interesting deals for filmmakers available. We have selected the best offers of filmmaking gear from our partners’ online shops for this week – including the Panasonic LUMIX G9, S1, GH5, Sony a7 III, Nikon Z 6, Canon EOS R, Canon 85mm f/1.8 lens and more.
I went through the current deals on our partners’ websites and have selected the best offers currently available, which I think could be interesting for you. First, there are B&H offers listed for our readers based in North and South America, and then there are a couple of deals from our European partner CVP. By shopping at our partners’ stores, you are supporting cinema5D through our buy links, as we get a small affiliate commission when a purchase is completed.
Now, let’s take a look at this week’s top deals for filmmakers:
B&H and CVP: Panasonic LUMIX G9 Camera Body – $300/€81 Discount Plus Cashback, Free Accessories, Free LUMIX 25mm f/1.7 Lens, Free 3-Year Warranty
Panasonic G9 used to be “only” a great MFT mirrorless camera with a main focus on photography. Few days ago Panasonic announced new firmware update, which will equip the G9 with killer video features – same like its slightly bigger sibbling, the GH5. G9 will be able to record 10-bit video internally up to 4K 30p, 4K 60p 8-bit, new slow motion framerates in 1080p, and it will also support the paid V-log upgrade.
On top of it, there is now a time-limited deal on the G9. If you are now looking for an affordable video-oriented micro four thirds camera right now, this offer is a no-brainer. The deal is available with both our partners B&H and CVP.
B&H offers additional free accessories (SanDisk 32GB Extreme PRO SDHC UHS-I memory card, Corel PaintShop Pro 2020 ultimate license, and Ruggard Journey 24 DSLR shoulder bag).
B&H: Sony a7 III Camera Body with Accessory Kit – $200 Discount
Sony a7 III is currently considered by many as the best Sony mirrorless camera for video. Its 24MP full-frame CMOS sensor performs really well in low light and its 693-point hybrid AF system also works well for video shooting. The camera can record up to UHD 4K30p video with HLG & S-Log gamma picture profiles. For more information about the camera, go ahead and read Johnnie’s Sony a7 III review.
In this discounted set, along with the camera, you get SanDisk 32GB extreme PRO UHS-II SDHC memory card, Watson 2000mAh battery pack, Watson compact AC/DC charger for NP-FZ100 battery, and Ruggard Journey 24 DSLR shoulder bag.
B&H: Nikon Z 6 with FTZ Mount Adapter and Bag Kit – $547 Discount
Nikon Z 6 is the first full-frame mirrorless camera from Nikon – it is the “all-arounder” within the new Z system. It features 24.5MP CMOS sensor and can record UHD 4K video at up to 30fps and full HD at up to 120fps – all in H.264. The camera can also output RAW signal via HDMI, so this could be the perfect camera to use with the Ninja V to capture in ProRes RAW.
As a bonus within this accessory kit you will also get the FTZ Mount adapter to use with exsiting Nikon F lenses, Sony 32GB XQD G Series memory card, and DSLR shoulder bag.
B&H: Canon EOS R Camera Body with Accessories Kit – $500 Discount
The EOS R is the first full-frame mirrorless camera from Canon. It features the new RF lens mount, and 30.3MP CMOS sensor along with a DIGIC 8 image processor. It tops at UHD 4K30 for video recording and the sensor also facilitates Canon’s great Dual Pixel AF system – probably the best autofocus system for video right now. The camera can shoot in Canon Log gamma for higher dynamic range and it can output 4K 10-bit 4:2:2 over HDMI.
This fast prime EF-Mount lens from Canon covers full-frame sensors. It offers aperture range of f/1.8 to f/22. Super Spectra coating should reduce flares and any unwanted reflections. Ring-Type Ultrasonic motor AF system should ensure quick and precise autofocus. This mid-telephoto AF prime lens was quite affordable even before the discount. Now it is a real bargain.
B&H: HyperDrive DUO USB Type-C Hub for MacBook Pro/Air – $40 Discount
The HyperDrive Duo USB Type-C Hub from HYPER converts the Thunderbolt 3 ports on MacBook Pro (2016-2019) or MacBook Air (2018 & 2019) into additional connections. The slim hub provides one HDMI port, two USB 3.1 Gen 1 Type-A ports, and two USB Type-C ports to access printers, external drives, external displays, and other compatible peripherals.
The top USB Type-C port, which is closest to the HDMI port, supports 40 Gb/s Thunderbolt 3, 5K video output, and 100W of power delivery. The second USB Type-C port supports 5 Gb/s USB 3.1 Gen 1 and 60W of power delivery. There are also SD and microSD card slots. Please note that this hub does not support Apple’s SuperDrive and the USB ports will not charge an iPad.
This Samsung T5 Portable Solid-State Drive provides 2TB of storage capacity, sporting a typical USB interface or a reversible USB Type-C port (USB 3.1 technology transfer speeds of up to 10 Gb/s). With such a large capacity it could be perfect for long recordings with the BMPCC 4K. It features fast read speeds of up to 540 MB/s and write speeds of up to 515 MB/s. The SSD comes with one USB Type-A to USB Type-C cable and one USB Type-C to USB Type-C cable.
CVP: Panasonic LUMIX S1 Camera Body – €386 Cashback + free SIGMA MC-21 Adapter
CVP has a great offer for the Panasonic S1 camera body, currently. There is a €386 cashback bonus. Furthermore, with the S1 body purchase, you will get a free SIGMA MC-21 adapter (Sigma EF-mount lenses to L-mount).
The Panasonic S1 is a very capable full-frame mirrorless camera. It can record internally at up to 4K 60fps in 8-bit and output 4:2:2 10-bit signal externally. For more information about the camera please check our Panasonic S1 review and the revisited V-log upgrade review.
Zeiss has unveiled a new set of Supreme Prime Radiance cinema lenses, which feature a pretty interesting trick. Thanks to a new coating, they’re able to create “controlled flares” without compromising contrast or light transmission.
The Zeiss Supreme Prime Radiance lineup is made up of seven high-end cinema lenses that are based on the company’s popular Supreme Prime glass. In fact, they’re more or less identical, with the exception of the special “T*blue coating” that supposedly allows these lenses to render “a distinctive look and consistent flares without any compromises.”
According to Christophe Casenave, Product Manager for Cinema Products at ZEISS, these lenses were created in response to customers’ needs.
“When we spoke to filmmakers and industry experts, we took a close look at the appeal of flares and their unique impact on the atmosphere of a movie,” says Casenave. “We didn’t just want to reproduce the effects, but to create tools that would allow this effect to be achieved at any time and in a controlled manner, and so the T* blue coating was born.”
Flaring typically means a loss of contrast across the entire frame, and Zeiss has gone to great lengths to ensure that’s not the case with these new high-end cinema lenses. This comparison video, captured by Japanese DOP Takura Ishizaka, shows how the new Supreme Prime Radiance lenses compare to the regular Supreme Prime lineup:
There are seven focal lengths in all—21mm T1.5, 25mm T1.5, 29mm T1.5, 35mm T1.5, 50mm T1.5, 85mm T1.5 and 100mm T1.5—which are available exclusively as a set in either PL-mount or ARRI’s LPL-mount, and can only be ordered from “ZEISS Cinema dealers” from now until March 31st, 2020. Orders will be filled after the order period closes, with shipping expected to start in April 2020.
To learn more about these lenses, head over to the Zeiss website. And if you’re curious about how much they’ll cost, keep in mind that each of the equivalent Supreme Prime lenses cost between $20,000 and $26,000, which would put this 7-lens set close to $150K.
The Hollywood Section of SMPTE, the organization defining the future of storytelling, will examine the promise, and potential peril, of digital humans and so-called deepfakes at its monthly meeting on Tuesday, November 19, in Hollywood. Held in tandem with the Radio, Television, Digital Newsroom Association (RTDNA), the event will include a panel discussion of experts […]
Getty Images has announced that in an effort to streamline the complexities of imaging licensing it will be phasing out rights-managed content in favor of royalty-free imagery for its creative image submissions.
According to the blog post, Getty Images will move to a royalty-free-only creative images offer ‘during 2020,’ with no specific date mentioned. Once the transition goes into effect, image buyers will only see royalty-free creative images.
In the meantime, Getty Images is in the process of a ‘phased retirement’ of rights-managed creative images. To kick off the transition, Getty Images contributors can no longer submit new rights-managed creative images to GettyImages.com (as of November 6, 2019) and by the end of January 2020, all rights-managed images will ‘be removed from single image licensing (sometimes called à la carte) on GettyImages.com.’
After being removed from the single image licensing option, photographers ‘will be able to distribute [their] RM images as [they] wish, with the exception that [they] must not license any rights-managed images (or similar) in a way that conflicts with any active, unexpired exclusive licenses.’
A screenshot of the Getty Images creative content search with the search inquiry ‘mirrorless camera.’
Getty Images says in the announcement it’s ’confidently concluded that the [rights-managed] creative image licensing model no longer meets our [buyers] needs’ following ‘extensive customer research and testing on royalty-free versus rights‑managed [content].’
Getty backs up these claims in an FAQ section at the bottom of the article, titled ‘What evidence do you have for customers rejecting rights‑managed?’ saying it’s seen a steady ‘year‑over‑year decline in Creative [rights-managed] à la carte licenses over the last five years, with declines accelerating over time.’
Without seeing the data Getty Images is referencing, it’s difficult to confirm or dispel its reasoning for the transition. The move to royalty-free licensing for creative images gives photographers less control over how their images are used, but should simplify the process for buyers, which in turn could make it more likely their photographs are licensed. Getty Images says ‘Licensing complexity has only led [image buyers] to other content, and in many cases, another provider as the broader industry is now essentially a royalty-free‑only model.’
Rights-managed licensing will still be available for Getty Images editorial stills and rights-ready video content, so for the time being it’s only creative images that are affected. If you currently have creative images submitted for inspection, Getty addresses how those images will be handled in the FAQ in the announcement post.
The ocean is fascinating in every way. We know so little about its mysteries and tend to ignore its importance for all living life. What is it about the underwater world that draws people from all over the world to explore its depths? For me, the allure of marine life welcoming me into their natural habitat rather than the other way around is beautiful.
Like many before me, I’d seen numerous underwater images from photographers swimming or diving with whales. Each and every time I couldn’t help but yearn for the same experience and set the wheels in motion for 2019.
I’ve found with most unique experiences like this that there are three types of people.
The first: Oh my god, that thing is huge, why the hell would you want to do that? I’d be terrified!?
The second: Wow, that’s impressive, what beautiful creatures. I think I’ll stick to watching them from the boat.
And the third: Hell yeah! Get me in the water right now.
As an avid underwater photographer, freediver and animal lover, I fell into the third category along with a deep appreciation for these gentle giants. I’d had friends who went diving with the Humpbacks in Tonga and various other places around the world, and all of them returned telling tales of what a life-changing experience it was. I was sold.
Note: The legal distance of humans to a whale during an encounter is 7 meters (23ft). Many of these images were taken much closer when the whales were moving close to interact. As many of the tour operators had noted, this is often difficult to depict through photos but can clearly be seen in supporting videos.
Sept 28th, we arrived in Nukualofa, the capital city of the Kingdom of Tonga situated on the main island Tongatapu. We had booked at the very end of the season but were hopeful that we would at least get a couple of great encounters over our 4-days on the water.
We specifically chose Nukualofa to escape the masses of tour operators based in Vava’u. The idea of lining up to get in the water behind 2-3 boats wasn’t my cup of tea.
Our first day on the water started off ok with a quick swim by from a mother and her calf. This was followed by six whole hours… of nothing. We felt a little bad for the other four guests on the boat as they hadn’t even touched the water.
After a quick bite to eat on an incredibly picturesque deserted island, we powered off to search for more whales. We were in luck, 20-minutes before our scheduled return time we located a resting mother and her calf. The calf was tossing about at the surface before both left the scene a couple of minutes later. If this was our only interaction for the week, then it was definitely a win.
Within half an hour of leaving the Nukualofa, we were in the water and witnessing some incredible swim by moments.
I dove down to around 8m so I could capture an image at the whale’s eye level as they swam past me. Suddenly out of the corner of my eye, I could see a glimmer of white moving rapidly towards me. I turned to see this enormous male escort making an almost direct line for my location, his right pectoral fin coming straight for my head.
Midwater, I pulled back to let it slip past. Just before surfacing for air, I managed to capture this shot as he glided off into the darkness. If you look closely in the bottom right of the image, you will see my mate Brodie with his mouth wide open in awe at what he’d just seen. That afternoon we saw no other whales and called it a day with our heads held high.
The morning started quietly with absolutely zero sightings of whales. Our skipper received word from another vessel that they had located a mother and her calf and that we should make our way over to swim once they had finished.
Boy were we in for a surprise.
No sooner had we jumped in the water than the boisterous calf appropriately named ‘Kamikaze’ came over for a play. The inquisitive juvenile was having the time of his life spinning, splashing and motoring towards us then pulling out at the last second.
Words cannot describe the emotional connection that is immediately formed between you and the whale when you first lock eyes. Their ultimate awareness of your presence and utmost gentleness is something you must experience for yourself.
Our guide would always remind us to be aware of the mother’s presence as she rested below.
Another long day out on the water with zero sightings of whales in the morning. Come afternoon, we received radio contact from another boat that they had found a whale and her calf.
Much like yesterday, this calf was super playful. The moment he locked eyes on me, the underwater dance began.
The fun was short-lived, however, as mum had decided, it was time to move on, and they disappeared off into the vast open ocean.
As the season was coming to a close, our encounters were few and far between. The waters had also warmed earlier and more significantly than usual. This resulted in the majority of the whales leaving on their journey down to Antarctica. Regardless, our experience was one to remember and, we cherished every minute we had with these incredible creatures.
About the author: Matt Horspool is a photographer based in Sydney, Australia. The opinions expressed in this article are solely those of the author. You can find more of Horspool’s work on his website, Facebook, and Instagram. These photos were also shared here.
Wikimedia Commons has millions of public domain and freely-licensed photos available to the world, and now there’s a powerful new tool that helps you dive into the ocean of imagery for exploring or locating exactly what you’re looking for. It’s called wikiview, and it’s a graph-based visual image navigator.
wikiview puts 12 million Wikimedia Commons images at your fingertips. You can start off your journey by entering a search term, starting with a random search, choosing a color, or by uploading a photo you’d like to find similar images for.
Photos results are grouped by similarity and displayed in a visually-sorted 2D image map. You can zoom in and out on “similarity,” and you can also drag the map around to find more similar results.
wikiview was presented last month at the ACM Multimedia 2019 conference in Nice, France, and won 2nd place for the “Best Demo Award.”
Head on over to wikiview.net if you’d like to start using the powerful tool yourself.
For the last four or five years, I have tried to produce one annual workshop for aspiring architecture and interior photographers. While I hope that they are technically helpful and the students come away with new skills and knowledge, one thing that I’ve noticed is that every year each workshop inevitably transforms into a session of group therapy for all involved.
It’s no secret that freelancing can be boom and bust, amazing and terrible, discouraging and empowering. Anyone who has tried to carve out a living in a creative field knows this in every fiber of their being. So when I stumbled across a hysterical graph created by writer Guillame Morisette, I was immediately inspired and had to adapt it to photography, noting plenty of parallels in my own career.
Without further delay, please enjoy this all-too-real attempt at humor and the highest form of fine art, the shoddily created meme:
I’m not sure if this is a “problem” specific to architectural photography or all photographic genres in general, but without fail, the most requested topics at workshops is the psychology and business of photography, rather than the techniques or equipment.
On one hand I’m grateful for this, as it means my workshops are attracting photographers who have moved beyond the simple “what camera do I use to get that look” phase and are usually well on their way to a career in photography; on the other hand, it can be tough to have a delicately planned day of workshops and light-chasing consumed by business questions and concerns—and believe me, those subjects are a huge source of curiosity, frustration, and anxiety.
At the end of the day it feels great and is clearly helpful to let everyone get their frustrations, questions, and vents out, and I’m happy to be able to provide a platform for that—there aren’t many other places to do it in a private, professional setting in a field that is as independent and personal as photography.
Hey, business idea for the budding therapist: focus on small business owners. I’m sure you’d have a steady client base!
About the author: Mike Kelley is an architecture and fine art photographer based in Los Angeles, CA. He regularly travels on assignment for architects and developers, and his art photography has been exhibited in museums around the world. You can see more of his work on his website, www.mpkelley.com, or by following him on Instagram @mpkelley_. This post was also published here.
Cartoon Animator (CTA), has a new version, 4.1, which opens to all mainstream PSD tools, such as Adobe Photoshop, Krita, Affinity, Clip Studio, and Photopea, turning illustrations into animations.
Cartoon Animator (formerly known as CrazyTalk Animator) is a 2D animation software designed for both ability of entry and productivity. You can turn images to animated characters, control characters with your expressions, generate lip-sync animation from audio, accomplish 3D parallax scenes, produce 2D visual effects, access content resources, and wield a comprehensive photoshop pipeline to rapidly customize characters and create content.
The most recent version of Cartoon Animator is able to do even more, as it opens to all mainstream PSD tools, such as Adobe Photoshop, Krita, Affinity, Clip Studio, and Photopea. Users of these PSD tools and WACOM tablets can now swiftly turn their creative concepts into animation using their original processes via Cartoon Animator.
“Reallusion enables artists with a clean, roundtrip workflow between digital content creation tools and Cartoon Animator,” said John C. Martin, VP of Product Marketing, Reallusion. “Now, the mutual connection between Cartoon Animator and mainstream PSD tools enables users to simultaneously work on their concept art and drive it to a final look while animating from even initial sketches. That means that through every stage of art from doodles to production there is an opportunity to send your drawings to Cartoon Animator already auto-rigged for animation and then return to edit the PSD and roundtrip to CTA without losing a single keyframe animation. “
Key features of CTA
These are the major features of Cartoon Animator 4.1:
Turn PSD to Scenes
Manageable scene elements can be created from PSD layers and sent to CTA for the arrangement of Z-depth. Use 3D depth to sort 2D scene elements and decide the relative order of characters and props.
Turn PSD to Props
Import a PSD file as a prop and apply Elastic Motion effects to generate organic animations or follow PSD layer naming rules to group items and set object hierarchy for Compound Prop Animations.
Turn PSD to Characters
Rig any imaginable 2D character design with the Free Bone Tool or utilize PSD Character Templates for biped human and quadruped animals. Simply replace the image layers with your own design to automatically setup the character rig.
Free PSD Editor – Photopea
Reallusion’s alliance with Photopea provides this browser-based PSD editing service to all users for free. For those who don’t have a PSD editor at hand, this is a good option. CTA provides purchased users an AD free Photopea.
From Sketch to Final Production
WACOM tablets users realize a pipeline for concept art to animation production. Start with storyboard sketches and bring them to CTA for animation. Keep updating the artwork while keeping the animation intact.
Cartoon Animator 4.1 is compatible with Windows and Mac. There is a trial version available to download from Reallusion that can be used for 30 days, to evaluate the software.
We talk the biggest stories out of Adobe MAX, specifically what auto-reframe means, plus Martin Scorsese’s op-ed, Olivia Wilde taking on censorship, and in a really fun “ask no film school” we try to figure out which great HBO series are the most under-watched.
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Even though no solid evidence has been presented in regards to drones being involved, incidents at both Gatwick and Heathrow airports, which saw thousands of flights grounded and delayed for days, have inspired the United Kingdom’s Civil Aviation Authority to enforce more regulations. The government agency is requiring all operators over the age of 18 to pass an online pilot’s test and register their unmanned aerial vehicle by November 30th.
This deadline applies to remote pilots flying model aircraft weighing between 250 grams (.55 pounds) and 20 kilograms (about 44 pounds). Exemptions to these mandatory rules have been granted to the following organizations:
The UK Drone Association (Arpas UK)
British Model Flying Association
Scottish Aeromodellers’ Association
Large Model Association
Besides registering the drone, owners must obtain their flyer ID which requires taking and passing a theory (pilot) test. Adults and children under 13 can still fly but they must pass the test, and kids must be registered to fly by a parent or guardian. The drone’s main operator must be 18 or older and is responsible for ensuring every person flying their aircraft is both registered and has passed their theory test.
Registration is relatively inexpensive at £9 ($12). Similar to U.S. rules, drone owners will be given a unique ID that must be affixed to their drone in a way that’s easily identifiable. Anyone caught flying a drone that is not registered could incur a fine of up to £1000 ($1290).
DJI has recently created the Mavic Mini, which weights under 250 grams, to circumvent registration requirements. While operators of these lightweight unmanned aerial vehicles many not need to register with the Federal Aviation Administration, Civil Aviation Authority, or other similar agencies (always check your local laws), remote pilots still need to abide by standard aviation rules or face the consequences if caught.
Want to give your shots a little style and flavor? Forget post-production trickery—try using these dope in-camera effects instead.
Whether you’re shooting a feature film or a music video, adding effects to your footage can add loads of style, depth, and intrigue to your work. But how do you go about achieving these looks?
If your mind immediately went to post-production and After Effects tutorials, you should know that there’s another way. I mean, yeah, you can definitely go that route and, depending on your skill level—produce some great results, but what if you could create stunning lens effects, like flares, ghosting, and kaleidoscoping, without ever having to open any post software?
In this video, learn how to craft these kinds of lens effects all in-camera from Jakob Owens of The Buff Nerds, who has shot countless music videos using these very techniques. Check it out below: