During an interview at WIRED25 just two hours ago, Instagram CEO Adam Mosseri announced that the Facebook-owned photo sharing app is going to begin testing the hiding of “likes” in the USA next week.
Instagram’s experiment with hiding likes began in May, when the company suddenly began testing the removal of the feature for users in Canada. Then, in mid-July, the test was expanded to include six more countries, prompting some less-than-favorable responses from Influencers whose livelihood relies, in part, on public like counts.
Now, according to Mosseri’s statements on stage, Instagram will begin rolling this “test” out to US users as early as next week. You can see the announcement for yourself in the video below, which WIRED tweeted out shortly after it happened on stage:
As Mosseri explains in the video—and Instagram has explained in previous announcements—you can still see your own likes by tapping on the list of people who’ve liked any given photo, but nobody else will be able to see how many likes your photo has received.
Mosseri was also careful to note that the test will not be rolled out to the whole United States at once, but it does seem like Instagram is less “testing” than it is slowly rolling out this controversial feature.
The party line is that hiding public like counts will put focus back on the photos, “not how many likes they get,” and help with some of the negative effects on mental health that the social network has been accused of. Whether or not that’s the full incentive is up for debate, but whether you like it or not, this feature is coming to the USA… and it’s coming soon.
To watch the full interview and find out more about the ethos of Instagram and where things are headed, check out WIRED coverage of the announcement here.
Writers trying to break in are constantly generating new ideas for reps to try and sell or package. So how do you know which one is right for you?
Writing something new is always a challenge. The blank page stares at you and seems to laugh more menacingly than Joaquin Phoenix on a subway train.
But what if you actually have a lot of ideas? How can you decide which one is worth the next few weeks or months of your time?
Especially if you don’t have a representative that can help walk you through what they think is good for your brand or in the market. The answer might surprise you.
Pick the project that you know 100 percent how it ends.
Yup. That’s it.
It doesn’t matter if you don’t have all the characters worked out yet, or the setting, the second act, or even the thematic tentpoles to hold all of those up. Pick the one idea whose ending stands out strongest and moves you the most.
Pick the one idea with the ending you feel the most for and about.
Overwhelming by design — that’s the first impression offered by the 2019 edition of DOC NYC, the packed-to-the-rafters non-fiction film event currently underway in New York until November 15. Celebrating its tenth anniversary, the festival boasts over 300 events, including 28 world premieres, an expanded DOC NYC PRO seminar series, and 46 doc works in progress shown to industry attendees. Says director of programming Basil Tsiokos, “It’s our tenth anniversary, and we wanted to make it bigger and better. We just kept pushing [during the programming process] to include more and more films. “Every year we’ve tried to grow the […]
Please Note: Once you press play it will take a few seconds for the episode to start playing. The Science of Screenwriting with Paul Gulino Today’s guest is screenwriter Paul Gulino. Paul is the author of Screenwriting: The Sequence Approach and The Science of Screenwriting: The Neuroscience Behind Storytelling Strategies. Paul believes in Hitchcock’s adage that…
Receiving its world premiere tomorrow at DOC NYC is filmmaker Cara Jones’s Blessed Child, a documentary about her own childhood spent in Sun Myung Moon’s Unification Church. From the press release: More than a decade after leaving the Reverend Sun Myung Moon’s Unification Church (the “Moonies”), through a trove of never before seen footage from within the church and extraordinary home videos of her family’s upbringing alongside Reverend Moon and his disciples, filmmaker Cara Jones attempts to finally break free from the religious cult which dominated her childhood. Blessed Child is one daughter’s attempt to unpack the legacy of the […]
The SIGMA fp camera is now shipping and we had a chance to get a closer look at the full production line. I hope you’ll enjoy watching this short tour as much as I’ve enjoyed filming it!
Ready to be shipped. A new shiny SIGMA fp camera at the assembly room
Well, I know. It is almost becoming a habit by now… Visiting SIGMA’s Aizu factory is not new for cinema5D, but guilty as we are, we just find it fascinating to witness the process of assembling those cameras and see the dedication and seriousness of the people that are behind building the equipment we use (or might use soon), first-hand.
Looking at the IR cut filter (Image source: cinema5D)
I’m glad to be able to share this footage with you guys. The real value of those trips is the ability to better connect between us – the users – and the manufacturer(s).
Besides, I promised to do my best and come again to visit the fp camera line once production starts, and promises must be fulfilled, so here I am!
SIGMA fp quality control (Image source: cinema5D)
I only had very little time to document the full assembly line, but I guess the footage still brings a rather clear picture regarding the precision of assembly and quality control. I also wanted to document the final stage of packaging, but at the point in time of filming this, that part of the production line has been held back due to waiting for the final camera firmware update to arrive. Speaking of which, ALL of the already built cameras are treated one by one to update their firmware by inserting an SD card, and right after, they are ready for packaging and delivery.
SIGMA fp cameras ready to be moved for packing (Image source: cinema5D)
While being on the subject of SIGMA’s fp camera – if you have’t done so already, why not check out our comprehensive fp camera review? You can do so by clicking here.
I’ll end this short article with a personal note and take the opportunity to thank SIGMA’s team for having me in their factory (once again), dedicating their time to patiently walk me through the assembly line. Thank you!
Man at Work
Music courtesy of MusicVine.com – Get 25% off any Pay-Per-Use license with code C5D25 (valid for one use per customer).
Panasonic has announced two new L-Mount lenses. The LUMIX S PRO 16-35mm f/4 is a new ultra-wide angle lens, and the LUMIX S PRO 70-200mm f/2.8 O.I.S. is a new fast version of the standard telephoto lens. Both lenses feature a rugged dust-, splash- and freeze-resistant construction, and a clutch mechanism to switch between auto and manual focus.
LUMIX S PRO 16-35mm f/4 and 70-200mm f/2.8 O.I.S lenses. Source: Panasonic
While SIGMA already offers 15 lenses for the L-mount, Panasonic is also – slowly but surely – following their roadmap to provide enough high-quality native lenses for the L-mount ecosystem. Up until now, they have already released four L-mount lenses for their full-frame LUMIX S cameras:
LUMIX S 24-105mm f/4 Macro O.I.S.
LUMIX S PRO 24-70mm f/2.8
LUMIX S PRO 70-200mm f/4 O.I.S.
LUMIX S PRO 50mm f/1.4
The Japanese company has freshly announced two new additions to this lineup – the LUMIX S PRO 16-35mm f/4 and LUMIX S PRO 70-200mm f/2.8 O.I.S lenses. This means, Panasonic will offer the complete “trinity” set of zoom lenses to cover every commonly used focal length.
Panasonic LUMIX S PRO 16-35mm f/4 Lens
This lens is, unfortunately, not a very fast f/2.8 version, with its fastest aperture being f/4, but on the other hand, it is therefore lighter and more compact. It consists of 12 elements in 9 groups, three aspherical lenses, one ED and an Ultra-High Refractive Index (UHR) for accurate image capture. Its double-magnet linear motor is capable of fast and accurate autofocusing.
LUMIX S PRO 16-35mm f/4 lens. Source: Panasonic
The lens includes a focus clutch for switching from auto to manual focusing modes, suppresses focus breathing for video work, and is dust, splash, and freeze resistant.
LUMIX S PRO 16-35mm f/4 lens construction and MTF chart. Source: Panasonic
Panasonic LUMIX S PRO 70-200mm f/2.8 O.I.S Lens
The 70-200mm f/2.8 is a standard fast telephoto lens. Panasonic already has the $900 cheaper, slightly smaller and 600g lighter f/4 version in their L-mount lineup, so the f/2.8 version was the next logical step for them.
LUMIX S PRO 70-200mm f/2.8 O.I.S. lens. Source: Panasonic
To minimize aberration and distortion, it incorporates 22 elements arranged in 17 groups, two Ultra Extra-low Dispersion (UED) lenses, three Extra-low Dispersion (ED) lenses, and an aspherical lens. Focus is sharp with smooth transitions out of focus and pleasing bokeh. It also features the focus clutch mechanism for easy switching from auto to manual focusing.
LUMIX S PRO 70-200mm f/2.8 O.I.S. lens construction and MTF chart. Source: Panasonic
The lens’ internal Optical Image Stabilizer (O.I.S) complements Panasonic cameras’ Body I.S. and 5-axis Dual I.S, providing up to seven stops of stabilization for handheld and low shutter speed shooting. For filmmakers it might be important that Panasonic tried to significantly reduce focus breathing in this lens. The construction is rugged, dust-, splash-, and freeze-resistant.
Price and Availability
Both lenses can already be pre-ordered now. The LUMIX S PRO 16-35mm f/4 lens will cost around $1,500 and is expected to be shipping from January 13th 2020 on. The LUMIX S PRO 70-200mm f/2.8 O.I.S. lens will cost around $2,600 and is expected to be shipping from January 16th 2020 on.
What do you think of these newly announced lenses from Panasonic? Did you invest in the L-mount ecosystem already? Let us know in the comments underneath the article.
If you’re an After Effects artist toying with the idea of creating character-driven animation, the free but powerful DUIK should probably be your first port of call. With the recent release of DUIK ‘Bassel,’ primary developer Nicolas Dufresne (aka Duduf) has redesigned the interface and functionality of DUIK to create a modern, robust bone-based animation system. Despite the flexibility, DUIK is remarkably approachable by even a novice animator. And when compared to the complicated rigging of 3D animation software, it’s downright child’s play.
Still, like most software the toughest part of using it is getting over the learning curve. Well, moviola.com has done it again with another super fast, super concise Survival Guide, this time focusing exclusively on using DUIK. In a little over twenty minutes we’ll get you familiar with the fundamentals of DUIK Bassel and building your own rigged characters.
Musician Robbie Robertson is legendary enough on his own, but put him with Martin Scorsese and magic happens.
As a songwriter and producer, Canadian musician Robbie Robertson is probably best known for his work with the Band, Bob Dylan’s backing outfit, which had a heavily influence on music of the 1960s and ’70s.
But he’s also gained fame for his multiple collaborations with director Martin Scorsese, starting with 1978’s The Last Waltz, a documentary about The Band’s final performance. Together, Robertson and Scorsese have worked on several iconic film projects, including Raging Bull, Casino, The Departed, The Wolf of Wall Street, and, now, The Irishman.
Patrick Hall from Fstoppers and Pye Jirsa from SLR Lounge recently sat down for an in-depth conversation about how photography is changing in 2019. In a fascinating and insightful discussion that lasts almost 45 minutes, they ultimately try to tackle one question: is photography as we know it dying?
From the start, Hall and Jirsa draw a familiar parallel between what’s happening today with the rise of smartphones and social media, and what happened about 15 years ago when digital well and truly began to replace film in various professional settings. Digital, argues Jirsa, wrecked the learning curve dramatically, making it so much easier to “learn by doing” without having to invest tens of thousands of dollars.
But the discussion quickly moves beyond simply “more people have access to great cameras now.” What it means to be a successful photographer itself has changed. A photographer’s job, today, is much more than being able to take beautiful pictures; that’s only the baseline. The ability to build and engage an online audience is suddenly critical, and anybody who is sitting around arguing that they “shouldn’t have to” build an Instagram following or otherwise market themselves and their work is going to be left behind.
And that’s just the first 10-or-so minutes of the conversation…
As you might have guessed, the answer to that question from the beginning really hinges on your definition of “as we know it.” Remove that phrase, and the answer is a resounding “no”—more people are taking more photos today than ever in the history of photography. Photography isn’t literally dying. But if you add “as we know it” back in, the answer is pretty clearly “yes.”
Photography is changing: marketing is part of the job description, social media popularity becomes the yardstick by which quality is measured, and overall technical proficiency, argues Hall, is on its way down as a result. But there’s good news too. As Hall puts it near the end of the discussion, “I feel like the photograph is still as valuable, or more valuable than ever.”
We’d take that even a step further. As the bar to entry drops and more and more people outsource their creativity to the latest Instagram trend or some AI-powered post-processing slider, creativity and technical know-how are only becoming more rare and valuable than ever.
Check out the full video up top to listen to this whole fascinating conversation from start to finish. It’s not a quick-hit tutorial you can devour at your desk at work, but it makes for a great weekend watch.
Up to 90% faster performance in Cinebench R20 nT, up to 47% more performance in Adobe Premiere are some of the claims made by AMD for the new AMD Ryzen Threadripper 3970X now introduced.
The battle continues, and it’s the consumer that always wins. Intel showed their goods, now it is time for AMD to reply. The newest CPU from the company, the powerful 32-core AMD Ryzen Threadripper 3970X and 24-core 3960X processors provide, according to AMD, “up to 90 percent more performance and up to 2.5X more available storage bandwidth than competitive offerings.” While these numbers come with footnotes that point to AMD’s own tests, they do suggest what users can expect from the new processors.
Users wanting to build their next computers around these processors don’t need to wait long. These powerful new additions to AMD’s high-end desktop processor family, able to deliver groundbreaking performance for creators, developers, and enthusiasts, arrive soon. Built, says the company, to deliver leadership performance for the most demanding desktop and content creation workloads, the 24-core AMD Ryzen Threadripper 3960X and the 32-core AMD Ryzen Threadripper 3970X processors will be available worldwide November 25, 2019.
The fastest desktop processor
“With our 3rd Gen AMD Ryzen Threadripper processors, AMD is once again raising the performance bar significantly for creators, developers, and PC enthusiasts,” said Saied Moshkelani, senior vice president and general manager, AMD Client Compute. “3rd Gen Ryzen Threadripper processors combine leadership performance and energy efficiency to create the ultimate high-end desktop solution. We are extremely excited to expand our leadership high-end desktop processor family and deliver the world’s fastest processors.”
The 3rd Gen AMD Ryzen Threadripper lineup features two new processors built on industry-leading 7nm “Zen 2” core architecture, boasting up to 88 PCIe 4.0 lanes and 144MB cache with extraordinary power efficiency. Achieving up to 90 percent faster performance over the competition’s top-end HEDT processor (which AMD names as the Intel Core i9-9980XE ), the new 32-core Ryzen Threadripper 3970X processor offers unsurpassed performance as the most powerful and fastest desktop processor in the high-end desktop market.
Better performance and power efficiency
The numbers are impressive, no doubt. According to the tests made by AMD, its AMD Ryzen Threadripper 3970X offers significantly better performance than the competition across multiple content creation and compute-intensive workloads, including:
Up to 90% faster performance in Cinebench R20 nT
Up to 47% more performance in Adobe Premiere
Up to 49% more performance in V-Ray
Up to 43% more performance in Chromium Release 78 Compile
Up to 36% more performance in Unreal Engine
The 3rd Gen AMD Ryzen Threadripper processors deliver this leadership performance all while delivering up to 66% better power efficiency, also according to AMD’s tests. Performance per watt testing conducted by AMD performance labs as of 10/18/2019. Relative performance per watt evaluated by dividing Cinebench R20 nT score by total system power. Watts per core approximated by dividing system wall power by core count(s). Products tested: AMD Ryzen Threadripper 3960X, AMD Ryzen Threadripper 3970X, Intel Core i9-9980XE. Results may vary, adds AMD at the end.
In tandem with the launch of the 3rd Gen AMD Ryzen Threadripper processors, AMD unveiled a brand new Socket sTRX4, optimized for near- and long-term scalability of the Ryzen Threadripper platform. Offering 4X more bandwidth to the chipset compared to 2nd Gen AMD Ryzen Threadripper, and up to 2.5X more available bandwidth than the competition for simultaneous peripherals like SSDs or GPUs, 3rd Gen AMD Ryzen Threadripper offers the ultimate HEDT platform without compromise.
Joker cinematographer Lawrence Sher has been busy recently explaining his colorful and exciting work on Todd Phillips’ hit DC comics movie. Here, he breaks down how he and Phillips pulled off the movie’s two most iconic scenes.
It’s been a fun time covering Joker here at No Film School.
Especially with Warner Bros. making an awards push for the most profitable comic book movie ever, the filmmakers have been making the rounds on how they made this controversial movie.
Recently, extra attention has been paid to the cinematography of Joker and Todd Phillips DP, Lawrence Sher, talked to Variety and offered a breakdown on two of Joker‘s most memorable scenes: Joker’s (Joaquin Phoenix) iconic dance and descent down the stairs and the subway sequence.
AMD has revealed its latest and greatest Threadripper desktop CPUs, promising “unmatched performance with no compromises,” including a huge performance boosts for Adobe users.
The new family of high-end desktop processors is made up of two 3rd Gen Ryzen Threadripper CPUs—the 24-core 3960X and the 32-core 3970X—both of which are built on AMD’s 7nm “Zen 2” core architecture. With massive core counts, base clocks starting at 3.7GHz, and boost clocks up to 4.5GHz, these chips promise to absolutely chew through your creative workflow.
And, no surprise, that’s exactly what AMD is claiming that they’ll do.
According to the AMD’s press release, the 32-core 3970X delivers a 47% performance boost in Adobe Premiere and a mind-blowing 90% increase in the Cinebench score as compared to the similarly-priced 18-core Intel Core i9-9980XE. No wonder the marketing materials are aimed squarely at creators:
As the video above attests, AMD’s goal here was to “build the best processor in the world” for creative professionals who “don’t want to sacrifice an ounce of performance.”
If that sound like you, and your wallet is ready to take a beating, the new 3rd Gen Threadripper CPUs will be available worldwide on November 25th. At launch, the 24-core AMD Ryzen Threadripper 3960X will cost $1,400, while the 32-core AMD Ryzen Threadripper 3970X will retail for $2,000.
A team with German university HTW Berlin has published a new project called Wikiview, a website that makes it easy to search for images in the Wikimedia Commons. With Wikiview, anyone can search for images related to a subject, then narrow down the results by adding other search terms, such as looking specifically for photos of old cars that are located outdoors.
Wikiview enables users to zoom in and out of the 2D image map used to present grid-based image results. When the user selects a particular image, it appears in a viewer sidebar alongside its title, the date it was taken, the license under which it was published, its author, and links to both its Wikimedia page and to similar image results. Users are able to directly download the image from Wikiview.
Wikiview is one of multiple sites that enables users to more easily find images shared under various licenses. Earlier this year, for example, Creative Commons launched an overhauled CC Search tool that serves as a portal to more than 300 million photos.
Director Luigi Campi and DP Giacomo Belletti are not afraid of dated filmmaking technology. Here’s how they made a poetic, visually-stunning film using MiniDV.
Quick disclaimer: I’m not a film critic. Like many readers of this publication, I’m a film and television maker. And so, having been scorched and liquified in the crucible of physical production many times before, I don’t take for granted that films end up the way they are intended. They almost never do. The process is inherently industrial and technical.
The workplace, like any other, is irreverent, chaotic, fraught with petty grievances, inundated with unexpected events and complications. Schedules go up in flames. It rains. People drop out. Cameras break. More people drop out. There are emotional crises, spiritual crises, and none more acute than for writer-directors in the breach.
In short, when you attempt to bring forth that fragile artistic germ incubating in the soil and sanctuary of your mind, you’re in for an awakening that gives “coming-of-age” the true substance of its sub-genre. There are a thousand reasons why you’ll doubt yourself and fail.
VidiMo, or Video director on Mobile, enables anyone to become a social media video star, able to produce live video content with a smartphone and a video camera.
Streaming solutions startup StreamGear Inc. announced VidiMo during the StreamGeeks Summit, held at the Dream Downtown, in New York City, the first east coast conference dedicated to educating amateurs and professionals who want to broaden their industry knowledge of video production and live streaming.
VidiMo is, according to StreamGear, a new hardware-and-app combination that turns a smartphone and external video source into a full-fledged, virtual video production and transmission facility. Providing an easier way to create and share engaging live video content, the VidiMo system enables a single person with a smartphone and a video camera to produce multi-source, television-style shows that can be streamed live, recorded or both.
While smartphone camera quality has improved over the years, it’s still no match for the rich creative functionality — such as optical zoom, tactile focus, iris control and depth of field — of a dedicated video or DSLR camera. VidiMo lets users have the best of both worlds, bringing an HDMI video source into their smartphone and combining it with the phone’s camera and other sources.
The VidiMo App for IOS and Android
VidiMo — the Video director on Mobile — enables anyone to become, says StreamGear, a social media video star or citizen journalist. In its simplest use, VidiMo lets users capture an external HDMI video source into their iOS or Android smartphone and stream it. But VidiMo’s extensive, advanced features and fast, intuitive interface also enable producers to create visually-compelling, professional-looking live shows in real time without needing to edit and upload them later.
The VidiMo system consists of the VidiMo Go hardware and VidiMo App software for iOS and Android smartphones. VidiMo Go’s innovative physical design forms a complete handheld production solution, acting as a capture device; attaching any size of smartphone to a professional or sports/action camera; and allowing flexible positioning of the phone for easy interaction with the app. VidiMo Go captures live HDMI and analog audio signals into the smartphone, and is powered by an interchangeable, rechargeable battery. The VidiMo Go hardware’s unique combination of functionality and ergonomics led to it being selected as a finalist in the 2019 International Design Excellence Awards (IDEA) by the Industrial Designers Society of America.
A complete live production toolkit
Meanwhile, the VidiMo App provides a complete live production toolkit on the smartphone. For each show, users can switch between six fully-customizable scene layouts that mix live video and audio sources — including the HDMI source and the phone’s front or rear camera — with graphics, text and playback of pre-recorded clips. When it’s time to go live, the show can be recorded onto the smartphone and streamed live to popular third-party services (with presets for YouTube Live, Facebook Live and Twitch) or a private server.
VidiMo is the first product from StreamGear, a new solutions developer and manufacturer hyper-focused on building tools that make it easy for users to create high-quality video. StreamGear’s founders are the company’s CEO, Darryl Spangler, and co-founder Gerard Virga, a team that has more than five decades of combined experience in the video production, digital media and live streaming markets.
Easily create self-produced live shows
“Our goal is to make the production of superior-quality live and on-demand video content easier for everyone from hobbyists to experienced professionals, so they can share their vision and ideas with the world in engaging, creative ways,” said Spangler. “VidiMo is the first step in our mission, and the feedback we’ve received so far in private demonstrations has been phenomenal. There’s nothing else on the market that does everything that VidiMo can do, and we’re excited to reveal it publicly for the first time so producers can see it for themselves.”
“Social media platforms have made live streaming distribution a possibility for literally millions of users, but adoption of their live capabilities has been limited by a lack of simple tools to create high-quality live shows on par with edited, uploaded content,” said Virga. “VidiMo can change this and act as a catalyst for live streaming production to become even more mainstream by enabling users to easily create self-produced, broadcast-grade, live shows.”
Commercial availability of VidiMo is expected in the first quarter of 2020. For more information about VidiMo, visit StreamGear’s website.
Beth B’s Lydia Lunch: The War is Never Over, her doc about the provocative and pummeling musician, writer, multi-media artist, social critic, No Wave pioneer and recent podcast host premieres Saturday night at DOC NYC, and the first trailer is online. Writes B about the film: Voicing the unheard and seeing the unseen are themes that have run through my films with an eye to creating dialogue, community, and a place for self-knowledge and acceptance. My documentary films are social, political and personal investigations; home movies focusing on people I know or have come to know. Lydia Lunch was 19 […]
VSCO has partnered with Snap Inc. to release its first ever Snapchat lens. Dubbed ‘Analog,’ the sponsored lens is free to use and “designed to celebrate the imperfections, mistakes, and happy accidents found when shooting with film.”
This special-edition Snapchat lens will be around for a month starting today, and offers two different filters that can be applied to either stills or video:
Film creates the light leaks, glares, and distortions that can occur on film
Prism creates a refracted, double effect
Here’s a short demo of each of the two “looks” offered by the Analog lens:
VSCO is no doubt hoping that a few of Snapchat’s users will enjoy these effects enough to give VSCO’s own apps and filters a try. It’s anyone’s guess whether or not this will actually work.
The Analog lens will be available to use from today through December 8th, so if you want to capture some retro-looking VSCO stills or video footage outside of VSCO’s own apps, now’s your chance.