Ikan has announced the new LIVECOM 1000 Intercom system for live production work which features an impressive 1000ft range using the DECT protocol on 1.9Ghz The system comes with 4 belt packs and 5 headsets as well as the base station. The system can be expanded to a total of 8 belt packs with an … Continued
Customize your RAW Parameters like in Premiere Pro (10 Global Presets, Custom A/B etc.) and see the result in live inside your After Effects composition Download free trial and purchase a license here Shooting in BRAW meant you had to stick to a DaVinci Resolve workflow but not anymore. Autokroma stepped up to the plate … Continued
The post Autokroma BRAW Studio for After Effects now available appeared first on Newsshooter.
PolarPro is expanding its portfolio of filtration systems with the new BaseCamp matte box. A 2-stage system which takes a proprietary filter tray and a circular polariser. PolarPro has been creating filters for a long time, starting with drone & GoPro filters. Recently they also collaborated with Youtuber Peter McKinnon to create a VND filter. … Continued
Apple has failed in an attempt to over-throw patents held by RED that govern methods for compressing Raw video, leaving the company open to paying royalties on its ProRes RAW file format. Apple had tried to show that the technology RED patented around its RedCode codec was obvious and shouldn’t have been granted protection, but the court rejected the claim leaving RED secure to license the lossless compression technique to camera, software and accessories manufacturers.
It seems that Apple had wanted to avoid paying royalties on the ProRes RAW format it introduced via Final Cut Pro last year, and which is used in some DJI drones, some Atomos recorders and a few other products. The problem is that RED claims ProRes RAW uses technology it owns for compressing those RAW files to make them manageable to work with. RedCode allows Raw video to be captured and compressed in-camera in much the same way that stills cameras do, allowing data directly from the sensor to be recorded and made available for very flexible post-production manipulation.
RED’s technology allows files to be compressed by ratios of up to 22:1, though it says 3:1 is mathematically lossless and 8:1 is visually lossless. The value of this is not only that it allows video files to be reduced in size, but also that for the same size file videographers can record in higher resolutions to provide the means for heavy cropping and frame splitting in post-production.
RED President Jarred Land posted on the RED User forum that he was glad the company’s technology remained protected but that the dispute between RED and Apple was just a means to finding where each stood technology-wise so they could continue to work together. He wrote:
‘We are pleased to see our REDCODE patents withstand another challenge.
To be clear, as I mentioned before, this never really was Apple vs. RED. It has always been APPLE + RED, and this was all part of the process defining how we work together in the future.
RED integration with Apple’s METAL framework for realtime R3D playback is coming along well and the work that the two teams are doing together is exceeding expectations. We are very excited for the new Mac Pro and the new XDR pro display and the power they bring to the entire RED workflow.’
The ‘another challenge’ refers to a similar attempt made by Sony in 2013.
Apple’s recent attempt to invalidate one of RED’s most important patents has failed. Earlier this week, a US court dismissed Apple’s challenge to RED’s main RAW video patent, allowing RED to maintain some control over Apple’s ProRes RAW codec.
This story began back in May, when Apple quietly filed a legal petition to try and invalidate one of RED’s most important patents: the REDCODE codec for capturing visually lossless compressed RAW video.
Apple’s argument was that RED’s patent was a “logical combination” of two prior inventions, making the technology unpatentable. If Apple had succeeded in proving this point, it might have saved the company from having to pay RED royalties on ProRes RAW and allowed camera companies to more readily adopt the codec; as it stands, anybody who wants to use ProRes RAW needs to strike a deal with RED, because the codec uses the same compression technology described in RED’s original patent.
RED responded to the petition in August, filing in-depth responses from RED president Jarrad Land, recently-retired founder Jim Jannard, and the inventor of REDCODE Graeme Nattress defending the novelty of this key patent.
The filing included tons of fascinating historical data, detailed technical explanations of how REDCODE came to be, and several fascinating images showing the early development of the first RED cinema camera “Boris.” If you have the time and interest, they’re definitely worth checking out.
The companies went back and forth a couple of more times since then, but on November 8th, the patent office officially denied Apple’s petition, writing that Apple “has not shown a reasonable likelihood that it would prevail in establishing that any of the challenged claims 1–30 are unpatentable.”
You can read the full decision below:
In response to the USPTO’s ruling, RED president Jarred Land praised the decision before quickly reiterating that Apple and RED have a very positive working relationship, framing this little dispute as “all part of the process of defining how we work together in the future.”
“To be clear, as I mentioned before, this never really was Apple vs. RED. It has always been APPLE + RED,” writes Land on the RED User forums. “We are very excited for the new Mac Pro and the new XDR pro display and the power they bring to the entire RED workflow.”
For now, it seems, RED has managed to survive another legal attack on one of its most prized pieces of intellectual property.
Image credits: Images filed as part of RED’s official response, available through the USPTO.
The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode, Steve talks with editors ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors of today about their careers, editing workflows and about their work on some of the biggest films and TV shows of the year.
This week Steve talks with “Parasite” editor Yang Jin-mo. Jin-mo has edited a number of groundbreaking films including the multiple award winning “Okja” and crowd favorite “Train to Busan.” To listen to the full podcast, click the link below:
This weeks episode of the Art of the Cut Podcast is brought to you by LaCie. As a leading media storage company, Lacie consistently brings innovative ideas to the market. Make sure to listen to the above interview for a special offer from LaCie when you shop on Filmtools.com!
You can read Steves interview with Jin-mo here.
The Art of the Cut podcast is available on Apple Podcasts, Spotify, Anchor, Google Podcasts, Breaker, Pocket Casts, Overcast and Radio Public. If you like the podcast, make sure to subscribe on your favorite podcast app and tell a friend!
The post Art of the Cut Podcast Eps. 21 (w/ “Parasite” Editor Yang Jin-mo) appeared first on ProVideo Coalition.
Many are wondering when Canon’s primary focus will shift from DSLRs to its mirrorless line and in particular, when a professional-level mirrorless camera might be on the way. DP Review recently sat down with Canon for an interview, and they had some interesting insights that provide some illumination on the company’s future plans.
Polar Pro has just unveiled the new Summit filter system for landscape photographers: a re-design of the standard filter holder that features several innovative design elements, prompting Polar Pro to call it “the industry’s most refined landscape filter system.”
As usual, we don’t know about the marketing hyperbole, but it’s clear Polar Pro put a lot of thought into the Summit system.
Both the filters and the holder were made to be easy to handle and use in the field. The holder is made from aluminum rather than plastic, and features a slot for an integrated circular polarizer and rails for your square filters, all of which can be installed and locked into place tool-free.
The filters themselves are made out of fused quartz glass with 16-layers of coatings, and feature aluminum frames with clear markings, making it easy to identify the right filter and preventing finger prints when handling or installing them.
The whole system screws onto your lens using special aluminum “thread plates” that allow for 360° of rotation without coming loose from the filter holder itself. And just for good measure, there’s a snap-on hood as well.
The Polar Pro Summit filter system is available as a Base Kit that includes the holder, hood, and a case for $250, or as a Landscape Kit that includes the Base Kit plus two thread plates, an ND64, an ND4 Grad filter, and the circular polarizer for $700.
Thread plates are available in 67mm, 72mm, 77mm, 82mm, and 95mm sizes for $35 each; ND filters are available in ND8, ND64, ND1000, and ND100K for $200 each; Soft Gradient filters are available in ND4 and ND8 for $250 each; and, finally, the circular polarizer will run you $150 on its own.
To learn more about the Summit system, head over to the Polar Pro website.
Of course, it is vitally important to have a good understanding of how to create a strong video, but without good audio to match, the final product is not going to be that great. This helpful video will show you five great tips to improve the quality of your audio when using a shotgun mic.
When it comes to Lightroom alternatives, nobody has taken more users away from Adobe than Capture One Pro. But if you’ve never used Capture One and you need a crash course on the basics, Ted Forbes of The Art of Photography has put together a helpful video that you might find handy.
This short beginner’s guide—a Capture 101, if you will—covers all of the ways that you can adjust the exposure, contrast and saturation of your RAW files in Capture One Pro.
This might seem painfully basic, but if you’ve never used the program, it’s extremely helpful to get an overview of the core features and understand how they differ from something like Adobe Lightroom.
Throughout the video, Forbes edits a couple of photographs using the Sliders, the Levels, and the Curves tools, showing you how each of them works a little bit differently than the other, and sharing some helpful user interface hints for Capture One newbies along the way.
Check out the full video up top to watch this little beginner’s guide to Capture One Pro, and give The Art of Photography a follow if you want to see more. This is the first of a series of videos Forbes promises to do on the Lightroom alternative, which could come in very handy if you’re tempted to jump ship.
Learn from cinematographer Phedon Papamichael on how he and director James Mangold made Ford v. Ferrari a movie that’s more than just (well-shot) race car scenes.
There’s nothing more exciting than a car hitting 200mph and streaking around the corners of a race track. Man was not meant to go that fast, so they designed a car. And then we got lucky and the Lumiere brothers made cameras we could strap to those cars.
And so, race car movies were born. The latest entry in that genre, Ford V. Ferrari, is filled compelling emotional stakes, snappy dialogue, and impressive car racing scenes. It’s a movie that defines an era of American expansion against a tumultuous homeland — and it does so with kinetic and arresting visuals. The film’s director, James Mangold, turned to legendary cinematographer Phedon Papamichael to help capture all this on-screen. The DP recently sat down with Variety to reveal the secrets behind making one of this year’s biggest awards contenders.
Today, California-based filter manufacturer, PolarPro, known for their premium ND and polarizing filters for cameras, as well as drones, announced the launch of two toolless, ultra-lightweight filter systems – one matte box, Basecamp, and one landscape filter system called Summit – designed to catapult professional creatives to the next skill level.
BaseCamp Ultra-lightweight Matte Box System
A base camp is a pillar of safety, as you head out into the unknown. It’s a haven to take shelter intermittently as battle the elements and push your limits to capture the best possible footage. Camera gear is getting heavier, especially lenses as higher quality optics are implemented. PolarPro designed BaseCamp, the lightest matte box system possible at 438 grams, to alleviate the burden heavier cameras put on operators and gimbals.
Built on the foundation of PolarPro’s Quartzline series, the toolless Variable Neutral Density configuration allows photographers and filmmakers to adapt to any lighting change instantly without having to swap out filters. Its modular design, constructed out of aluminum and carbon fibers, features a removable flag and hood that allows users to customize it to suit their production requirements.
Summit Landscape Filter System
Summit is a new range filter system aimed at photographers. It allows for toolless filter swapping and, like the BaseCamp system, has been designed with a large grip handle to minimize the risk of fingerprints on the filters. Summit filters screw onto the end of your lens and were constructed, with lightweight aluminum, in a fully light-sealed system to prevent light leakage.
PolarPro is offering $100 off the first 300 people who purchase their Summit Landscape Kit, the BaseCamp VND Kit, and their Cores. The BaseCamp VND Kit retails for $799, its Core is $399, Rectangular Filters are $299 each, while Rails Kits come out to $119.99 each. The Summit Landscape Kit will cost you $699, its Core $299.99, both Gradient and Neutral Density Filters $249.99 each, and a Circular Polarizer for either the Matte Box or Filter System costs $150. All can be purchased on PolarPro’s website.
J.J. Abrams is a much different filmmaker than the one he was when he made his first Star Wars movie four years ago. The Rise of Skywalker director reveals what — and how — he changed.
Director J.J. Abrams’ first Star Wars movie, The Force Awakens, was met with fan criticism as being a Xerox of the first Star Wars movie ever, 1977’s A New Hope. In fact, Abrams remarked in a 2016 interview with The Hollywood Reporter that he can understand why audiences would view it that way — it was kind of in the film’s design that he co-wrote. Now, as Abrams is primed to conclude the new trilogy he started, and the Skywalker Saga George Lucas kicked off more than 40 years ago, the filmmaker is comparing is work on Star Wars: The Rise of Skywalker with his directorial approach to Force Awakens. In the latest issue of Total Film (via sister site Games Radar), Abrams talked about how The Force Awakens compares to The Rise of Skywalker, at least as far as his directing approach is concerned:
A photographer was tragically trampled to death in India’s West Bengal state earlier this month, after getting too close to a herd of wild elephants in order to take their picture.
The Daily Mail and Hindustan Times report that Asish Shit, a 35-year-old photographer from a town near Calcutta, was crushed to death by a wild elephant after walking too close to a heard he was photographing in West Bengal’s Jhargram district. The incident took place in the Atadihi area of Sankrail, and according to Arup Mukherjee, the divisional forest officer, “[Shit] went very close to the elephant that trampled him.”
The enraged elephant crushed the photographer, who was rushed to Bhangagarh hospital where he was declared dead on arrival.
The news presents a sobering reminder for amateur wildlife photographers and tourists alike, especially those who want to photograph the wild elephants in West Bengal. Shit’s death is the 8th deadly elephant attack in the region since October 26th, including the death of a handler by one of the forest department’s own elephants.
Image credits: Photo by Yathin S Krishnappa, CC BY-SA 3.0
“Is it difficult or different” should be the stock response to commentary that Capture One is either difficult or has a long learning curve, because the two terms are often conflated, and the reality is C1 is easy (especially the latest versions).
Able to keep your iPad Pro running for longer time and also compatible with other devices, the Hub Turbo 10,050 mAh from myCharge is the first-ever dual fast charging power bank.
When the low battery notification pops up on a smartphone or tablet the last thing anyone wants to do is sit around waiting for it to recharge, let alone search for the correct charging cords. Imagine you’re working on your iPad Pro, editing a video or some photographs, and the battery goes… not good! Be prepared, with a Hub Turbo 10,050 mAh, one of the newest portable powerbank to join myCharge’s flagship Hub series line, priced at $109.99. The other is the Hub Turbo 6700 mAh, which costs $89.99.
The Hub Turbo is an all-in-one portable powerbank that solves both issues with built-in charging cords and technology that delivers a powerful, fast recharge. The models now added to the Hub family, the Hub Turbo 6700 mAh and 10,050 mAh pair a Lightning cable with a USB-C cable that push both Power Delivery and Qualcomm Quick Charge for a fast recharge.
Reach full capacity in less time
The Hub Turbo is the first powerbank to hit the market with this feature and can recharge any Power Delivery or Quick Charge compatible device 75% faster than a traditional charger or power block. Both the 6700 and 10,050 mAh models also feature a USB-A port on their sides that can be used to charge another device with a separate charging cable as well as fold-out wall prongs on the back that can be plugged into a wall outlet to recharge the unit. It’s a complete traveling solution to guarantee you’ll never end without energy to keep your devices running.
“The Hub series is everything you could need for mobile charging, plus the kitchen sink,” said myCharge President Jim Dara. “We’ve added new combinations of built-in charging cables so now Apple and Android device users can charge via older standards or the new C standard, and we’re also incorporating the latest fast charge technologies so your device battery will be at full capacity again in less time. There isn’t a charging convenience that we have overlooked in the Hub series, especially with the new Hub Turbo powerbanks.”
Case protects batteries
The anodized aluminum line of Hub portable powerbanks makes powering smartphones and tablets on-the-go incredibly convenient. The case protects the batteries, designed with 12 layers of protection including defense against overheating and overcharging. Batteries used in myCharge devices are certified and pass National Analysis Center (NAC) performance and safety standards, says the company.
The post Hub Turbo: the first-ever dual fast charging power bank from myCharge appeared first on ProVideo Coalition.