Camera 6.7 update enables Blackmagic RAW support on the URSA Broadcast. Blackmagic has also implemented new image processing for improved quality, better lens control, updated on screen user controls, B4 lens correction, sidetone adjustments for talkback and more. Camera 6.7 update can now be downloaded: http://bmd.link/vPvokP What’s new in Blackmagic Camera Setup 6.7 New features … Continued
Nikon’s Z6 and Z7 have gone RAW via HDMI. This paid upgrade ($199.95) for 12-bit 4K UHD or full-HD RAW video to be recorded to select models of Atomos video recorders connected to a Nikon Z 7 or Z 6 camera via a HDMI connector has finally landed. In this little bit of raw wizardry by Atomos and Nikon the raw video is not subjected to in-camera processing, all information that is outputted from the image sensor is preserved and can be used later in post-production. Specifically, that raw video will be turned into ProRes Raw by an Atomos Ninja V to be used in FCPX. Nikon’s raw video output upgrade is available now for an $199.95 fee, and will require installation by a Nikon Service Center.
RAW video output function (4K UHD and Full HD)
With this upgrade, 12-bit 4K UHD or full-HD RAW video can be recorded*3 to select models of Atomos video recorders*4 connected to a Z 7 or Z 6 camera via a HDMI connector. As RAW video is not subjected to in-camera processing, all information that is outputted from the image sensor is preserved. This abundance of information can later be used in post-production.
The RAW video output capability upgrade can be installed at a Nikon service center and will incur a fee but will be included free of charge as part of Nikon Z 6 Filmmaker’s kit bundles. Those customers in the United States who have already purchased a Nikon Z 6 Filmmaker’s kit (Product #13545) will be eligible to have the fee waived (proof of purchase required). For more details about the Nikon Z 6 Filmmaker’s kit, please visit here.
For additional technical information, equipment requirements and instructions on requesting the RAW video output upgrade, please visit: www.nikonusa.com/RAWvideo.
Price and Availability
The firmware update Ver. 2.20 which enables CFexpress functionality is available now, free of charge. Please visit The Nikon Z series Firmware update page to download and find more information.
The RAW video output upgrade is available starting today and will require installation by a Nikon Service Center. A $199.95* fee will apply. For more information on the latest Nikon products, including the Nikon Z mount system, please visit www.nikonusa.com.
The post Nikon’s 4K 12-Bit RAW Via HDMI Now Available for Z6 and Z7 Owners appeared first on ProVideo Coalition.
RED has released DSMC2 Firmware v7.3.0 which adds 6K support for the DSMC2 Dragon-X and a number of other fixes. The DSMC2 Dragon-X was introduced in November and has been one of the most popular RED cameras. Until now, the Dragon-X could shoot: 96 fps at 5K Full Format (5120 x 2700) 120 fps at … Continued
Blackmagic Design has just released DaVinci Resolve 16.1.2 with a number of new updates and fixes. One of the big updates is the support for CUDA based R3D with the latest RED SDK on Windows & Linux. It was only a few days ago that RED & Apple completed METAL GPU accelerated support for R3D … Continued
The post DaVinci Resolve 16.1.2 Released – Adds CUDA support for R3D & more appeared first on Newsshooter.
The NPPA is suing California over the state’s controversial Assembly Bill 5 (AB 5), saying the law forces independent contractors like photographers and visual journalists to “become employees of their clients,” whether or not this is preferable or even feasible.
AB 5, which was signed into law in September 2019 and takes effect January 2020, sets limits on companies that prefer to classify workers as independent contractors in order to avoid giving these workers certain rights and protections under the law. Employees are entitled to things like minimum wage laws, sick leave, workers’ comp, while independent contractors are not.
However, the NPPA (and many of AB 5’s opponents) claims that the law actually hurts some independent contractors like photographers and visual journalists who prefer to maintain a freelance relationship with their regular clients.
The NPPA’s lawsuit focuses on two issues with the law’s “professional services” exemption, which allows certain professionals to continue working as freelancers under the law:
- Those who are covered under this exemption, including stills photographers and photojournalists, are limited to just 35 “submissions” or assignments per year for any single client.
- The exemption does not apply to video shooters, basically making it illegal for any video journalist to be a freelancer.
In addition to these two issues, the NPPA raises one final concern: copyright. In an employee/employer relationship, the employer takes ownership over your work; in a freelance relationship, the independent contractor retains ownership unless they specifically sign their copyright away.
By forcing freelancers to become employees, the law could inadvertently force photographers, photojournalists, and others to give up their copyright by default.
You can read the lawsuit in full below:
While the bill may have started with the good intention of preventing “misclassification” by certain companies for the sake of profit, the NPPA says that they raised concerns about AB 5’s language ever since the bill was introduced. However, the association’s repeated attempts to help California lawmakers properly amend the bill have come to naught, forcing them, finally, into filing this suit.
“From the first reports of the introduction of this bill, NPPA has expressed its concern over the arbitrary and unjust treatment of independent visual journalists under its terms,” said Michael P. King, president of the National Press Photographers Association. “Unfortunately, despite our best efforts to amend the bill’s language, lawmakers have been unsympathetic and unresponsive to our pleas.”
As a result, the NPPA says that some of its members in California are expecting to suffer huge financial losses, losing as much as 60-75% of their income from certain clients in 2020.
According to the lawsuit, the NPPA is seeking a declaratory judgement that both the 35-submission limit and the video recording exclusion in the bill’s “professional services” exemption are unconstitutional, an injunction that would prevent California from enforcing either of these parts of the law, and reimbursement for attorney fees, costs, and expenses.
To learn more about the specific issues that the NPPA has with AB 5, you can skim the full lawsuit above or read the NPPA’s press release regarding the lawsuit here.
Need to learn everything about DaVinci Resolve 16? Start here!
Blackmagic Design’s DaVinci Resolve 16 is a professional filmmaking program that allows creators to color correct, edit, add visual effects, and work with post-production audio. If you weren’t aware, its basic version is free to download, while a more loaded “Studio” version costs $299.
If you’re just starting out with DaVinci Resolve 16, Blackmagic has just released an enormous, 444-page user guide to help you get acclimated to the program. The guide also free to download on their training page!
You can also purchase a hard copy of the guide here. Let’s look at what’s included in the guide!
It’s that time of year again, when Chris Niccolls and Jordan Drake of DPReview TV—formerly of The Camera Store TV—play a drinking game while discussing the best and worst gear of 2019. The result is always both informative and entertaining, and this year is no different.
The tradition of drinking late into the night while discussing the best and worst gear of the year started way back in 2013 on TCSTV, and it’s been a fun end-of-year watch ever since.
There’s a little something for everyone in this year’s best and worst. Niccolls and Drake cover the best and worst lenses, the best and worst cameras, and two new categories: the best hybrid cameras, and the most improved camera. The last category is particularly interesting, since it praises companies who took a leaf out of Fuji’s handbook and made an effort to improve their already-released cameras via firmware.
And if you don’t care about any of those thing above, you can still watch Chris and Jordan engage in a sometimes-painful-to-watch movie trivia drinking game (did you know Lawrence Olivier is not only still alive, but directed the first Thor movie!? Neither did we…).
We don’t want to give away the farm, so check out the video up top to see which cameras and lenses earned the “best” and “worst” designations for 2019. We will say, it’s hard to argue with most of their pics… most. If you want to revisit some of the old “Best and Worst Of” videos, head over to the TCSTV YouTube channel, or subscribe to DPReview TV to follow Chris and Jordan’s more recent adventures, .
The Zenit M full-frame rangefinder digital camera made in collaboration with Leica is now available to purchase in the United States. The rangefinder features a 24MP CMOS sensor and Leica M39 mount; it is being sold with a 35mm F1.0 Zenitar manual focus lens.
This rangefinder model first started shipping in Europe in late 2018, later arriving in Russia earlier this year. The Zenit M’s arrival in the US marks the latest expansion of this vintage brand camera, which was designed in Russia and produced in Wetzler, Germany.
The Zenit M is essentially a Leica M240 camera with the Zenit M logo, design changes and certain software-based differences, including support for only a few Zenit lenses. The model was first announced in 2016 by Russian factory Krasnogorsky Zavod and, after months of mystery, was finally unveiled in September 2018 as what is essentially a Leica camera.
A total of 500 Zenit M cameras are being put up for sale globally. Buyers in the US can get the camera as part of a kit that includes the 35mm F1.0 Zenitar lens, a case, a hardbound book and a collector’s card for $6,995. The silver version of the camera is available to purchase now; the black version will be available ‘soon.’
The year ends with big news: Maxon and Red Giant, creators of unique tools for editors, have reached a definitive agreement to merge to better serve the post production and content creation industries.
Maxon, the developers of professional 3D software solutions and Red Giant, creators of unique tools for editors, VFX artists, and motion designers, today cooperatively announced that the two companies have reached a definitive agreement to merge under the media and entertainment division of Nemetschek Group to better serve the post production and content creation industries. The transaction is expected to close in January 2020, subject to regulatory approval and customary closing conditions.
Maxon and Red Giant are already well known and established in the digital content creation (DCC) industries, and share synergies in philosophy and long-term goals. Both companies have earned a peerless reputation for the quality and accessibility of products, and uncompromising commitment to service and support of the artistic community. Each company’s workforce features the industry expertise, organizational maturity, and executive experience needed to fully leverage this unique opportunity.
Cinema 4D and Trapcode
Maxon, best known for its flagship 3D product Cinema 4D, was formed in 1986 with a passion for providing extremely powerful, though exceptionally accessible 3D software solutions. Artists across the globe rely on Maxon products to create cutting-edge visuals. In April of this year, Maxon acquired Redshift, developer of the GPU-accelerated Redshift render engine.
Since 2002, Red Giant has built its brand through award-winning products such as Trapcode, Magic Bullet, Universe, PluralEyes and its line of innovative visual effects software. Their unique, industry-standard tools are staples in the fields of film, broadcast, and advertising. Red Giant has differentiated itself in the industry through its artist-driven approach to software creation and its popular training and award-winning short films.
The two companies provide tools for a who’s who of production companies including ABC, CBS, NBC, HBO, BBC, Sky, Fox Networks, Turner Broadcasting, NFL Network, WWE, Viacom, Netflix, ITV Creative, Discovery Channel, MPC (Moving Picture Company), Digital Domain, VDO, Sony, Universal, The Walt Disney Company, Blizzard Entertainment, BMW, Facebook, Apple, Google, Vitra, Nike and many more.
Powerful software to serve creative artists
“This merger is a major milestone, not only for Maxon and Red Giant but also for the design industry as a whole,” said David McGavran, CEO of Maxon. “Our combined technology and know-how have the potential to progressively reshape the content creation landscape for years to come.”
“The combination of our companies is an exceptional fit of people, culture and technology,” said Chad Bechert, CEO of Red Giant. “We look forward to working together under a shared vision of how to design powerful and approachable software to serve creative artists around the world.”
Last August Maxon debuted Cinema 4D R21 at SIGGRAPH 2019, showing also a singular version of Cinema 4D that includes the complete feature set at an affordable price, as part of the “3D for Whole World” initiative. This week the company shared its Late Shift animated greetings card with the world. November, Red Giant announced the Red Giant Complete, offering all the Red Giant tools at one low price, and it was not a Black Friday promotion. Now, the two companies announce that in 2020 they will work together.
The post Maxon and Red Giant unite to offer powerful content creation solutions appeared first on ProVideo Coalition.