The glut of entertainment is reaching new highs. But how many TV shows can we sustain as a society before it crushes us?
To find the straw that broke the camel’s back, you had to really load that poor animal up. Well, ladies and gentlemen, we know society has now survived 532 shows in a single year, a 7% increase from the year before, and a helluva list of things to watch across networks, streamers, cable, and digital.
But it does kind of make you wonder…how’s your back feeling?
532 shows…but are any of them good?
We don’t have a metric for that. We do know that critics get stretched thin trying to see EVERYTHING and the rest of us still have trouble picking a show to binge every Friday night.
But with more streaming networks coming to the forefront and lots of timeslots needing to be filled traditionally, we’re going to need more.
In one final bit of Canon news out of CES 2020, the camera maker unveiled something for photographers who will be capturing the action at the Tokyo 2020 Olympics: The CR-S700R Robotic Camera System.
Built to be used with either the Canon 1D X Mark II or the new 1D X Mark III and one of just six compatible L lenses, the CR-S700R is definitely not a “mass market” product. It’s built around a remote pan head that’s mounted on a central axis so it can zoom, pan, tilt, and roll the camera “in a small footprint” and with “minimal shifting of weight and balance.”
The CR-S700R comes with the IP camera controller CR-G100, which connects with Canon’s creatively named “CR-A100 Camera Remote Application” to allow for the operation and control of multiple units from a single PC.
Canon says the system is “ideal to follow high-speed subjects,” and while the press release mentions its “compact and lightweight” design, as you can see from the image above, that designation should come with a big fat asterisk.
Since the CR-S700R is built specifically for still image shooting, it’s compact and lightweight *compared to other systems that are meant to capture both stills and video.
Both the CR-S700R Robotic Camera System and the accompanying software will be available to purchase starting mid-February 2020 for the price of “please contact your local Canon pro market representative or regional sales manager” (translation: a lot), so expect to see at least a few of these on the track in Tokyo.
Not to be outdone by SanDisk’s crazy 8TB portable SSD concept, Samsung brought their own “next-generation” SSD to CES 2020. It’s called the T7 Touch, and it’s a fast, portable SSD with a built-in fingerprint reader for security.
Unlike SanDisk’s drive, the Samsung T7 Touch is a real product that has really been released. A follow-up to the very popular Samsung T5 portable SSDs that you’ve probably seen around, the “Touch” version of the T7 does more than improve transfer speeds (although it does that, too). Its party trick is the addition of AES 256-bit encryption via either a password or the built-in fingerprint reader.
“Consumers who are constantly on the go between work, play and passion projects want to be able to securely carry their content with them,” said Samsung’s Mike Mang. “Now their data is secure thanks to the fingerprint recognition functionality incorporated into the product, which delivers industry-leading transfer speeds in a compact form factor.”
The tiny solid state drive comes in 500GB, 1TB and 2TB configurations and features USB 3.2 Gen 2 for max transfer speeds of up to 10Gbps—you’ll have to step up to full Thunderbolt 3 to beat that—and it’ll be available this month in either silver or black. The 500GB version will cost you $130, 1TB is going for $230, and the maxed out 2TB version will run you $400.
To find out more about the Samsung T7 Touch or pick one up for yourself, head over to the Samsung website here.
Todd Spence and Zak White of Midnight Video share their tips for creating scary horror shorts on virtually no budget.
If you know me, then you know I’m all about horror. And I’ve been following LA-based filmmakers Todd Spence and Zak White (who release movies under their Midnight Video banner) for a few years now. Their work is atmospheric and creepy and always packs a good, punchy scare. For instance, 2017’s Your Date Is Here was a Fantastic Fest pick and a viral hit, and is one of my favorite horror shorts ever.
I was super excited when they released their latest short film, Fear Wish, this month. They made this particular short while working out some kinks on a separate, bigger-budget project, and kindly agreed to give No Film School a behind-the-scenes look at their development process and how they work with basically no money. So let’s dig in!
NFS: You guys went to school together in St. Louis, moved to LA, and were originally working in the comedic space. What prompted the shift to horror?
Photographer Mark Denney has put together a helpful video for beginners, in which he points out five of the most common photo editing mistakes he’s seen and made when it comes to shooting landscapes.
Of course, any “worst” mistakes video is going to be up for debate, and Denney admits as much. But it’s hard to disagree with the five points he’s put together, especially when you listen to Denney explain each point in detail in the video above.
Here are his 5 mistakes in order of increasing “impact” on the quality of your image:
Bright Shadows – Don’t just drag your Shadows slider to +100 and call it a day.
Leaving in Distractions – Don’t be lazy! Take the time to remove distracting elements.
Poor Cropping – The right crop/composition can make an image… or ruin it entirely.
“Bad” Contrast – Try to find that perfect balance between “too much” contrast and “not enough” contrast for any particular scene.
Over-Editing – We’ve all done this…
Check out the full video to dive much deeper into each of these tips, including sample before-and-after images that show how much of a difference they can make. And if you want to add something to Denney’s list, drop your own “worst photo editing mistakes” in the comments down below.
Please Note: Once you press play it will take a few seconds for the episode to start playing. The Art of Directing Actors with Judy Weston Today guest is the legendary writer and educator Judith Weston. Her book Directing Actors: Creating Memorable Performances for Film & TelevisionandThe Film Director’s Intuition: Script Analysis and Rehearsal Techniques is…
The deep depth of field in some cinematography is all-encompassing and beautiful. But how do they achieve those shots and how can you recognize them?
Cinematography is a language. You have to practice it to become fluent.
One of the first things you need to learn is depth of field.
What is that? Well, depth of field is defined as the distance between the nearest and the farthest objects that are in acceptably sharp focus in an image. So, basically it’s what’s in focus within the frame you’re shooting, to put it really, really simply.
Today, I want to specifically target deep depth of field. It’s a great place to start out as a filmmaker and it has a ton of practical uses moving forward.
So let’s jump into the article and see what we can learn.
What is Deep Depth of Field? (Definition & Examples)
Deep depth of field definition
Depth of field is all about focus. So a deep depth of field means that a larger area is in focus, even everything in the frame. Sometimes this is called “deep focus.”
Canon was an on announcement spree at CES. In addition to officially releasing the 1D X Mark III and debuting an AI Lightroom assistant, the camera brand also launched something called Image Connect: a ‘photographer matching service’ that could help photographers find work.
Canon is calling Image Connect a “matching service,” but you can think of it as a full-featured job board that takes you from booking, through image delivery, and even handles payment. The whole hiring process happens through the platform, as Canon explains in this step-by-step breakdown:
Through the platform, customers can provide basic details for the job, such as event type, location, and date
Once photographers are matched with the customer through the platform, customers review photographer profiles and invite those they like to bid on the job
Photographers create an offer which allows them to set their own price (rather than adhering to standardized pricing) and allows them to communicate their rates and value to customers
Once an offer is accepted, the job is booked through the platform
Following the event, images are delivered electronically to the customers through a Canon customer portal
From “bidding” on a project, to communication ahead of time, to image delivery and payment, it seems you’ll be able to do it all through Image Connect.
The beta version of the service will be available “in a limited number of markets” across six US states—Connecticut, Florida, New Jersey, New York, Pennsylvania, and Texas—and will initially offer services for family events like newborn portraits and birthday parties, but Canon expects to expand both the locations and types of photography on offer as time goes on.
Importantly: you don’t need to shoot Canon gear to use Image Connect—the service is “brand agnostic.”
If you want to learn more about this service/marketplace or join the waitlist, you can dive into the details at this link. The official launch of Image Connect should happen sometime in Q1 2020, so we shouldn’t have to wait too long.
The world’s first 8K foldable consumer drone, the Autel Evo II, is out for Mavic blood.
Autel Robotics showcased its brand new consumer drone at CES 2020 and it’s a doozy.
The successor to its popular 4K drone, the Evo II boasts a modular design with a 1/2-inch CMOS sensor that can capture 8K video (8000×6000) and 48MP stills, making it the first 8K foldable consumer drone in the world.
Understand, that distinction garners most people’s excitement from the “8K” bit, but let’s keep in mind that because this is a highly portable drone, filmmakers and drone operators will soon be able to capture incredible 8K footage anywhere their feet can carry them.
This is, in part, why the Evo II is being called the “Mavic Killer” because it takes the portability and accessibility of the DJI’s Mavic line and soups it up with 8K. But it does more. It features the longest battery life of any foldable drone out there, has a top speed of 45mph, and a transmission range of over 5 1/2 miles, meaning it can fly longer, farther, and faster than the Mavic 2 Pro.
In Martin Scorsese’s gangster epic, The Irishman, a key element to the story involved making the principal actors appear younger than their present ages for scenes set in the film’s past. Chief among the film’s main characters are Robert DeNiro as mob hitman Frank Sheeran, Joe Pesci as gangster Russell Bufalino, and Al Pacino as […]
Photographers using Canon who need to capture still images from various viewpoints or angles now have a new accessory made for them: the CR-S700R Robotic Camera System.
Five years after Nikon introduced, at IBC 2014, its remote camera system, Canon introduces the Canon CR-S700R, its own robotic camera system, a remote-control system for still image shooting. This system was developed to meet the needs of professional photographers to operate cameras remotely to shoot still images for the media and further represents Canon’s continued commitment to deliver convenient solutions.
Nikon’s remote camera system for the imaging industry appeared as the result of the company’s collaboration with Mark Robots Motion Control (MRMC), a manufacturer of quality motion control products that collaborated with Nikon to offer photographers, videographers and broadcasters the flexibility to shoot from remote, almost impossible, locations and to record real time action in both still and video format. At Photokina the same year Nikon presented a smaller remote camera system with a robotic head for still images, and in 2016 it was announced that Nikon had acquired MRMC.
Control multiple cameras
Now Canon introduces its own system, designed to offer a solution to sports photography and news media that require the use of remote photography extensively to capture still images from various viewpoints or angles that may not be achieved with conventional photography methods.
The Canon Robotic Camera System CR-S700R revolves around a remote pan head that can be used to remotely control and shoot still images using a compatible EOS camera and lens. This system includes a small and lightweight gateway box: the IP camera controller CR-G100. The CR-A100 Camera Remote Application (sold separately) enables users to control multiple cameras from a PC, display live-view images, and remotely trigger a camera or simultaneously shoot with multiple cameras.
The CR-S700R is compatible with the EOS-1D X Mark II and EOS-1D X Mark III. Compatible interchangeable lenses are EF 11-24mm F4L USM, EF 16-35mm F2.8L III USM, EF 24-70mm F2.8L II USM, EF 70-200mm F2.8L IS II USM, EF 24-105mm F4L IS II USM, and EF 100-400mm F4.5 -5.6L IS II USM.
By using a center-type mechanism that rotates around a central axis perpendicular to the optical axis of the lens, the remote pan head can perform operations such as zooming, panning, tilting, and rolling of the attached camera in a small footprint with minimal shifting of weight and balance. The remote-control solution can be ideal to follow high-speed subjects and features a turning radius of up to 260mm.
The focus on still image capture has made it possible to achieve a more compact and lightweight design, while the IP camera controller CR-G100 helps eliminate complicated and bulky wired connections, meaning one person can operate multiple cameras. The PC software (licensed with the Robotic Camera System CR-S700R) is also available separately to control a camera using the IP camera controller CR-G100, streamlining the workflow of still image shooting at the news site.
The Robotic Camera System CR-S700R and the Camera Remote Application CR-A100 are scheduled to be available from mid-February 2020. For more information, contact your local Canon pro market representative or regional sales manager.
When you are new to artificial lighting, it can be a bit difficult to navigate the world of modifiers — how they work and how they will render an image. Nonetheless, they are essential equipment for anyone who wants to learn how to light a photo properly. This excellent video will introduce you to five common lighting modifiers, including how they work and how they will make your photos look.
Born in Jerusalem but based in NYC, Ofra Bloch is a longtime psychoanalyst, an expert in trauma, who’s been making short documentaries for the past decade. Which makes her the perfect guide on the unconventional cinematic journey that is her feature-length debut Afterward. The film follows the director on her own healing excursion, from Germany to Israel and Palestine, in an effort to understand the mindset of those brought up with the tag of victim or victimizer — or in her case both. In Germany Bloch, whose great uncle lost his wife and children in the Holocaust, meets directly, one […]
Co-engineered with Leica is a catchy phrase that helps to promote a product, so the new Insta360 ONE R uses it, to sell a modular camera that reminds me the Ricoh GXR… which lasted a couple of years.
Insta360 is not a new name to the market, and ProVideo Coalition has mentioned the company before, when presenting the Insta360 Nano S, a 4K 360 video camera for iPhone, and theInsta360 ONE X, the 360-degree action camera you can throw around. This last model, announced in October 2018, was introduced as the as the future of the action camera, but apparently the company has decided otherwise, and now the Insta360 is about to take that task.
Recently introduced to the market, the Insta360 ONE R picks many of the ideas and features of the Insta360 ONE X that Iam not going to bother rewriting them all here, sending readers, instead, to the article PVC published before. The description to the Insta360 ONE X is similar, in many points, from being able to be a “silent drone” to go underwater.
From a fish-like design to LEGO bricks
The difference is that while the Insta360 ONE X had a fish-like shape (or zeppelin) with the Drifter attachment, and could be thrown around, the Insta360 ONE R is built of different blocks – one battery, one processor and a selection of quick-swapping lens Mods – that allow it to change from a a dual-lens 360 shooter to a standard action cam. According to Insta360, the ONE R currently offers three ways to shoot with three available lens Mods — the Dual-Lens 360 Mod, the 4K Wide-Angle Mod and the 1-Inch Wide Angle Mod co-engineered with Leica.
So, that’s the part where Leica comes in. The announcement of the cooperation coincided with the launch of the Insta360 ONE R, which is, “an adaptive action camera that uses a unique interchangeable camera module to combine the creative freedom of 360-degree capture with the precision and resolution of traditional single-lens shooting.”
Leica Camera AG and Insta360 partnership aims to bring true innovation and state-of-the-art imaging quality to the action camera and 360-degree camera spaces. The 1-Inch Wide Angle Mod, which is the first result of that cooperation, achieves, says Insta360, “the best performance ever in an action camera, combining a 1-inch sensor with the legendary optical expertise of Leica and 5.3K resolution — in a compact, rugged body backed by Insta360’s signature FlowState stabilization.”
Co-engineered with Leica
Also according to the information available, the premium Insta360 ONE R 1-Inch Edition sensor allows creators to achieve image quality and dynamic range never before seen in an action cam, together with Insta360’s signature FlowState stabilization. This 5.3K wide-angle lens can be instantly swapped for a dual-lens setup that captures action in all directions at once and unlocks a range of creative techniques only possible with a 360-degree field of view.
‘With Insta360, we have found the right partner to bring the decades of Leica optical and digital imaging expertise into a new product segment. We think that Insta360 has an extremely high level of know-how in the software sector – especially in the field of 360-degree acquisition technologies. The aim of our cooperation is to develop innovative technologies under the highest image and quality standards, trying to push the limits of what is technically possible’, says Matthias Harsch, CEO of Leica Camera AG.
JK Liu, Insta360 Founder, said: “For more than a century, Leica has never stopped pushing the boundaries of what’s possible with a camera, and it’s never lost sight of a guiding ethos of craftsmanship and quality that inspires photographers to push their own work further. They are the ideal partners to join us in perfecting a new generation of cameras that serve users at every step of the creative process — from capture to editing to sharing. Combining the expertise in optics and imaging design of Leica with Insta360’s unique portfolio of innovations, including gimbal-free stabilization and smart editing software, will allow both brands to redefine categories and realize the potential of new camera formats and modes of capture.”
An affordable entry-level module
The adaptative or modular Insta360 ONE R, which looks like bricks of Lego that you can assemble together to create cameras for different situations is an interesting concept, at least on paper, but it has hardly survived in the real world, so I don’t really know if this “innovation” will be even remembered when the next CES happens. In the end, the Insta360 ONE R is, no doubt a versatile action camera, which takes further some of the good ideas already present in previous models from the company… even without Leica’s participation.
One interesting option announced with the launch of the camera is the Insta360 ONE R Aerial Edition, which offers a specialized mounting system to make supported drones completely invisible and captures an unobstructed, airborne 360-degree view. That’s something that those using drones for image capture may want to explore.
Price wise, the camera is affordable, as the Insta360 ONE R 4K Edition offers creators all they need to enjoy the versatile 4K Wide Angle Mod for $299.99. Those looking for more options can go for the Insta360 ONE R Twin Edition, which brings together two great ways to shoot — the Dual-Lens 360 Mod and 4K Wide Angle Mod — in one convenient package for $479.99. Finally, the Insta360 ONE R 1-Inch Edition comes standard with the premium 1-Inch Wide Angle Mod co-engineered with Leica, and retails for $549.99.
Remember Ricoh and Rollei
According to Insta360, the “ONE R doesn’t stop at three Mods. Its unique design enables a huge range of efficient add-ons and upgrades. The standard Battery Base can be swapped for a double-size Boosted Battery Base for extended shooting.”
Cameras like the Insta360 ONE R always make me remember the Ricoh GXR experience, from 2009, which was a system based on interchangeable units, each housing a lens, sensor and image processing engine. The idea was great on paper, but production of the Ricox Modular Camera System modules ended in 2011 – Ricoh, though, never announced officially that the GXR is dead – , a clear suggestion that even the brightest ideas on paper do not survive in the real world. Being old enough to remember other examples, I have to point readers to a modular system that fascinated me: the Rolleiflex SL2000F.
Introduced in 1981, the Rolleiflex SL2000F was a 35mm camera designed as a medium-format model, including interchangeable film backs and dual viewfinders. It wasn’t modular in the same sense as the Ricoh GXR, but at the time it was a revolutionary concept… that was due to fail. In fact, despite the fact that Rollei launched a second model, the Rolleiflex 3003, in 1984, the uncommon concept for 35mm, limited range of accessories and high price when compared with regular 35mm cameras, defined the project’s fate.
The scourge of vertical video was many years away when Bronica released the RF645 in the year 2000, but this odd little medium format rangefinder was ahead of its time. Unlike most 645 cameras, when you hold the RF645 in “normal” orientation, you’ll capture a vertical portrait orientation image.
Photographer Alastair Bird recently reviewed the Bronica RF645, which he calls “one of the nicest little cameras you’ve never heard of.”
The camera took 120 and 220 medium format film, but the RF645 was different than most 645 (6 x 4.5) cameras. That’s because, thanks to the horizontal film movement, the camera actually imposed a vertical crop on your images when you shot in horizontal orientation, forcing you to shoot in “portrait orientation” whenever you wanted to capture a horizontal frame.
Here’s a closer look at this quirky little film camera:
And here are some sample photos that Bird captured with the camera, and which he was kind enough to share with our readers:
To see this strange camera in action and learn more about what it’s like to use it, check out the full review and field test up top. And if you like this kind of thing, you can find more film photography content over on Bird’s YouTube channel.
Image credits: Photos by Alastair Bird and used with permission.
The American Society of Cinematographers (ASC) will bestow its Board of Governors Award to Oscar and Emmy Award nominee Werner Herzog. The tribute will be made at the 34th Annual ASC Awards for Outstanding Achievement on Jan. 25 at Hollywood & Highland’s Ray Dolby Ballroom. Herzog has produced, written, and directed more than 70 feature […]
Depth maps? We don’t need no stinkin’ depth maps! AI vision startup Lucid has announced a new app called LucidPix that claims to convert regular 2D photos into 3D images without the need for multiple cameras, depth sensors, or any other kind of hardware help.
The app uses software and only software to capture or create 3D images with any smartphone, making it possible to convert older photos in addition to capturing 3D images “from scratch.”
“There’s no need for sensors or multi-camera smartphones, LucidPix uses AI to capture and make photos 3D that really jump out from your screen on any device,” reads app’s description. “Convert your flat 2D photo to an immersive 3D memory with the tap of a button. No special sensors or skills required, as our advanced AI takes care of the job for you.”
There are also “3D frames” that create a 3D effect to your photo while overlaying some sort of foreground/background element like leaves, though that’s significantly less exciting than the app’s 2D-to-3D conversion capabilities.
Here are a few sample conversions posted by LucidPix. To experience the 3D effect, simply move your mouse across the image.
The iOS and Android app is currently “in beta and under development,” but when it launches, it will be available in a Free and Premium versions. The free version puts a watermark on all of your images, and will include only the basic 3D frames—no 2D to 3D conversion; the premium version removes all of these limitations (and the watermark) but it’s subscription only, costing you either $6 per month or $60 per year.