Lupo Actionpanel Review

The Lupo Actionpanel is a new range of powerful, compact, and easy to use portable lights. We first saw the lights presented at IBC 2109. Above you can see our video interview with Lupo at the show. The Lupo Actionpanel currently comes in two versions. A Dual Color and a Full Color. Lupo has garnered … Continued

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What does the EOS R5 tell us about Canon’s mirrorless plans?

A prototype of the forthcoming Canon EOS R5, on display at the recent WPPI trade show

If it wasn’t obvious at the time, it should be clear now that the EOS R and RP don’t represent Canon’s full ambitions for full-frame mirrorless. Following the initial surge of those releases, there’s been an apparent lull while the real work continued. Now that Canon has started to release details of the forthcoming EOS R5, the bigger picture is becoming clearer.

This is not to downplay the role of those first two cameras. The RP in particular seems to be turning into the camera we thought it might: a competent and aggressively priced first-time full-framer, pitched below the 6D level to entice people into the system.

But it was very apparent that the R and RP weren’t at the center of Canon’s plans for the RF-mount and we’ve had to wait until now, to see more of Canon’s longer-term strategy.

The RF lenses have already set out the game plan though. That triumvirate of F2.8 L zooms is clearly not primarily aimed at RP or even R users. The prices and the performance that they’ve shown, along with the use of the widely respected ‘L’ designation, should make that clear.

Neither the ‘holy trinity’ of F2.8 L zooms, nor the 50 and 85mm F1.2 prime lenses will have been developed primarily for EOS R or RP shooters.

These lenses are laying the groundwork for a camera designed to appeal to the dedicated enthusiast and professional user.

The R5 will be a mirrorless 5D

One thing that’s certain, now that we’ve seen the prototype cameras, is that the inclusion of the number ‘5’ in the R5’s name is no coincidence.

The 5D line has been important for the company, both in terms of sales and in terms of reputation. The 5D DSLRs help cement the company’s image as the maker of aspirational products for enthusiasts and dependable cameras for working professionals, then extended that to create the first high-end stills/video hybrid camera. Like the ‘L’ designation, Canon is unlikely to risk undermining the values associated with that branding by casually applying it to something less ambitious.

Canon is unlikely to risk the 5-series branding by applying it to something less ambitious

The prototype units Canon has put on show also help to make clear that it’s this 5D-using crowd it’s targeting with the R5: the styling cues of the body might come from the EOS R but the control layout is reassuringly 5D-like. Wedding shooters, along with everyone else who got really anxious about such things when the EOS R was launched, will be reassured to hear the R5 will have twin card slots.

There are certainly plenty of design cues from the EOS R, including that square status panel and the mode button set inside the rear shoulder dial…

Canon was determined to get it right

The lag between the announcement of the system and the arrival of its key camera model suggests there was still work that needed to be done.

Given how much of a head start Sony had already established in full-frame mirrorless with its progressively better a7 cameras, there must have been a temptation for Canon to quickly establish a presence in such a key part of the market. But, rather than launching a rival to the Sony a7R III at the same time Nikon launched its Z7, Canon has kept its powder dry.

…but that rear-plate scroll wheel, that big, traditional joystick and the arrangement of the two buttons on the right shoulder have much more in common with Canon’s DSLR design.

This strongly suggests it’s been continuing to work on the technologies underpinning the R5. Whereas the R and RP placed sensors from existing models (the EOS 5D IV and EOS 6D II respectively), in less-expensive bodies, it’s now clear that the R5 will include a series of all-new technologies. And we’d guess at a price tag around the $3500 territory that EOS 5D models have been launched at.

It will feature new-to-Canon technologies

Canon confirmed to us over a year ago that it was developing an in-body stabilization system for a ‘pro-level’ RF camera, and this is likely to be one of the things still being perfected.

There’s scope for some misunderstanding in translation, of course, but the senior figures we interviewed seemed to suggest a system that would combine the efforts of in-body and in-lens stabilization, like Panasonic and Olympus do, rather than sharing the work by letting in-lens stabilization take over some of the work from the in-body mechanism, per Sony and Nikon.

Canon has a history of launching new systems by starting with the middle model. The launch model of the EF mount, the EOS 650, wasn’t an especially high-end offering.

While Canon has decades of experience of in-lens stabilization, it doesn’t have any prior experience of combining lens and sensor-shift IS. This is clearly a technology Canon wanted to get absolutely right before launching a 5D-level camera, rather than delivering a standalone IBIS system and then using the promise of combined IS to entice people to upgrade to an R5 Mark II.

It will push video capabilities forward

The EOS 5D II established the idea of the DSLR as a video device. It wasn’t quite the first video DSLR but with its Full HD capability and full-frame sensor, it was the one that ended up in the hands of would-be videographers the world over. The Mark III added a little polish to this but didn’t really push things forward.

But one of the undeniable advantages mirrorless offers over DSLRs is that you don’t have a mirror that needs to be moved out of the way before you can start recording. This, in turn, helps give a more coherent stills and video shooting experience, making it easier for photographers to adapt to shooting sequences of moving pictures, rather than just stills.

So a 5D-level mirrorless camera would be the perfect time to make a spiritual successor to the 5D Mark II and Canon is talking in terms of 8K capture.

The potential benefits of 8K apply to people watching in 4K, just as there were benefits to 4K capture before widespread adoption of 4K displays

You may not think you need 8K, if that’s what the camera ends up outputting. It’s true that the limits of human vision at sensible viewing distances take us into the realms of diminishing returns, but many of the potential benefits of 8K apply to people watching in 4K, just as there were benefits to 4K capture before widespread adoption of 4K displays.

The first is the ability to crop in, giving scope for adding panning or zooming movement into locked-off shots. This is hugely useful in terms of giving flexibility at the edit stage, particularly for single camera setups that an R5 is likely to be used for.

But the other option is to capture at 8K and output it as perfectly oversampled 4K, since you need to capture twice the resolution to accurately describe all the detail that a 4K video can show. It may be that this is what Canon is referring to 8K capture with 4K output, but even this would be an impressive step forward.

I won’t call it a flagship

So what we know from the announced details and what we can deduce from the RF lenses that have been launched is that the 5R will aim to be a ‘Super 5D’: with the addition of in-body IS and advanced video making it perhaps the biggest generational leap forward for ‘5’ level cameras since the introduction of Full HD video capture.

The EOS R5 promises to match the 1D X III in terms of its 20fps frame rate, but it’s still the 1D series that’s the real flagship in Canon’s lineup.

But I’m still loath to call it a flagship. 5D cameras are important to Canon and certainly help set public perception of the brand, but it’s the 1D-series that has entrenched the company’s position on the sidelines of sports across the world.

The R5 is likely to include some of the AI-trained autofocus know-how developed for the EOS-1D X Mark III, and it’s likely to be the top dog in the RF lineup for the foreseeable future. But the sheer amount of power offered by the 1D X III in mirrorless mode suggests we may be only a single generation away from an RF-mount 1D.

10 Movies From 2019 Critics Liked But Audiences Didn’t

As with every year, 2019 had its share of films that critics praised, Rotten Tomatoes deemed as certified fresh, and… were panned by audiences.

If we are to look at the reviews they’ve received, the movies on this list were supposedly among the better films of 2019, with a few titles even appearing on best of the year lists, some of them on our page too. However, based on the audience reaction, the films on this list are at best mediocre, with some of them not even getting a 6/10 on platforms such as IMDb or Metacritic, and all of them being rotten judging by the Rotten Tomatoes audience score.

Without further ado, here are 10 movies from 2019 that critics liked, but audiences didn’t. As always, let us know in the comments what is your opinion on these films.

 

1. The Souvenir

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A semi-fictionalized version of director Joanna Hogg’s experiences at film school, “The Souvenir” is set in the 1980s Sunderland and stars Honor Swinton Byrne as Julie, a young film student who falls in love with Anthony (Tom Burke), an older man who works at the Foreign Office. What starts as an intense relationship shortly stumbles because of Anthony’s untrustworthy character and hidden addictions.

Critics praised Joanna Hogg’s film as a uniquely impactful coming of age drama. The Guardian’s Peter Bradshaw said that “the director confirms her status as a modern visionary with a deft, distinctive and deeply personal story of young love”, while Monica Castillo from RogerEbert.com called “The Souvenir” “the most empathetic movie to capture that kind of bad romance”, referring to the toxic relationship depicted in Hogg’s film.

With a 90% fresh score on Rotten Tomatoes (and an 8.12 average rating), it is obvious that critics really liked “The Souvenir”, yet that isn’t the case with most viewers. The film has a rotten 36% audience score, and many audience reviews call it a dull, boring, and hard-to-sit through experience, and criticize the hard to swallow relationship between the two main characters.

It is true that the film might have benefited from a shortened runtime, as it drags during its second act and at times becomes a little tedious, yet the charming performances from Byrne and Burke combined with Hogg’s very personal script and David Raedeker’s grainy cinematography make “The Souvenir” stand out as one of the year’s better-crafted dramas.

 

2. See You Yesterday

See You Yesterday

Perhaps the most divisive film of 2019 when it comes to critics’ vs audience reaction, this Netflix original science fiction film produced by Spike Lee follows C.J. Walker and Sebastian Thomas, two teenage prodigies who create time machines in order to save C.J.’s brother from an incident that claimed his life.

The critical reaction for “See You Yesterday” was overwhelmingly positive. It has a 95% Tomatometer score (with a 7.34 average rating), and a 74 Metascore. Brian Tallerico from RogerEbert.com labeled it “an ambitious, striking debut that takes unexpected creative risks and heralds the arrival of an exciting new filmmaker”, Benjamin Lee from The Guardian called it “a smart, often ingenious, new film that takes a depressingly familiar scenario and then adds some time travel to the mix” and the list goes on.

Surprisingly, the audiences didn’t feel the same – at all. On Rotten Tomatoes, the audience score is a disappointing 34% (with a 2.45/5 average rating), IMDb rates it as a 5/10, and even the user score on Metacritic is 4.9/10. So what happened?

Most viewers found the film too juvenile, complained about the poor screenplay and acting, felt like the critics praised it only because of political correctness, and above all felt cheated by the film’s lack of an ending.

 

3. High Life

Claire Denis’ ambitious science-fiction film features Robert Pattinson as Monte, a troubled man who has been sentenced with a deadly space mission whose purpose is to extract an alternate form of energy from a black hole.

The film was lauded by critics for its compelling narrative, dark atmosphere, great production design, and Robert Pattinson’s stellar performance. However, its non-linear and somewhat confusing narrative didn’t appeal as much to audiences, neither did the film’s slow pace and overall strangeness. On Rotten Tomatoes, “High Life” has a certified fresh 82% Tomatometer score (7.42 average rating), while viewers gave it a 42% audience score, with a 2.8/5 average rating.

 

4. Ad Astra

“Ad Astra” disappointed at the box-office, was panned by audiences, yet it was still one of the best-received films of 2019 if you are too look at the critics’ reactions.

With an 84% fresh score on the Tomatometer, critics praised James Gray’s cerebral sci-fi for Brad Pitt’s fantastic performance, the impressive visuals and technical aspects, and the intelligent and provocative script. Peter Travers of Rolling Stone called the film “absolutely enthralling”, David Ehrlich of IndieWire said that “Ad Astra is one of the most ruminative, withdrawn, and curiously optimistic space epics this side of Solaris. It’s also one of the best.”, and Xan Brooks of The Guardian called it a “superb space-opera” and praised Pitt’s performance.

At the opposite pole, audiences weren’t impressed at all with Gray’s movie. With a 40% audience score on Rotten Tomatoes and a mediocre 6.6 on IMBd, “Ad Astra” was criticized by many viewers for being too slow, monotone, and unimpressive apart from the beautiful imagery and Pitt’s performance.

Audiences expected another “Gravity” or “The Martian” and instead received a quasi-Tarkovskian, slow-burn, and melancholic space opera that only appeals to a certain type of moviegoer.

 

5. In Fabric

This Giallo-inspired horror-comedy directed by Peter Strickland (“Berberian Sound Studio”, “The Duke Of Burgundy”) tells the story of a cursed dress and the devastating consequences it has on two of its unlucky owners.

As with Strickland’s previous movies, the critical reaction to “In Fabric” was overwhelmingly positive (the film holds a 94% score on Rotten Tomatoes), while the audiences were less enthusiastic. The Guardian’s Peter Bradshaw rated the film a 4/5 and called it a ghost story that is “utterly unlike anything else around”, while David Ehrlich from IndieWire gave it a B+ and called it a “mordantly funny and unapologetically fetishistic homage to vintage Euro-horror”.

However, audiences weren’t as impressed with Strickland’s latest film (it holds a 6.3 grade on IMDb, a 5.8 user score on Metacritic, and a 48% audience score on Rotten Tomatoes), with many of them considering “In Fabric” too strange for its own good, and a hard to sit through movie.

“In Fabric” certainly isn’t a film for everyone and it indeed suffers from a somewhat disjointed narrative that loses its steam in the less interesting second act, but if you are into Giallo or you’ve enjoyed the director’s previous work, you will surely find many things to like about it.

Let’s talk about Dorothea Lange

Dorothea Lange at work in California, 1936. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives.

If you don’t know Dorothea Lange by name, you know ‘Migrant Mother’. It’s an image that’s practically synonymous with the Dust Bowl, a period of devastating drought in the North American plains that displaced hundreds of thousands. If you’ve opened an American history textbook or watched a Great Depression documentary on PBS, you’ve probably seen Lange’s classic photo.

it’s time to get better acquainted with Dorothea Lange and recognize her for who she was: a complete and utter boss

The work was part of a major project run by the Farm Security Administration, which involved multiple photographers including Walker Evans. Lange played a major role, and is best known for this Depression-era work, while other images like her photos of Japanese American internment and incarceration have only relatively recently gained wider recognition. And it probably comes as no surprise that behind this legacy was an incredibly resilient, hardworking woman whose body of work is as moving and relevant today as it was decades ago.

So just in case you haven’t already, it’s time to get better acquainted with Dorothea Lange and recognize her for who she was: a complete and utter boss.

She knew she was a photographer before she ever picked up a camera

On graduating school and being asked what career she’d like to pursue, Lange’s response was quick: a photographer. She’d never actually held a camera before, but that didn’t stop her. She walked into a well-known portrait photographer’s studio one day and asked for any job he could give her. Thus her career was born – she learned the trade and acquired her first camera.

She didn’t let trivial setbacks – like having all of her money stolen – hold her back

Born on the East Coast, Lange launched her career in San Francisco and many of her best-known works were made in western states. So how did she end up settling on the other side of the country? Funny story!

After graduating school she and a friend embarked on what was meant to be a trip around the world with her best friend. They only got as far as San Francisco when they encountered a minor setback: all of their money was stolen. Did they ask their parents for help? Admit defeat and go back home? Heck no, they just got jobs and decided to live there. Lange went on to establish a successful portrait photography business.

Her less well-known photos of Japanese American internment are as poignant and raw today as they were nearly 80 years ago

Well into her professional career she was hired by the federal government to take photos of Japanese Americans during internment and incarceration. Many websites (this one included) have reported in the past few years that the photos she took were hidden for decades from the public by officials, deeming them too biased against the government’s actions.

That’s not the case. While it’s true that the images were withheld for the duration of World War II, they’ve been available to the public ever since. Either way, the photos and the humanity that Lange captured are as poignant today as ever.

Even with mobility limitations, she never slowed down

Throughout her life, Lange walked with a limp – an effect of surviving polio in childhood. Toward the end of her career the lingering effects of the disease took a severe toll on her body, and when she couldn’t work through the physical pain any longer, began photographing subjects close to home. She worked right up until her death in 1965, planning her MoMA retrospective – the first for any female photographer.

Dorothea Lange Exhibition at the Museum of Modern Art, New York City, 1966. Photo by Rolf R. Petersen.

Her approach to documentary photography remains exemplary today – even if she didn’t always get it right

Lange considered her portrait subjects collaborators and is quoted as saying “I never steal a photograph.” While many of today’s working photographers share that philosophy, every now and again the debate re-surfaces around street photography and photography in third-world countries when a photo feels less like a collaboration and more like exploitation.

Nobody’s perfect of course. Lange admits that she did not ask for the name of her ‘Migrant Mother’ portrait subject, Florence Owens Thompson, who was embarrassed by the photo and didn’t want to be publicly identified when it began to gain recognition. Despite it being one of the works that solidified Lange’s legacy, Thompson received no benefit from it – financial or otherwise – until her family asked for help supporting her medical care at the very end of Thompson’s life.

However, Lange’s limited interaction with Thompson has been attributed to the photographer’s exhaustion after a long trip, and certainly appears to be a deviation from her standard approach of getting to know her subjects. As photographers – and human beings, really – that’s a philosophy we can still learn a lot from.

ANIMAIONIC MAXIMUS Kickstarter – Add Three PCIe Slots to Your Mac

The ANIMAIONIC MAXIMUS is a three PCIe slots docking station that connects to any Mac that features Thunderbolt 3 ports. The MAXIMUS expands your computer’s capabilities with standard PCIe cards, may it be a graphics card, NVME SSD/SATA drive, audio or video card, and so on. Let’s take a closer look at it!

ANIMAIONIC MAXIMUS Features

Last year, we already reported about the ANIMAIONIC Mac Mini docking station crowdfunding campaign. Unfortunately, the ANIMAIONIC team didn’t reach their goal, but they continue working on this project. Also, they listened to the customers, and they just launched a new Kickstarter campaign for a more “generic” docking station: the ANIMAIONIC MAXIMUS.

AnimaionicMaximus_01

Image credit: ANIMAIONIC

The ANIMAIONIC MAXIMUS features three PCIe x16 slots (PCIe x4 electrically). It can take any standard single or double width and full-length PCIe cards. The MAXIMUS supports graphics cards, NVME SSD drives controllers, SATA drives controllers, audio/video cards including Blackmagic Design’s cards, network cards, and so on.

AnimaionicMaximus_Featured

Image credit: ANIMAIONIC

To power everything, the ANIMAIONIC MAXIMUS features a 1250W power supply. For example, if you want to run three AMD Radeon Vega 56 graphics cards – that draws between 300-370W of power each – the MAXIMUS should handle it perfectly. Below is a graphic comparison made by ANIMAIONIC to compare the results you can get by using the MAXIMUS.

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The ANIMAIONIC MAXIMUS loaded with three AMD Vega 56 GPU inside vs. standard Mac comparison chart. Image credit: ANIMAIONIC

To connect the MAXIMUS to your Mac, you’ll need three Thunderbolt 3 cables and ports for proper operation. On a 16-inch MacBook Pro that only features four Thunderbolt 3 ports, you better need the horsepower and performance increase to justify buying it.

The ANIMAIONINC MAXIMUS is compatible with the Mac Mini (2018), the iMac Pro, the 16-inch MacBook Pro, 15-inch MacBook Pros after 2016, and 13-inch MacBook Pros after 2017. It should also be compatible with the latest Mac Pro, but it doesn’t make sense so. Of course, your Mac needs to be running on macOS Catalina if you want to run external GPUs.

AnimaionicMaximus_03

Image credit: ANIMAIONIC

Price and Availability

The ANIMAIONIC MAXIMUS Kickstarter campaign is live until the 19th March 2020. You can already pre-order it for $450.00/€420.00 as a super early bird pledger. There is no information about the possible shipping date at the moment.

As always, please be aware that this is a crowdfunding project and not sold by a retailer, so do your research accordingly. cinema5D does its best to share only the projects that look legitimate, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

What do you think about the ANIMAIONIC MAXIMUS? Do you think the performance improvement is worth the cost? Let us know in the comment below!

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