Coronavirus Response: 2 TB of Extra Free Storage, the popular multi-platform post-production collaboration service, has massively expanded its free service to help filmmakers trapped in their homes. Read on to take advantage of the Coronavirus response. on phone, tablet, and computer coronavirus 2tb


In these unpredictable and upsetting times, people the world over are learning how to conduct their personal and professional lives online. This can be a struggle for everyone, but it is especially filmmakers, who may be separated from the rest of their crew or creative team. sees this need and has stepped up its free offerings to try to support the community. If you have never used their services before, this is the time to learn. is a plug-in that allows real-time post-production collaboration across almost any platform or device. You can learn more from our previous coverage of them by clicking here. dashboard Coronavirus Statement

On their blog, CEO and co-founder Emery Wells said: was really built for this moment. For the past 5 years we have enabled teams to work together seamlessly from across the hall or across the globe. Like many businesses that have been trying to lend a hand during this time of crisis, we too want to do our part. As a product that enables distributed work, we know we’re in a position to help.

How to Claim Your 2 TB for Your Paid Account integrates with Premiere Pro, Adobe After Effects, Final Cut Pro X, Davinci Resolve, and Avid Media Composer. If that sounds like you, email to have an extra 2 TB of storage credited to your paid account for 90 days. If you work in an educational institution, a non-profit, or a healthcare organization, you’re eligible for a free enterprise plan. Reach out to that same email address for 90 days of their enterprise plan for free.

What is your Coronavirus workflow? How are you making things work from home? Let us know in the comments, and keep checking in for more Covid-19 news, tips, and deals.


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Netflix Supports Filmmaking Community with a $100 Million Fund

in these unpredictable times swift and non-bureaucratic help is of course very welcomed. Many members of the filmmaking community live in uncertainty about the near future, their jobs have been cancelled, new ones are out of reach for now. This obviously arises financially problems and Netflix, as one of the biggest content producer, knows this. So the company has put together a $100 million fund in order to help crews around the globe.


image credit: Thibault Penin (via, edited by cinema5D.

In order to help, Netflix decided to create a fund for easing out some of the troubles the COVID-19 pandemic causes all around the globe as we speak. The money is aimed at professionals working on Netflix productions but some of the money also goes to non-Netflix third parties and non-profits.

Netflix Creates $100 Million Fund

To explain what’s going on and for whom the money is exactly, I’ll quote Ted Sarandos, Chief Content Officer at Netflix on a news release from March, 20th:

The Covid-19 crisis is devastating for many industries, including the creative community. Almost all television and film production has now ceased globally – leaving hundreds of thousands of crew and cast without jobs. These include electricians, carpenters, drivers, hair and makeup artists and more, many of whom are paid hourly wages and work on a project-to-project basis.

This community has supported Netflix through the good times, and we want to help them through these hard times, especially while governments are still figuring out what economic support they will provide. So we’ve created a $100 million fund to help with hardship in the creative community.

Netflix benefitted a lot from the rise of the internet and therefore from all the professional workers all over the globe who developed, shot and produced their ever-growing stream of content. Now it’s time for giving back. Mr. Sarandos continues:

Most of the fund will go towards support for the hardest hit workers on our own productions around the world. We’re in the process of working out exactly what this means, production by production. This is in addition to the two weeks pay we’ve already committed to the crew and cast on productions we were forced to suspend last week.


Now, not all of the $100 million will go straight to Netflix-contracted workers but also to third parties, such as TV Networks and other production companies as well as to non-profits. Mr. Sarandos again:

Beyond helping workers on our own productions, we also want to support the broader film and television industry. So $15 million of the fund will go to third parties and non-profits providing emergency relief to out-of-work crew and cast in the countries where we have a large production base.

In the United States and Canada non-profits already exist to do this work. We will be donating $1 million each to the SAG-AFTRA Foundation Covid-19 Disaster Fund, the Motion Picture and Television Fund and the Actors Fund Emergency Assistance in the US, and $1 million between the AFC and Fondation des Artistes. In other regions, including Europe, Latin America and Asia where we have a big production presence, we are working with existing industry organizations to create similar creative community emergency relief efforts. We will announce the details of donations to groups in other countries next week.

So as with everything these days, an exact plan of action still needs to be figured out but it’s good to see that some of the heavyweights of the business step in when help is sorely needed.

The Future is Unpredictable

Since nobody knows when things will be back to somewhat normal, nobody knows whether this $100 million aid package will serve its purpose or whether it will end as a drop on a hot stone. Either way, the last paragraph of Ted Sarandos press release couldn’t be more on point:

What’s happening is unprecedented. We are only as strong as the people we work with and Netflix is fortunate to be able to help those hardest hit in our industry through this challenging time.

Let’s hope for the best, stay healthy and stay safe.

links: Press release

What do you think of this $100 Million fund? How are you affected by the ongoing crisis? Share your thoughts in the comments below!

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Atomos Ninja V Gets Free AtomOS 10.3 Update – New Frame Guides and More

Atomos just released the free AtomOS 10.3 update for the Ninja V. It adds new frame guides for social media, improved false color, new anamorphic de-squeeze options, and few more improvements. The update is available for download now.

AtomOS 10.3 Update for the Ninja V. Source: Atomos

Atomos Ninja V

Atomos Ninja V is a 5″ touchscreen HDR monitor-recorder with a Full HD 1000nit screen. It can record video with high-quality codecs at up to 4K 60fps. The Ninja V became fairly popular with mirrorless cameras and it offers many useful features. It only has HDMI input and output, but there is an optional AtomX SDI Module which adds the SDI connectivity as well. With some new cameras, like the Nikon Z 6 or the Panasonic S1H, the Ninja V is (or will be) able to capture RAW video signal via HDMI and save it as ProRes RAW.

The Ninja V runs on Atomos’ own AtomOS operating system with an intuitive user interface. The Australian company now released a new free firmware update AtomOS 10.3 for the Ninja V. Let’s take a short look at its new features.

Ninja V recorder – internals. Source: Atomos

AtomOS 10.3 Firmware Update for the Ninja V

The free update brings some useful new features to the Ninja V:

  • Frame Guides for Social Media – for Facebook, Twitter, and Instagram videos there are guides for 1:1 and 1.91:1.1. Portrait Instagram mode offers a 4:5 ratio guide and there is also 9:16 for Instagram stories/IGTV, Snapchat, and YouTube.
  • 9 Grid overlay – helpful function for applying the rule of thirds theory to the image composition.
  • Legalize HDMI input – users can manually apply a Full-to-Legal range conversion on the recorded input. The setting provides the option to legalize REC.709 inputs that are using Full range (8bit 0-255 / 10bit 0-1023) to accurately map these to Legal range (16-235 or 64-940) for increased flexibility with NLE systems.
  • IRE Scale for False Color (False color is an essential tool to get the correct exposure) – An IRE % scale with values has been added to False Color mode view to help enable accurate exposure of skin tones when exposing.
  • Anamorphic De-squeeze – Atomos added 1.25x and 1.8x de-squeeze to allow compatibility with a wider range of anamorphic glass.
  • Rolling File Naming – Scene, Shot and Take filenames allow users to accurately name planned shots as if using a conventional slate. This firmware update adds the ability to maintain continuous rolling file naming and take counts after reformatting a drive. This function can be turned on or off in the file naming menu.

The free AtomOS 10.3 firmware update can be downloaded directly from the Atomos Ninja V product page. It is worth mentioning, that the Atomos Ninja V recorder is also currently available with a $50 discount. The links are below.

Do you use the Atomos Ninja V for your work? Did you miss some of the new AtomOS 10.3 features before? Let us know in the comment section below.

The post Atomos Ninja V Gets Free AtomOS 10.3 Update – New Frame Guides and More appeared first on cinema5D.

Watch ARRI Masters Classes For Free, Plus A List of “Free”‘ Software in Response to COVID-19

Follow the leader.

All it takes is one company to start offering something, and if consumers react positively, the rest follow. Many people find themselves stuck at home as the world grapples with the spread of COVID-19. Despite the uncertain times, people are staying creative. Some are searching for different ways to generate new income. Others are seeking alternative distribution for a project that was intended to premiere at SXSW.

It’s also natural to want to turn to tasks that have been put off. How about starting that screenplay or reading the 444 page manual to DaVinici Resolve. Maybe it’s as simple as cleaning out a cluttered closet. Now is the time to learn something new or finish that project. Companies are recognizes the new found time and offering ways to further develop skill sets.

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“A System of Turnkey Tyranny…”: Edward Snowden on AI in the Era of Pandemic Panic at CPH:DOX

In the wake of the novel coronavirus, CPH:DOX has moved much of their program online, with a series of “debates” streaming live and available for viewing. Today’s is especially timely: Edward Snowden answering the question, “What is the effect of AI on the present and future of surveillance?” Kicking off the conversation is a discussion of privacy and surveillance issues related to government and private industry actions in the wake of the pandemic. It’s loosely tied to the festival’s screening of iHuman, Tonje Hessen Schei’s doc on the future of AI. The talk is moderated by DR’s science and technology […]

The Supreme Court Just Decided that States Cannot be Sued for Copyright Infringement

Earlier today, the Supreme Court of the United States dealt a major blow to photographer’s copyright protections when it declared that states cannot be sued for copyright infringement because they have “sovereign immunity.”

The opinion came down as part of a writ of certiorari regarding the case of Allen v Cooper. A writ of certiorari is basically a review of a lower court’s decision, and in this case, the Supreme Court has upheld the decision by the Court of Appeals for the Fourth Circuit, which decided that states are immune from copyright infringement lawsuits.

The case began in 2013, when videographer Frederick Allen sued North Carolina for using his videos of the salvage of Queen Anne’s Revenge, a shipwreck discovered off the North Carolina coast in 1998, without permission. The state claimed “sovereign immunity,” and though they initially lost this argument in the Eastern District of North Carolina, the US Court of Appeals for the Fourth Circuit reversed the ruling.

Allen appealed one final time, which is how we ended up with today’s decision by The Supreme Court. You can read the full opinion below:

In essence, the Supreme Court agreed with the Fourth Circuit, ultimately striking down the Copyright Remedy Clarification Act (CRCA) of 1990. This 30-year-old amendment to the Copyright Act of 1976 tried to strip states of their sovereign immunity where copyright was concerned, and it was at the core of Allen’s lawsuit.

If states can’t claim sovereign immunity to get out of copyright infringement, then North Carolina had no defense.

Unfortunately, the Supreme Court agreed with the Fourth Circuit, stating that Congress lacked the authority to take away State’s immunity in the CRCA, passing the buck back to Congress and giving states carte blanche to infringe with impunity (or, as it were, immunity).

The NPPA warned against this very outcome late last year, when they filed an amicus brief with the Supreme Court in this case.

“The decision, in this case, will ultimately determine whether states can be held liable for damages under the Copyright Act,” wrote the NPPA at the time, “or whether sovereign immunity clears the way for states to infringe with impunity everything from photographs to Hollywood movies.”

Now this warning has become harsh reality.

“We are extremely disappointed in the Court’s opinion as being another blow to photographers’ copyright protections,” Mickey Osterreicher, NPPA General Counsel, told PetaPixel earlier today. “While SCOTUS held that Congress ‘lacked authority to abrogate the States’ immunity from copyright infringement suits in the CRCA,’ we are hopeful that at some point soon the Congress will appropriately address this inequity.”

That hope lies, primarily, with the big Hollywood studios, who have plenty of reason to get after Congress to make this right, and pass a version of the CRCA that strips states of their copyright immunity, without violating the constitution at the same time. “In the meantime,” says Osterreicher, “we worry that this ruling will only embolden states to further infringe the works of others.”

Works like Rick Allen‘s videos:

One shred of hope—a workaround if you will—does exist however. J. Michael Keyes, an intellectual property attorney and partner at the law firm Dorsey & Whitney, tells PetaPixel that photographers could still go after any third party that the state may have used to perpetrate the infringement.

“While states are immune from suit, others that may be involved in copying or reproducing the work at issue are not,” says Keyes. “For example, if a state uses the resources of a third party to copy or distribute the work at issues, those parties would still be potentially on the hook for infringement claims.”

Maybe this will give some photographers and videographers recourse—or keep states in line—while we wait for Congress to react to this ruling and address the issue properly.

Image credits: Photo by Joe Ravi, CC-BY-SA 3.0

The Wandering DP Podcast: Episode #220 – Ian “The Wünderboi” Rogers

A special treat this week on the show.

For the 1st year anniversary of shooting the feature film I thought it would be fun to bring back an old favorite of the podcast, Ian “The Wünderboi” Rogers, and chat about his role as camera operator, gimbal tech, and more.

Ian was a staple of the early Patreon podcasts and we talk about how him reaching out eventually led to him filling a key role on the film.


Commercial Cinematography: The Course is LIVE

The Commercial Cinematography: The Foundation course is now open for enrolment.

I decided to release the course early so if you are interested in bettering your understanding of the commercial process and the integral role of pre-production for cinematographers please check it out at the link below.

Commercial Cinematography: The Foundation

Patreon supporters be sure to check the Patreon page as you receive a special discount if you purchase before April 30th.

Patreon Podcast – Listener Breakdowns & Corona

This week we are continuing our analysis of listener submitted projects on Patreon.  We look at a great project that faced a number of the most common challenges for up and coming DPs.

Hopefully you can take some of what we talk about and incorporate it into your next project…whenever that it is.

To see the images and listen to the special breakdown podcast click the link below:

The Wandering DP Patreon

Featured Guest – Ian Rogers

Instagram: @fakeianrogers

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If the Olympics Are Rescheduled, How Will the Photographic Industry Respond?

If the Olympics Are Rescheduled, How Will the Photographic Industry Respond?

It looks like the worldwide pandemic has finally hit the biggest sports and photography event of the year, as the international Olympic Committee is looking at rescheduling the 2020 Summer Olympics. With this news, the big camera and lens companies may be looking at their newly announced, but as yet unreleased models, and could be wondering if waiting out the economic ramifications of the COVID-19 virus is the most viable idea.

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“You Staying Healthy?”: Joel Potrykus Pandemic-Calls Indie Film Dudes

Writer/director Joel Potrykus, who broke down the anxieties of the filmmaking process recently for Filmmaker, is doing what a lot of us are doing in this time of quarantine: checking in to see how our friends are doing. Here, in a video by Ashley Young, he lets us eavesdrop as he finds out how folks like director Dustin Guy Defa, Oscilloscope’s Dan Berger, Neon Indian’s Alan Palomo,  Indiewire’s Eric Kohn and the harder-to-get writer/director Alex Ross Perry are handling the isolation.