RAW

Capture One 11.1 released: Now supports A7III RAW files and adds Capture Pilot 2.0 for Sony!

By SonyAlpha Admin

Today Phase One released a major software update for Capture One. It also adds two specific new Sony features: RAW files support for the A7III andnew lens profiles for the 24-105mm FF and 18-135mm E-mount lenses. Capture Pilot 2.0 adds camera control support for Sony, allowing users to change camera settings of the tethered camera […]

The post Capture One 11.1 released: Now supports A7III RAW files and adds Capture Pilot 2.0 for Sony! appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

Phase One Releases Capture One 11.1

By Canon Rumors Update Provides New Resource Hub, Expanded Camera Support and Improved Workflow COPENHAGEN, Apr. 19, 2018 – Phase One, the world’s leading manufacturer of high-end digital camera systems, today released Capture One 11.1, a feature release to the industry’s premier RAW conversion and image editing software. The release enhances the Capture One user experience, through a … → continue…

From:: Canon Rumors

The Unique Finishing Workflow I Used To Grade, Mix, & Master My Feature Film

By Noam Kroll

Over the past few weeks I’ve been working tirelessly on the finishing work for my feature film Shadows On The Road. I’ll have some big news about the film’s release very soon (and the full trailer!), but for now I want to take a moment to share my finishing workflow, which was quite unique.

For those of you that aren’t as familiar with the terminology, finishing is essentially everything that happens after the picture edit is locked. It includes color correction, stabilization, noise reduction, and audio mixing amongst other things.

Below I’m going to break down each of the finishing stages that the film went through, and why I chose to take an unconventional path in some respects.

If you’re interested in hearing about my offline editing workflow and why I decided to lock picture reel by reel, be sure to check out this article here.

RESOLVE TO FCP X, AND BACK TO RESOLVE

While I initially intended to edit the feature in DaVinci Resolve, for a number of reasons I decided to cut it in FCP X. I love Resolve and certainly could have cut this entire film on the software (in fact, I even started cutting the first few scenes in Resolve), but ultimately realized I could work faster on FCP X. I hadn’t yet edited any other long form projects on Resolve, and at the time I didn’t have the same shorthand that I did with FCP X.

The film was shot entirely in RAW on the Blackmagic URSA Mini 4.6K, so I decided I would ingest the RAW files into Resolve, convert them to ProRes for editing in FCP X, and re-link the FCP X edit to the RAW files in Resolve later on, during the color correction phase. The plan was quite typical workflow-wise, with one important distinction…

I converted → continue…

From:: Noam Kroll

You can own the world’s first single shot 8×10 digital camera for $106,000

If you’re shooting digital, the largest image sensor you will find at your local camera store is the 53.4mm x 40.1mm medium format sensors inside something like the Phase One IQ3. But if that is just not enough for you… there is one, much larger option. Meet the $106,000 LargeSense LS911: a large format digital camera and purportedly the “world’s first 8×10 digital single shot camera for sale.”

The LS911 is the passion project of Bill Charbonnet, who left his desk job in 2014 to start LargeSense LLC and built these large-format digital cameras. Four years later, the LS911 is his first shipping product.

According to the press materials, LS911 features a 12-megapixel 9×11-inch monochrome CMOS sensor (that translates into massive 75 micron pixels), ISO that can be set at either 2100 or 6400, 900GB of internal storage, and the ability to output files to DNG, 16-bit TIFF, 32-bit TIFF, RAW and JPEG formats. There is no CFA, but the monochrome sensor can be used to produce color images (of non-moving subjects) using an in-built 3-shot system and color filters.

Oh, and the thing can also apparently shoot 4K, 3840 × 2160 video at 26fps using its electronic shutter.

Here is a video of the LS911 in action:

And here is how the size of the LargeSense LS911 sensor compares to some of the other image sensors out there:

Note: the LargeSense LS45 is a 4×5-inch digital back Charbonnet is working on, but has yet to release.

If the LS911 seems a bit bonkers, honestly, that’s because it is. We’ve been discussing it in the office for the past couple of days, trying to figure out how to put this camera in context for our readers, and here’s our take: it’s cool, but → continue…

From:: DPreview

ProRes RAW with the Panasonic EVA 1 plus new firmware Ver. 2.0 features

By Erik Naso

I caught up with Mitch Gross, Panasonic Cinema Camera Product Manager to discuss the EVA 1 version 2.0 firmware update that unleased RAW output and the use of ProRes RAW with the Atomos Inferno plus…

The post ProRes RAW with the Panasonic EVA 1 plus new firmware Ver. 2.0 features appeared first on Newsshooter.

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From:: News Shooter

ProRes RAW Explained – Plus Footage

By Olaf von Voss

ProRes RAW

At this NAB show, we caught up with Atomos’ Jeromy Young and he walks us through the brand new ProRes RAW format and everything there is to know about it. Let’s dive right in!

ProRes has always been the go-to standard (on a Mac, at least) when it comes to NLE-friendly postproduction workflows since it’s not only an aquisition codec but an intermediate and possibly a delivery codec as well. The all-new ProRes RAW is no exception, it’s RAW for the masses.

Apple ProRes RAW

Atomos and Apple have teamed up to develop this new format. It’s designed to simplify and streamline the sometimes cumberstone RAW workflow. Every camera manufacturer has its own RAW format and you’ll need to adapt to all kinds of workflows here. The only exception would be cinemaDNG here but that’s not a very NLE-friendly format, too. ProRes RAW, on the other hand, has usability right built-in. It is designed to cover everything from capturing straight to editing and grading. It gets you the usability of ProRes combined with the flexibility of RAW. But keep in mind: Only Apple FinalCut Pro X 10.4.1 supports this new format for the time being. Others will follow, that’s for sure.

Sensor data processed in-camera.

Video cameras normally process the RAW sensor data (individual sensels in a Bayer pattern) internally and create RGB video pixels which are then being compressed to the recording codec. The processing is baked in and can not be manipulated afterwards. The ProRes RAW workflow on the other hand takes all the RAW data and records it straight to the ProRes RAW format. This enables you to manipulate the demosaicing within FinalCut Pro X. Since the ProRes format is NLE-friendly, no additional rendering or transcoding is needed. You can start editing, grading and fine-tuning right away.

Fujifilm X-T20 firmware update improves subject tracking, enhances touchscreen functionality

In addition to the six other firmware updates released today, Fujifilm also released the previously announced upgrade to the X-T20. The most interesting features include:

  • Improved AF tracking: the company says that the camera can track moving subjects at twice the speed of the previous firmware. The X-T20 can now track subjects 50% smaller than before.
  • New touchscreen controls: Users can now move the AF area by touch when in ‘focus zoom’ mode. The Quick Menu can now be operated by touch, as well.
  • Exposure improved with face detection
  • RGB and highlight warnings now available

Version 2.00 of the X-T20 firmware can be downloaded here.

Here’s the full list of improvements:

The firmware update Ver.2.00 from Ver.1.11 incorporates the following issues:

1. New AF tracking algorithm for moving subjects
Thanks to the newly developed image recognition algorithm, the update enhances AF-C to track moving subjects twice as fast as previous firmware. In addition, the update also enhances tracking to be able to capture up to 50% smaller moving subjects than before.

2. Enhanced touch screen operation
The firmware update will add some of the touch screen operation features which are currently available on the FUJIFILM X-E3. These touch screen features include:
1) The Auto Focus area can be moved when in focus zoom with flick operation.
2) Pinch-in/out operation in playback mode will be updated to go from full-frame playback to multi-frame playback (Nine-frame view and Hundred-frame view)
3) Select the frame in multi-frame playback with tap or drag operation or return to full-frame playback by double-tapping
4) Q (Quick) menu selection
5) Input character with touch key-board (*1)
*1:Except for some functions. (ex. SSID input)

3. Support “FUJIFILM X RAW STUDIO”
After connecting a camera to a computer via USB cable, the “FUJIFILM X RAW STUDIO” enables users to convert RAW files with X Processor Pro. Fast batch processing → continue…

From:: DPreview

Free AtomOS update adds ProRes RAW support to Atomos Shogun Inferno and Sumo19

Photo: Atomos

Apple made a big splash in the video industry last week when it debuted ProRes RAW: a new video codec that seeks to combine the flexibility and editing latitude of RAW video with the performance and space benefits of a compressed ProRes file. And now, thanks to a free firmware update from Atomos, owners of the Shogun Inferno and Sumo19 monitor/recorders can immediately begin shooting in the new and improved format.

Simply download and install the AtomOS 9 firmware at this link, and your Shogun Inferno and Sumo19 will be able to record ProRes RAW and ProRes RAW HQ using any of the nine supported cinema cameras from Panasonic, Sony and Canon. As of this writing, that makes the Shogun Inferno and Sumo19 the first and only monitor/recorders to offer ProRes RAW.

If you’re still a bit confused as to what ProRes RAW is, and how it differs from standard ProRes, Atomos breaks down the benefits of the new format on its website. The company also produced the following ProRes RAW sample footage using the Atomos Shogun Inferno and three different cinema cameras: the Panasonic EVA1, Canon C300mkII and Sony FS5.

Press Release

ProRes RAW available today for Atomos recorders

Melbourne, Australia – 9 April 2018 – ProRes RAW is available today for Atomos recorders, delivering a powerful new RAW workflow when combined with Final Cut Pro 10.4.1. Simply install the free AtomOS 9 upgrade on the Atomos Shogun Inferno or Sumo19 monitor/recorders, connect to one of the nine supported cinema cameras, and begin recording in ProRes RAW and ProRes RAW HQ.

Users can immediately enjoy the benefits of the amazing new RAW end-to-end workflow that combines the incredible performance of ProRes with the flexibility of RAW. Atomos devices are → continue…

From:: DPreview

Sony unveils FS5 II Super 35mm camera with 4K HDR and 120fps RAW

Sony has announced the latest member of its professional Super 35mm lineup, the FS5 II. Similar in looks and functionality to its predecessor, the upgrades to the FS5 II are mostly features that were available to its predecessor through paid updates—only now they’re ‘free’.

Inside, the Super 35 Exmor CMOS sensor remains untouched. Likewise, the E-mount body of the camera remains identical aside from the updated nameplate and a different color neutral density dial. Where the camera gets the biggest changes is in its color science, Raw shooting modes, and high frame rate functionality.

The stand-out feature of the FS5 II is the updated color science that’s gone into it. Sony says it’s taken everything it’s learned from developing the 6K Venice camera and brought it into the much more compact (and affordable) FS5 II. The changes are said to yield ‘rich mid-range colours, alluring facial tones, and a softer tonal look’. Also added are nine color profiles, including a few designed specifically for S-Log2 and S-Log3.

Here’s a closer look at the new camcorder:

Also present in the FS5 II is Sony’s ‘Instant HDR’ workflow. This is one of the features available for the FS5 via a paid update, but it comes standard on the FS5 II. The Instant HDR workflow eliminates the need for color grading footage. This effectively means HDR video can be streamed straight from the camera when shot in HLG/BT.2020 mode.

Finally, the FS5 II features dual SD card slots that can internally record video up to 4K/30p and Full HD video at 1080/120p. For higher-resolution and RAW video, an external recorder is needed; however, if you are using an external recorder, the FS5 II can output 4K/60p video and even RAW 4K/120p, but only in four second bursts. At 2K, the FS5 II → continue…

From:: DPreview

Industry News: Blackmagic Design Announces Blackmagic Pocket Cinema Camera 4K for Just $1295

By Canon Rumors Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB‑C drives! NAB 2018, Las Vegas, USA – April 9, 2018 – Blackmagic Design today announced the all new Blackmagic Pocket Cinema Camera 4K, a handheld digital … → continue…

From:: Canon Rumors

NAB 2018, Blackmagic Design presenta Blackmagic Pocket Cinema Camera 4K con doppio ISO nativo e RAW

By News

Al NAB 2018, è stata presentata la tanto attesa cinepresa compatta digital Pocket Cinema Camera 4K di Blackmagic Design con doppio ISO nativo, sensore HDR 4/3 a pieno formato, 13 stop di gamma dinamica e registrazione in ProRes o RAW su schede interne SD/UHS II e CFast o su dischi USB C esterni.Blackmagic Pocket Cinema Camera

The post NAB 2018, Blackmagic Design presenta Blackmagic Pocket Cinema Camera 4K con doppio ISO nativo e RAW appeared first on ProAV News e informazioni Foto, Cine Video .

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From:: Pro Video Coalition

Why Apple ProRes RAW Is A Huge Deal + How It Will Effect The Post-Production Landscape

By Noam Kroll

As some of you may have already heard, a few days ago Apple announced ProRes RAW – the next evolution in their ProRes codec lineup. For years ProRes has been the industry standard acquisition and editing format, followed by Avid’s DNxHD.

A decade or so ago when ProRes first hit the scene, it was big news. Post-houses that were used to working with cumbersome Uncompressed HD files were now able to work with a format that was visually identical, but offered smaller file sizes and far more efficient editing. And of course, the codec eventually made it’s way onto countless cameras, software platforms, and external recorders.

Things have changed over the years though, and RAW recording – which was once a luxury reserved only for the highest end productions – is now common even on prosumer level gear. Cameras like the Blackmagic Pocket or Canon C200 have put RAW in the hands of the lower budget/indie filmmaker, which has been incredible, but also has created workflow challenges for many filmmakers and editors.

RAW poses many of the same issues that Uncompressed HD did all those years ago – namely huge files and clunky post-production workflows.

This is where Apple ProRes RAW comes in.

The basic idea behind the format is to allow filmmakers to maintain small file sizes without having to sacrifice the ability to color grade using RAW. This is truly a win-win, as many filmmakers have reverted back to shooting compressed formats on many projects, as RAW can often be overkill for smaller jobs. But ProRes RAW will allow filmmakers to keep their workflow exactly the same as if they were shooting compressed, but will open the door for true RAW functionality, like white balance and ISO adjustments.

When you look at the graph below, which shows relative file sizes next to Uncompressed 12-bit → continue…

From:: Noam Kroll

Final Cut Pro X ProRes RAW

By Jon Fauer

Final Cut Pro X gets ProRes RAW in the 10.4.1 update coming from Apple on April 9. ProRes RAW, which combines the visual and workflow benefits of RAW video with the performance of ProRes. ProRes RAW is a new format from Apple that combines significantly lower data rates with the performance of ProRes. You will be able to play full-quality 4K… read more… → continue…

From:: FD Times

ProRes RAW, Atomos, Panasonic

By Jon Fauer

Final Cut Pro X gets ProRes RAW in the 10.4.1 update coming from Apple on April 9. It combines the flexibility and advantages of RAW with the performance (data rates, speed, ease) of ProRes. ProRes RAW is a new format from Apple that combines significantly lower data rates with the performance of ProRes. You will be able to play full-quality 4K… read more… → continue…

From:: FD Times

Firmware: v1.1.2 For the Canon EOS 5D Mark IV

By Canon Rumors Canon USA has finally released the long-awaited new firmware for the Canon EOS 5D Mark IV. Firmware Version 1.1.2 incorporates the following improvements and fixes: Support has been added for chromatic aberration correction, peripheral illumination correction, distortion correction, and Digital Lens Optimizer when using Digital Photo Professional to process RAW images captured with the following … → continue…

From:: Canon Rumors