Wednesday, April 13, 2011

NAB 2:New Apple 64 bit Final Cut Pro X announced for $299. Available in June

NAB 2:New Apple 64 bit Final Cut Pro X announced for $299. Available in June: "

At tonight’s Supermeet at NAB Apple previewed the much expected Final Cut Pro X. The long long needed new version of the my editing software of choice, Final Cut Pro. Every version of Final Cut until now has been built on top of version 1. This new version has been rebuilt from the ground up. So we are talking a totally new interface, enormously new features and finally 64 bit support and for up to 8 cores…I have had over 8gb ram on my MACs for years yet until now FCP has not utilised more than 4gb or supported 64 bit computers.

New features includes support for automatic image stabilisation on import, audio clean-up, non-destructive color balance, shot detection and face detection which sound a bit imovie like, but nothing wrong with having some of those cool features, I am snobby about having some of those features. A rolling shutter fix is also included as is the much long for and much needed background rendering.

I haven’t used it yet so the the proof will be in the pudding but I am very much looking forward to it. Open minds are the best! The more info the get the more I will share here so keep checking back! There is a hell of a lot of automation going on there, bit like auto mode on cameras…I just hope it’s better than that or we can turn it all off and go full manual if we want to!

The price is crazy cheap at $299, that is actually slightly worrying as it is veering into consumer pricing…as long as it stays pro…PLEASE, if not I always have my Adobe CS5 to get my head around more! Just don’t drop the “PRO” from the title Apple!!

One key thing…no mention of studio…what about MOTION, “COLOR” etc? mmmm….


From Rob Imbs:

"

Tuesday, April 12, 2011

Qube Cinema Unveils QubeMaster Xport at NAB | Below the Line

Codex Digital Debuts Standalone On-Set Laboratory for RED, ARRI and Sony

Codex Digital Debuts Standalone On-Set Laboratory for RED, ARRI and Sony: "(NAB 2011 Booth C8615--April 11, 2011) At NAB 2011, Codex Digital will debut The Vault, a next generation on-set laboratory solution for review, and dailies and deliverables production that supports digital cinema cameras made by RED, ARRI, Sony and other leading manufacturers. Codex Digital will be demonstrating The Vault at Booth C8615."

JMR And Fusion-io Collaborate To Deliver High Speed Solutions

JMR And Fusion-io Collaborate To Deliver High Speed Solutions: "Combination of Native PCIe Non-Volatile ioMemory and PCIe Systems Provides 5K Stereoscopic Playback at NAB (NAB 2011--April 11, 2011) JMR Electronics, Inc., a leading value provider of scalable storage solutions since 1982, today announced their partnership with Fusion-io, the pioneer of next generation server-attached storage memory platforms for shared data de-centralization."

Codex Digital to Demonstrate IIF/ACES Workflow at NAB

Codex Digital to Demonstrate IIF/ACES Workflow at NAB: "(NaB 2011--April 11, 2011) At NAB 2011, Codex Digital will demonstrate a first-of-its-kind dailies workflow for television and film utilizing the new IIF/ACES post production process. The demonstration will use Codex’ Onboard Recorder and Desktop Transfer Station to produce deliverables, with IIF/ACES dynamic range, for editorial, post production and dailies review. The demonstration will be conducted at the Codex Digital Booth, C8615. Developed by the under the auspices of the Academy of Motion Picture Arts and Sciences' Science and Technology Council, the IIF/ACES process has generated considerable interest as a way to establish a standard format for digital production. Currently, television and film production is complicated by the existence of multiple formats used by various digital cameras and post production applications, resulting in inefficiencies and incompatibilities, and losses in image quality."

ASSIMILATE SCRATCH Builds Workflows for RED Epic 5K, Panasonic and Pirates

ASSIMILATE SCRATCH Builds Workflows for RED Epic 5K, Panasonic and Pirates: "NAB ASSIMILATE SCRATCH 6 and SCRATCH Lab digital cinema and broadcast tools Assimilate-Pirate-4
will support all Panasonic cameras including the AG-3DA1, their current AVCHD based
3D camcorder and the upcoming P2 AVC-Intra based stereo AG-3DP1.
Assimilate-Pirate-4
SCRATCH is a cinema and broadcast finishing tool for digital workflows, while SCRATCH Lab is a Digital Lab tool for the review, versioning, colour grading, conform and deliverables in on-set and VFX dailies pipelines.
Shipping in June 2011, both SCRATCH 6 and SCRATCH Lab will support Panasonic’s native AVC-intra, P2/MXF format, and provide DI tools for the native AVCHD format. The purpose is to give productions shooting on Panasonic cameras a digital pipeline from shoot through post-production. 

Native format support in SCRATCH means transcoding of data from Panasonic cameras is not required. Formats and camera footage can be integrated from a variety of sources. Post teams can use SCRATCH CONstruct to create unlimited versions of material and review side by side, working in real-time without having to render. Users receive regular SCRATCH updates with new tools and support for new digital cinema developments.

SCRATCH already directly supports RED ONE, the new RED Epic 5K camera and HDRx format from RED. ASSIMILATE worked with a pre-release Epic SDK to optimize SCRATCH for a 5K workflow. The system handles all current specifications of the RED Epic camera, and works in real-time on native R3D 5K files. ‘Pirates of The Caribbean: On Stranger Tides’ has deployed SCRATCH to handle RED Epic 5K footage. Multiple SCRATCH systems were involved in a 3D stereo workflow developed and managed at Company 3 in Los Angeles.

Company 3 has used SCRATCH for projects shot on RED since 2007 including the full-length RED features ‘Gamer’ and ‘Fright Night 3D’. Company 3 established a set-to-post workflow that travelled with the production as it moved between locations in Hawaii, Los Angeles, Puerto Rico and Pinewood Studios, UK. 3D stereo footage and metadata passed continually back-and-forth between near-set SCRATCH systems at the different locations and systems at Company 3’s facility in Santa Monica and Deluxe 142 in London.

During the main production, shot using RED MX cameras, SCRATCH was used for 4K technical reviews, convergence adjustments and primary dailies grading of RED R3D footage, and later for the review and 2K digital projection of graded dailies. The digital imaging technician ran a separate SCRATCH on-set in combination with 1 Beyond’s Wrangler Pro for instant full-resolution, real-time checking of stereo R3D material. All SCRATCH systems were fitted with dual RED Rocket accelerator cards.

When the crew of ‘Stranger Tides’ needed to shoot some pick-up work and chose the new Red Epic 5K cameras, Company 3 installed a new build of SCRATCH and updated the firmware on the dual RED Rocket cards. After that, their Globalstor SCRATCH could handle 5K Epic in real time.  www.assimilateinc.com
"

Photoshop and iPad in perfect symbiosis?

Photoshop and iPad in perfect symbiosis?: "

 

The iPad changed the way we read the web or our mail and now it can change the way we paint and use Photoshop! Adobe will release 3 iPad apps which will connect wirelessly the Apple's tablet to your Mac or PC. All three apps will link to Photoshop CS5 running on your computer, and let you use the multitouch display to control various functions. All of these apps use Adobe’s new Photoshop Touch SDK. This software development kit lets anyone write iPad apps that interact with Photoshop.

With Adobe Eazel, you can use your iPad and your fingertips to paint beautiful works of art. Paint across your entire iPad screen, and easily access the tools you need. Send your artwork directly to Photoshop CS5 from any location—all you need is a network connection between your iPad and computer. Or do all your painting in the app, and share via email.

With Adobe Color Lava, you can use your fingertips to mix colors on your iPad and create custom swatches and five-swatch themes. Instantly access them in Photoshop CS5—all you need is a network connection between your iPad and computer. Or use the app wherever inspiration strikes, and then bring your colors into Photoshop CS5 when you're connected. Share colors via email, too.

With Adobe Nav and a network connection between your iPad and computer, you can customize the Photoshop CS5 toolbar on iPad to easily access the tools you use most. Browse, reorder, view, and zoom in on up to 200 open Photoshop documents on iPad. Tap a document on iPad to make it the active document in Photoshop CS5. Disconnect from the network and use iPad to easily share files in person with others.

Check out the video below to see these apps in action!


Source: www.photoshop.com | www.wired.com

"

NAB11 Assimilate Scratch 6 at FreshDV

NAB11 Assimilate Scratch 6 at FreshDV

NAB11 Assimilate Scratch 6 at FreshDV

NAB11 Assimilate Scratch 6 at FreshDV

Seven Ways to Move Media In and Out of Adobe Premiere Pro

Seven Ways to Move Media In and Out of Adobe Premiere Pro

Thanks Avid for reminding me… | Biscardi Creative Blog

Thanks Avid for reminding me… | Biscardi Creative Blog

News: Blackmagic Design Announces Media Express 3

News: Blackmagic Design Announces Media Express 3

Media Express 3 Key Features Timecode accurate capture and playback to Uncompressed YUV or RGB QuickTime, AVI and DPX on the Mac OS X, Windows and Linux platforms. Supports SD, HD, 3D, 2K and 4K capture and playback. Advanced dual stream 3D workflow capturing left and right eye to separate files. Apple ProRes, DVCPRO and MJPEG capture and playback support. Automated batch capture, playback and logging. Clip bins for organizing clips into groups. Attractive and intelligent thumbnail and list views.

News: EditShare Revs Its Workflow from Asset Management to Archive

News: EditShare Revs Its Workflow from Asset Management to Archive

News: Blackmagic Design Announces DeckLink 4K

News: Blackmagic Design Announces DeckLink 4K

Maxx Digital improves Ethernet SAN

Maxx Digital improves Ethernet SAN: "

Briefly from the Maxx Digital booth today They’re showing off a new 10 gig ethernet SAN that removes many of the issues that have slowed down this method and Apple’s Ethernet controller changes. Also we can now have one SAN that serves both super high speed needs such as 4k and the Ethernet based ProRes workflow off one media pool.

Basically you send one 10 gig cable to an ethernet switch that feeds all your workstations, much like you do now. Only it’s just one very fast cable instead of multiple ethernets like currently used. You’ll get around 100MB/sec to all the workstations connected That way

But you can also direct connect multiple workstations to the RAID so those would get 300MB/s.

So we could run the SAN as we do now and also add higher speeds to our Davinci Resolve system all from the same RAID. Right now we need to use a local storage connected to the resolve for the higher speeds This new concept is definitely a huge improvement

Stop by Maxx’s booth to see it.

"

iPhone 4 and iPad 2 with glasses-free 3D experience!

iPhone 4 and iPad 2 with glasses-free 3D experience!: "


It is amazing how new and recently-released hardware is able to unleash the creativity of innovators all around the world. With the use of iPad 2’s and iPhone 4’s front facing cameras, Jeremie Francone and Laurence Nigay of the Engineering Human-Computer Interaction (EHCI) research group of Laboratory of Informatics of Grenoble, have figured out a way to simulate a 3D effect on these two devices without the use of stereoscopic or anaglyph 3D glasses.

The system invented by European engineers tracks the head of the user with the front facing camera in order to create a glasses-free monocular 3D display. Such spatially-aware mobile display enables to improve the possibilities of interaction. It does not use the accelerometers and relies only on the front camera which tracks the exact location of the user’s head and renders view dependent images on the screen to create a realistic illusion of depth and space.

Check out the video below to have a taste of this impressive idea in action.
 

Source: http://www.macstories.net

"

Monday, April 11, 2011

Sony CineAlta Production Community

Why the Academy's IIF-ACES Post Process Means Better Color

ASSIMILATE Unveils Next Generation of SCRATCH Data-Centric DI Suite on Mac OS X & Windows 7 | Studio Daily

ASSIMILATE Unveils Next Generation of SCRATCH Data-Centric DI Suite on Mac OS X & Windows 7 | Studio Daily

AJA Releases 4K Mode for KONA 3G at NAB 2011 | The Briefing Room

AJA Releases 4K Mode for KONA 3G at NAB 2011 | The Briefing Room

The Sports Channel of Israel Adopts Stergen’s 2D to 3D Conversion System for 3D Broadcasts

The Sports Channel of Israel Adopts Stergen’s 2D to 3D Conversion System for 3D Broadcasts: "

Stergen Hi-Tech is proud to announce that it has cut a licensing deal with the Sports Channel of Israel, also known as Sport 5. The Sports Channel has chosen Stergen Live system as the Channel’s conversion solution for its upcoming 3D broadcasts, starting on April 16th, 2011.

"

Pandora Adds New Post Options with PSi, PLUTO and PILOT

Pandora Adds New Post Options with PSi, PLUTO and PILOT: "NAB Pandora International is introducing three new products at NAB, PSi hardware upgrade for Pandora-nab
Spirit Classic and Shadow telecines with 2K and HD scanning capabilities, PLUTO display
colour management system and PILOT, a controller for telecines, VTRs and image processors.
  Pandora-Deluxe142
The PSi Spirit interface can be installed in any Spirit Classic or Shadow telecine to speed up scanning to 2K DPX files. The system provides video monitoring and simultaneous video and file transcoding for SD/HD or offline versioning. PSi can be added on to an SD machine without modification, as an instant upgrade to 2K and HD capability.

The PLUTO display colour management system manages 1D and 3D LUTs across multiple displays from a single location. PLUTO can be operated from the local panel or via an ethernet-based remote GUI, including multiple PLUTO-ganged controls. PLUTO can also be configured to add variable blanking and safe area cursors and will generate profiles for displays.

PILOT is designed as a post-production system controller for telecine, VTR and image processors with edit control and an intuitive GUI. The system controls all the parameters of the machine from a T3 control panel. 

Pandora’s Revolution colour corrector is currently in use at the Mill, Framestore, Glassworks and Prime Focus. The Revolution, with YoYo data management software, is a multi-format workflow working with ARRI Alexa, Pro Res and Red R3D and other footage formats.  www.pandora-int.com
"

Tweak Extends RV to RV SDI for Dailies and Review

Tweak Extends RV to RV SDI for Dailies and Review: "NAB Tweak Software is bringing RV SDI to NAB, an extension with Dual Link SDI output to Tweak-rvsdi_screenshot
Tweak’s RV image and sequence viewer for VFX and animation artists.
Tweak-rvsdi_screenshot    Tweak-rv_session_manager
Artists can playback and review media within a customizable dailies workflow and a media architecture that lets users automatically combine media of different resolutions, frame rates, colour spaces and audio sampling rates. RV SDI adds Dual Link SDI output with embedded audio to RV using Nvidia Quadro SDI hardware. RV SDI will support Linux and Windows.

RV SDI handles stereo over Dual Link high res, high bit depth SDI and 24 bit embedded audio. Colour handling includes HDR, floating point and linear light pipeline. You can organize and annotate media for desktop or dailies review, and collaborate with other artists, clients or vendors for remote review. Sequences can be edited with lightweight intuitive tools, and layout shots or cuts compared  in tiled views or A/B compares with wipes. Facilities may script, customize and automate RV to fit into existing pipelines.

VFX and CG animation studios including Digital Domain, WETA, Aardman, ILM and others use RV. Its tools built on an open, extensible architecture allowing users to adapt the software to their own styles of working.  www.tweaksoftware.com
"

NEW from NAB the Sony F65

NEW from NAB the Sony F65: "The F65 is a top-end motion picture camera. It features a true step-change in sensor technology, using a 20.4 Mega pixel CMOS sensor and a unique Double Bayer pixel orientation for full green resolution. The F65 runs up to 120Fps, creates HD/2K or genuine 4K resolution (4 times HD) images with a wide colour gamut, [...]"

Sunday, April 10, 2011

Colorfront Debuts On-Set Dailies at the 2011 NAB Show

Colorfront Debuts On-Set Dailies at the 2011 NAB Show: "

LAS VEGAS, NAB Booth C8615 — April 8, 2011 — The 2011 NAB Show marks the North American debut of On-Set Dailies, Colorfront’s sophisticated and innovative digital dailies system for filmmakers. First previewed in Q4 of 2010, On-Set Dailies has already been adopted by major studios, labs, and post facilities in the U.S. and Europe, and at NAB booth C8615 (Codex Digital), Colorfront will be demonstrating significant new enhancements to the system.

On-Set Dailies offers an all-embracing approach to digital dailies workflow, integrating all the necessary tools — including playback and sync, QC, color grading, stereoscopic 3D support, and audio and metadata management — and providing the ability to generate simultaneous faster-than-real time deliverables in all common file formats.

Developed by the team that won the 2010 Scientific and Engineering Award from the Academy of Motion Picture Arts and Sciences for Autodesk’s Lustre grading system, On-Set Dailies makes its NAB debut with a number of major enhancements.

"

Prolost - Blog - Two Free Color Correction Plug-ins from Red Giant Software

Prolost - Blog - Two Free Color Correction Plug-ins from Red Giant Software

LUT buddy sounds like a revolutionary tool. Traditional professional solutions cost tons of money and are fairly complicated to use. Can't wait to try it out!

Baselight is Final Cut’s Newest Color Grading Plugin!

Baselight is Final Cut’s Newest Color Grading Plugin!: "

Screenshot of Baselight Plug-in in FCP

 

Yes.

You just read that correctly.

NAB 2011 just kicked off a day early with news from Filmlight that they’re integrating high-end color grading app Baselight directly in the Final Cut Pro timeline!

According to the Press Release, integration is 100%. More details:

  • Grading done on a full-blown Baselight system can be exported directly into the FCP timeline and rendered within FCP.
  • FCP has full access to all the Baselight functionality - grades created within the FCP plug-in can be exported to Baselight for final grading.
  • Data is transferred between the two stations via XML – bypassing the more limited, but standardized, CDL (Color Decision List) framework allowing full integration between the two systems.
  • Full integration with Avid’s Artist Color control surface (formerly Euphonix MC Color)
  • You will NOT need Baselight’s custom Blackboard control surface.
  • Pricing: Under $1,000 (which I take to mean – they’re going to price it similar to DaVinci’s Resolve…).

Avid and Premiere Pro graders need not despair. Directly from the Press Release:

 The plug-in marks the start of an initiative designed to make Baselight’s advanced functionality directly available within third party applications. In future, the technology behind Baselight for Final Cut Pro could be applied to other editing systems, as well as to visual effects and compositing systems.

 

Baselight has other news:

  • Baselight's BlackBoard 2 colorist control surface

    BlackBoard 2 – A redesign of their custom control surface, with a wood finish, haptic touch (provides touch feedback), and fully programmable buttons (the DaVinci control surface is not).
  • Triple-head Display – 3 dedicated displays. One each for – UI, Scopes, and Image Gallery
  • New hardware to support: Red Rocket Card, 40TB of Raid 6 Storage, and a whole lot of cores.

You can find the raw details and additional download links on Baselight-Tutorials.com

 

"

Friday, April 8, 2011

Introducing Pro Media Tools

Introducing Pro Media Tools: "

We're proud to introduce our newest product, Pro Media Tools. Pro Media Tools is a suite of ten workflow utilities focused on processing and managing media, with functions including detecting gamma shifts, editing QuickTime movie metadata, batch renaming files and more.

There are many features that have been in demand for a long time, including notifying when a render is complete, editing markers and adding timecode tracks and reel names to QuickTime movies.

Pro Media Tools also marks our first foray into supporting multiple NLEs. Version 1.0 supports Final Cut Studio 2 and higher and Avid Media Composer 5.0 and higher for Mac*. The Avid support is primarily aimed at people using AMA workflows. Adobe Premiere Pro support will be coming shortly.

The full list of tools is as follows:

Auto Transfer


Detects when a drive is inserted containing P2, RED, AVCHD or XDCAM media and can automatically copy it to your computer. It can copy to multiple locations at once and verifies the copied data to ensure its integrity.

Various actions can be performed after the transfer has taken place, including showing the copied files in the Finder, opening up the clips in QuickTime Player or, if the clips are in a compatible format, importing them directly into a Final Cut Pro project.


Batch Renamer


This is a tool for renaming lots of files at once. There are lots of utilities on the market that do this but what makes Batch Renamer different is that it is designed specifically for post-production workflows. Consequently, it can deal with a large number of files easily and there are lots of features for managing frame numbers, including reversing, adjusting padding, closing gaps and reordering.

Edit Detector


Scans video files to locate where edits and scene changes occur. It doesn't look for timecode breaks but in fact scans the actual video frames. This means it can be used on pre-edited movies or files without timecode tracks.

Results can be exported in a variety of formats including Final Cut Pro marker lists, Avid locator files and EDLs.


Gamma Shift Detector


Allows you to compare two clips for shifts in gamma. It's designed for situations where you export a clip from an app such as After Effects and the resultant clip looks dark or washed out when compared to the original.

Just navigate to the same frame in both clips and click the Detect Gamma button. It will compare them and give you a percentage difference between the two. You can then use this percentage to go back to the app and compensate for the shift.

In some cases, the pixels will be identical but the gamma shift will be occurring due to a mismatch in metadata. In these cases, Gamma Shift Detector allows you to sync the metadata of the two clips with one button press.


Project Overview


This app will show you all media, effects and markers in your Final Cut Pro project. It will show you how many times a particular media file has been used and allow you to batch enable/disable or remove filters.

It also offers comprehensive marker editing capabilities including offsetting, custom printable data fields, label presets (to label all green markers as 'Needs VFX' for instance) and the ability to import Final Cut Pro marker lists and Avid locator lists into an FCP project. It's a great companion to Cut Notes, our note-taking iPad app.


QT Edit


Edits QuickTime movies. You can add and remove tracks, import video and audio from other movie files, add timecode, add chapters (you can also import/export these as marker / locator lists and DVD Studio Pro chapter lists) and edit metadata.

Quick Bins


It took some of our beta testers a while to grasp this concept so I'll try to explain it as clearly as I can. Quick Bins is an automatic bin generator that speeds up sorting footage in your browser.

There are several types of quick bins available. A Bin Range generates a group of numbered bins, allowing you to quickly create empty bins for scenes 1-100 in your movie for instance.

A Smart Bin automatically sorts media into the bin if it matches the criteria you have chosen (e.g. 'scene greater than 11' or 'filename contains MVI_'). A Smart Bin Range takes this concept one step further, where you choose the criteria first and then Quick Bins automatically creates Smart Bins for each variation of the criteria.

As an example, in the screenshot below I selected 'File Extension' as the criteria for the Smart Bin Range. Quick Bins went through all of the media files in the project and discovered files ending in .mov, .aiff and .tif, so it created new bins for each of these types and automatically sorted matching clips inside them.


Render Watcher


Watches Compressor batches, Final Cut Pro / Avid render files and any additional directories you specify for new renders. It can notify you with a growl alert, a sound, open the folder in Finder, open the clip in QuickTime Player, send an email, send a text message or send the file to another application such as Compressor.

Timeline Tricks


Performs common cleanup and time-saving tasks on Final Cut Pro sequences. It can collapse tracks, replace gaps with slugs, remove unused tracks, strip filters and more.

Video Check


Scans a video file for illegal luminance values, flash frames and audio peaks and shows the exact frame where errors are occurring. Can output results to FCP marker lists, Avid locators, CSV and text.

The suite is available for an introductory price of $99 and there is a 15-day trial available here. It will run on Mac OS X 10.5 and 10.6 on both Intel and PowerPC computers.

If you want to find out more about Pro Media Tools, check out screenshots and the user manual.

We're always keen to hear feedback, so contact us to let us know what you think and how well the suite fits in with your workflow. We have many more post production tools available here.

* Note: due to technical limitations, a few features of the suite are unavailable for Avid users.

"

Wednesday, April 6, 2011

The Hobbit Goes 48p. Does This Change Everything?

The Hobbit Goes 48p. Does This Change Everything?

ARRI and Codex Digital release OEM ARRIRAW Recorder

ARRI and Codex Digital release OEM ARRIRAW Recorder: "

(London, 31 March 2011) – Codex Digital, the leading developer of digital media recorders and media management systems for film and television production, today
announces that it has reached an agreement with ARRI to manufacture a Codex ARRIRAW recorder for use with ARRI’s popular ALEXA and ARRIFLEX D-21 film-style digital cameras. The new recorder will be marketed both directly and through ARRI’s worldwide reseller network. ARRI and its resellers will also be selling Codex camera mounts, datapacks and transfer stations.

"

Technicolor Launches ShareVue™ Dailies Solution

Technicolor Launches ShareVue™ Dailies Solution: "(Paris France, Hollywood California--April 5, 2011) Technicolor (Euronext Paris: TCH) today announced it has launched its next-generation dailies solution that facilitates and greatly enhances the viewing of dailies content on desktop, laptop and mobile device including iPad and Android tablets. Designed with industry professional’s input, ShareVUE™ gives all production stakeholders the flexibility to remotely view, comment and share content, playlists and other production information and metadata on portable devices, wherever and whenever needed. The new dailies solution provides a secure and immersive viewing platform for dailies and other production information, and an intuitive user experience along with pristine visual quality."

Researching Professional Camcorders | Tej Babra

Researching Professional Camcorders | Tej Babra

Thinkbox Software Announces Deadline 5.0 | Digital Production Buzz | Larry Jordan & Mike Horton

Thinkbox Software Announces Deadline 5.0 | Digital Production Buzz | Larry Jordan & Mike Horton

Not DSLR Killers, But Killer DSLRs: How DSLRs Killed the Prosumer Video Camera

Not DSLR Killers, But Killer DSLRs: How DSLRs Killed the Prosumer Video Camera: "

It seems the blogosphere is filled with talk about “DSLR killers.” Here are a few predictions ranging from the end of 2008 to March 2011: “Red unwraps ‘DSLR Killer’” by John Mello; “Sony joins the fray with (another) DSLR-killer“; DVXUser thread: “Panasonic AF-100 being called the ‘DSLR killer’. Any thoughts?“; “The Real ‘DSLR Killer’ For Filmmaking (No, It’s Not A Hasselblad)” by Neil Matsumoto.

Indeed, I would argue that the DSLR was the prosumer video camera killer and the video camera had to evolve in order to stay in the game.

The two strongest prosumer video cameras that utilize the DSLR-sized large format sensors are Panasonic’s micro 4/3 AG-AF100 with a street price of $4800 at B&H and Sony’s Super 35mm NEX FS100U with a street price of under $6000. (These prices do not include any lenses.) The dimensions of the the Super 35mm sensor: 23.6mm x 13.3mm and the Four Thirds sensor: 17.3 x 13mm (imaging area). (Images courtesy of Sony and Panasonic, respectively.)

Rather than “killing” the HDSLR, it seems the large sensor HDSLR market has been killing the prosumer video camera market. They’ve stepped up and noticed. They’re taking on the best of the DSLR features and are crafting cheaper video cameras with DSLR sensors in order to be competitive in the low budget cinematic market.

Comparison of sensor sizes. Prosumer video cameras are the little rectangles in the bottom left of the screen, while DSLRs fall within the Four Thirds, APS-C, and 35mm full frame, allowing for more cinematic control over the image. Image courtesy of Wikipedia.

Going back to the pre-Hi Def days of 2000, when George Lucas decided to shoot Star Wars II on a 1920×1080 24P Sony CineAlta HDW-F900 (modified the Panavision HD-900F), they used a f/1.5 lens on three 2/3″ sensors. But with a current street price of around $80,000, only professional shoots are within reach of this camera (rentals). Thus we can begin to see the significance of the DSLR APS-C sized sensors in the Rebel T2i/T3i at one percent ($800-900) of what the CineAlta costs!

The DSLR revolution has struck the prosumer video market — they were the ones dying off and some have adapted. The low price point of the DSLR will ensure its survival.

Indy filmmakers may use the Sony FS 100 more than the Panasonic AF100, due to Sony’s S35mm chip size and the smaller body and design work on it (aesthetics). The main thing you’re getting with these cameras that makes them a step above DSLRs is XLR-inputs — which is great for news and doc shooters, but filmmakers serious about capturing high quality audio will only use this as a back-up. They record audio on a separate recorder — typically with a field mixer and mic preamp — in order to get the best possible sound.

At the same time, DSLRs are taking on the best of the prosumer video market, such as the flip out screens for the Panasonic GH-1 and GH-2, Canon’s 60D and Rebel T3i/600D.

If the DSLR makers are smart, they will eventually create models with XLR inputs and a headphone jack, for those who do not want to record to external devices. Yes, Beachtek and JuicedLink offer XLR adapters, but you cannot monitor the sound going into the camera.

In either case, DSLRs are not going away, because the price of the Sony is still over $3000 more than a Canon 5D Mark II and over $5500 more than the Rebel T3i. You can kit out a Canon T3i for $3000 with a shoulder rig, a couple of decent lenses, a Zoom H4n, a decent shotgun mic.

If you want everything in one package, and you can afford it, then the Sony FS100 may be the camera you should use. If you’re on a budget or prefer the smaller form factor of a DSLR, us it. Nearly twenty percent of the films at 2011 Sundance were shot on DSLRs. They’re not going away. Not even close.

"

ARRI Releases New ALEXA Firmware v3.1

ARRI Releases New ALEXA Firmware v3.1: "

ARRI has released the latest Software Update Packet (SUP), v3.1, for the ALEXA and the new ALEXA Plus cameras. All new cameras will ship with SUP v3.1, and it is available as a free download from the ARRI website for all current ALEXA owners.

Key features of SUP v3.1 include:

- Full support for both the ALEXA and ALEXA Plus cameras.
- Integrated functionality with the ARRI Wireless Remote System (WRS) lens controller. This includes both generations of the ARRI transceiver module, known as the Yellow Radio and the White Radio.
- Communication with the new ARRI Remote Control Unit (RCU-4)
- Lens Data System (LDS) display on the ALEXA Plus. A later SUP will also capture this information in metadata.
- Dual SxS card recording. Both card slots can be set to capture identical files simultaneously, making backup file transfers faster.
- ARRIRAW frame grabs. In addition to the other formats already available, frame grabs can be captured in ARRIRAW.

To download SUP v3.1, ALEXA owners must login after completing a one-time registration on the ARRI website. The file can then be downloaded to an SD card for uploading into the camera. Also available for download are an updated user manual and release notes for SUP v3.1

"

Sneak Preview of New Motion Stabilizer for After Effects

Sneak Preview of New Motion Stabilizer for After Effects: "

April 6, 2011

by Adobe TV

It’s called the Warp Stabilizer, and it has ways of dealing with your shakycam HDSLR footage. Check out what new technologies, features and innovations the Adobe product teams are working on behind the scenes. Stay tuned to get an early glimpse of what could be next from Adobe. labs.adobe.com

Click here to view a Sneak Peak of the new Warp Stabilizer…

Sneak Preview of New Motion Stabilizer for After Effects


Filed under: After Effects Tips "

Monday, April 4, 2011

Light Iron to Launch Live Play During NAB

Light Iron to Launch Live Play During NAB: "Michael Cioni, Light Iron CEO and post production visionary, will officially launch the company’s iPad-based LiVE PLAY and mobile dailies applications at two separate events during the 2011 NAB Show...."

Friday, April 1, 2011

First sneak peek FinalCutPro 8

First sneak peek FinalCutPro 8: "

Well … after months and months of speculation and waiting today the curtain did drop, at least a lil bit.
Some first screenshots and feature-details “leaked” into the Video-Editing-World:

Well what can i say it seems like some fears getting reality.
The interface looks very familiar. First big change: it will be a more mouse editing oriented  NLE-App … one more step into iOS direction i guess.

Good thing though: FCP8 will be more integrated with Motion & Co. Not just templates & “send/link to” in a drop down menu. How far this integration goes is not specified publicly yet.It will be an App Store only app … you can buy all FinalCutStudio Apps standalone or in one package – pricing will be Announced. Apple will have a Special Event one week after NAB on 19th of April.

Some first Screenshots:

Key-Features are:

- 64 bit App

- Background Rendering

- GPU acceleration

- can use up to 64 GB Ram and all CPUs avalible

- native H.246 and R3D support including RED EPIC / HDRx and many other codecs

- new Title tools

- Quicktime Pro 11

- 3D editing mode

- ProRes 4444, 12bit only

- Blu-ray, CNN iReporter,  Vimeo, MySpace support

- Single Screen / Window App

- new Edit mode’s (called “Freehand” and “Mindreader”, “Auto-Blockbuster”)

Thats it … many more infos to come soon …

So is all that a good thing? … well?!

"

Thursday, March 24, 2011

Tiger Technology and FilmPartners Deliver a Scalable and Universal Production Workflow for Avid, Apple and Adobe

Tiger Technology and FilmPartners Deliver a Scalable and Universal Production Workflow for Avid, Apple and Adobe: "Editors can now collaborate on universal MXF-based projects and edit-in-place SD, HD and film content using their editing application of choice (Sofia, Bulgaria--March 24, 2011) Tiger Technology, a leading provider of high-performance, cross-platform SAN management software solutions and Netherlands-based FilmPartners of the international Euro Media Group announce a new strategic partnership for delivering a scalable and universal production workflow for Avid MediaComposer©, Apple Final Cut Pro©, Adobe Premiere Pro©."

ProxyMill - the encoder that can encode just about every camera format out there

ProVideo Coalition.com: the EDITBLOG on PVC by Scott Simmons

Digital Video Camera Roundup

Digital Video Camera Roundup:

New digital cameras released over the last year have brought exciting changes to the world of cinematography and videography. From ARRI’s Alexa digital cinema camera to large sensor camcorders to the 60D, Canon’s new DSLR, filmmakers and broadcast camera operators have a growing choice for features, television and commercials.
ARRI DIGITAL
CINOPTIX
CANON
JVC
PANASONIC
WEISSCAM
SONY


More...

DSC NorthernLights Extends Colour Tests for Digital Cinema

DSC NorthernLights Extends Colour Tests for Digital Cinema: "DSC Labs has designed NorthernLights, a new test target to help optimize image quality in DSC-labs-NorthernLights
digital cinema and HD television, overcoming narrow colour gamut limitations.
DSC-labs-NorthernLights
Named after the Aurora Borealis light display, NorthernLights provides test elements that function well outside the Rec 709 colour space, which is useful for people working with digital cinema and other high-end camera systems. 'Camera and sensor systems have evolved beyond the level of colour saturation that can be reproduced in typical test charts,' said DSC Labs President, David Corley. “NorthernLights combines a front-lit system with self-illuminated high gamut colours, giving camera users a way to calibrate and test their cameras in colour space beyond conventional front and rear-lit techniques.'

NorthernLights has front-lit 24 DSC-calibrated colour chips for accurate reference and setup to the Rec. 709 standard. It uses an 11-step spectrophotometrically neutral crossed grayscale for gamma adjustment, and horizontal/vertical hyperbolic wedges, or DSC trumpets, to test camera resolution. Upper and lower 18% gray strips check evenness of lighting, both horizontally and vertically, and controls adjust brightness and colour to balance white levels. NorthernLights will be on display at NAB 2011. www.dsclabs.com
"

Saturday, March 12, 2011

אלרום משיקה לראשונה בישראל תוכנה להפקת כתוביות בתלת מימד

<div style="direction:rtl;text-align:right">אלרום משיקה לראשונה בישראל תוכנה להפקת כתוביות בתלת מימד</div>: "
התוכנה מציגה טכנולוגיה הנחשבת לחידוש בעולם ככלל ובישראל בפרט. עד כה לא נכנסה לשימוש תוכנה להפקה ועריכה של כתוביות בתלת מימד.
"

Edit Suite Design 2011

Edit Suite Design 2011: "It’s time to revisit an old subject for a new year – configuring a post production suite. Poke through these past articles and you’ll get plenty of ideas about how to build the room and what to put in it. Another great source for inspiration is just to scan through the “Rig of the Day” [...]"

Editing HDSLR footage natively

Editing HDSLR footage natively: "With the wild success of HDSLR cameras from both Canon and Nikon, there is a renewed interest in editing H.264 media natively, using the video files that are transferred directly from the camera into your editing system. H.264 is the video format that these cameras use for capturing their images. Editing natively saves time because you don’t need to transcode your video. And H.264 files are very small, compared to other video file formats."

Friday, March 11, 2011

ICC profile cube from 3D LUT: Alexa EI350

ICC profile cube from 3D LUT: Alexa EI350: "
Steve Shaw at www.lightillusion.com has shown us a way of baking into stand alone QuickTime movies (this includes Alexa captured 4444 ProRes) a 3D LUT that is converted into an ICC Profile.
By doing this we can use Colorsync within Mac OS to apply the converted 3D LUT and burn it into the .mov file.
To do this you do require Intel Mac and QT Pro7 and also the software, called Spaceman, which will do the 3D LUT conversion for you. Once you have converted the LUT into the ICC profile you then load this profile through QT Pro7 and Colorsync and there you will have the burnt in correction for your offline and dailies.

Attached here is an ICC profile for an Alexa EI350 LUT, this 3D LUT has ben converted to an ICC profile and here is the information as a 3D cube.

Regards
Pure Digital Services
"

Tuesday, March 8, 2011

Thunderbolt Technology in Action

Thunderbolt Technology in Action: "A couple of weeks ago Intel introduced a new technology for I/O use and data back ups. If you missed that information you can read all about it here. Over the past few weeks there has been a lot of buzz regarding this new technology. Thunderbolt’s ability to transfer data at 10Gbs a sec while [...]"