District Digital Creatives

Optimizing Adobe Video Apps, Premiere Pro and Ae

gkennedy@magekfilmworks.com (George E. Kennedy, Jr.) — Fri, 02 Apr 2021 20:32:28 GMT

Our friend David K Helmly Sr. has created a series of videos to help optimize you optimize the Adobe Video Apps.

"Chapter 1: Dave discusses System Specs for Premiere Pro and AfterEffects - Understanding Minimum vs recommended specs and why. Note - This is talk track over a slide show and consists of 5 videos in the series."

Apple M1 Q&A session with OWC, Founder and CEO Larry O'Connor, and David Helmly, Sr., Adobe.

district.digital.creatives (District Digital Creatives) — Mon, 01 Mar 2021 19:15:10 GMT

DDC Live

Join us Wednesday, March 3, 2 PM EST for a Q&A session with OWC, Founder and CEO Larry O'Connor, and David Helmly, Sr., Adobe.

We will discuss the Apple M1 Chip and OWC's Thunderbolt 4 technology roadmap and how Adobe Video Apps will take advantage of Apple's new chip.

Send question in advance to (202) 875-5255.

Watch

https://districtcreate.org/live

Blackmagic Pocket Cinema Camera 6K Pro

district.digital.creatives (District Digital Creatives) — Wed, 17 Feb 2021 18:59:48 GMT

Advanced Pocket Cinema Camera 6K model with built in ND filters,adjustable HDR screen, Gen 5 color science, larger battery and optional viewfinder!

Blackmagic Design announced the Blackmagic Pocket Cinema Camera 6K Pro, a new more powerful model that includes features for high end digital film. This new model includes a brighter 1,500 nit adjustable HDR touchscreen screen, built in ND filters, larger battery, plus support for an optional electronic viewfinder. This model also includes latest generation 5 color science, Super 35 HDR image sensor with 13 stops of dynamic range, dual native ISO of 25,600 and a popular EF lens mount.

Blackmagic Pocket Cinema Camera 6K Pro is available immediately from Blackmagic Design resellers worldwide for US$2,495.

The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high end digital film features into a miniaturized, handheld design. Made from lightweight carbon fiber polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at their fingertips. Because it's an advanced digital film camera, the sensor is designed to reduce thermal noise allowing cleaner shadows and higher ISO. Plus the large 5 inch LCD makes it possible to get perfect focus at 4K and 6K resolutions.

The Blackmagic Pocket Cinema Camera 6K Pro includes additional pro features such as built in 2, 4 and 6 stop ND filters, adjustable tilt HDR LCD with a bright 1500 nits that’s ideal for use in bright sunlight. It also includes two mini XLR audio inputs and a larger NP-F570 style battery.

Whether users are shooting in bright sunlight or in almost no light at all, the 13 stops of dynamic range with dual native ISO up to 25,600 provide stunning low noise images in all lighting conditions. Plus the 6K models feature a larger Super 35 sensor that allows shooting with a shallow depth of field and anamorphic lenses. All models let customers shoot up to 60 fps in full resolution or 120 fps windowed. An amazing sensor combined with Blackmagic color science means customers get the same imaging technology as the most expensive digital film cameras.

The 6K models feature an EF lens mount so customers can use lenses customers already own from other cameras such as DSLR, URSA Mini Pro or even the original Blackmagic Cinema Camera. Customers can use commonly available photographic lenses that provide incredible creative choice and wonderful feature film quality lens effects. The active lens mount lets customers adjust focus and iris from the buttons on the camera or the touch screen.

The Blackmagic Pocket Cinema Camera 6K Pro features high quality, motorized IR ND filters that let customers quickly reduce the amount of light entering the camera. Designed to match the colorimetry and color science of the camera, the 2, 4 and 6 stop filters provide customers with additional latitude even under harsh lighting. The IR filters have been designed to filter both optical and IR wavelengths evenly, eliminating IR contamination of the images. Activation buttons are located on the rear of the camera body, placed within easy reach of their thumb from the multi function hand grip. User selectable filter settings can even be displayed as either an ND number, stop reduction or fraction on the LCD.

The Pocket Cinema Cameras feature dual native ISO up to 25,600, which means they're optimized to minimize grain or noise in images, while maintaining the full dynamic range of the sensor. The native ISO of 400 is ideal for scenes with on-set lighting. The gain is set automatically as customers adjust the ISO setting, so it's easy to capture great images when customers don’t have time to set up lights.

Blackmagic Pocket Cinema Camera records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. Developers can download and use the free Blackmagic RAW SDK to add support into their applications. Best of all media files work on all operating systems plus customers can format media cards and disks in HFS+ for Mac and ExFAT for Windows.

Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. The Pocket Cinema Camera 6K Pro LCD monitor is a more advanced HDR display that can be tilted up and down so it's easy to monitor their shot from any position. Plus the 6K Pro model’s HDR display features 1500 nits of brightness, ideal for use in bright sunlight.

Featuring the same generation 5 color science as the high end URSA Mini Pro 12K, the new Pocket Cinema Camera 6K Pro delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful color in every shot. Customers get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, for better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.New Paragraph

"With the new Pocket Cinema Camera 6K Pro, we wanted to include all the high end features from digital film cameras into a Pocket Cinema Camera design," said Grant Petty, Blackmagic Design CEO. "This means you get an extremely portable digital film solution but with all the advanced features like the amazing ND filters, optional viewfinder and bright HDR touchscreen. We think our digital filmmaker customers will love it!"

Blackmagic Pocket Cinema Camera 6K Pro Features

Designed from carbon fiber polycarbonate composite.
6144 x 3456 sensor with 13 stops and dual native ISO up to 25,600.
Compatible with a wide range of popular EF lenses.
Built in motorized 2, 4 and 6 stop ND filters.
Up to 25,600 ISO for incredible low light performance.
Standard open file formats compatible with popular software.
Adjustable, HDR 1500 nit LCD screen.
Includes Blackmagic Generation 5 Color Science.
Optional Blackmagic Pocket Cinema Camera Pro EVF.
Professional mini XLR inputs with 48 volt phantom power.
Larger NP-F570 battery, optional Blackmagic Pocket Camera Battery Pro Grip.
Includes full DaVinci Resolve Studio for post production.

ATEM Mini and Camera Update

district.digital.creatives (District Digital Creatives) — Mon, 15 Feb 2021 19:22:18 GMT

Live Stream, February 17, 2021

Join Blackmagic Design learn about what’snew with ATEM Mini and cameras.

Youtube: https://www.youtube.com/c/BlackmagicDesignOfficial

Los Angeles 10 AM PST on Wednesday the 17th of February
New York 1 PM EST on Wednesday the 17th of February
London 6 PM GMT on Wednesday the 17th of February
Singapore 2 AM SGT on Thursday the 18th of February
Tokyo 3 AM JST on Thursday the 18th of February
Sydney 5 AM AEDT on Thursday the 18th of February

DDC Live - Thunderbolt 3 vs. Thunderbolt 4

gkennedy@magekfilmworks.com (George E. Kennedy, Jr.) — Fri, 18 Dec 2020 16:20:10 GMT

DDC Live conversation with OWC CEO Larry O'Connor - @owclarry. Thunderbolt 3 vs. Thunderbolt 4, Apple M1, and the future of OWC tech.

Blackmagic Design Announces New DaVinci Resolve Speed Editor

district.digital.creatives (District Digital Creatives) — Mon, 09 Nov 2020 22:20:57 GMT

New editing keyboard works with the DaVinci Resolve cut page to create a new generation editing solution that’s dramatically faster!

Blackmagic Design announced DaVinci Resolve Speed Editor, a new keyboard for DaVinci Resolve's cut page that allows a new and dramatically faster editing solution that’s a combination of integrated hardware and software. This means the editor can work much faster because, unlike a mouse, the DaVinci Resolve Speed Editor has a control for each edit function and can perform multiple tasks at the same time. In addition, for a limited time, every customer who purchases DaVinci Resolve Studio from a Blackmagic Design reseller will get the DaVinci Resolve Speed Editor included free of charge!

DaVinci Resolve Speed Editor is available immediately from Blackmagic Design resellers worldwide for US$295.

Traditional edit software uses thousands of clips to organize their media, so customers need to constantly click and drag clips to edit. That’s too slow for work such as TVCs, news, promos and training videos. However old tape based linear editing had the advantage of all media being played from a videotape, so customers could simply fast forward and rewind to see all their shots. Now the cut page has a modern version of the videotape and it’s called the "source tape". Simply push the source button and use the search dial to scroll through all their media. Plus, the current clip is highlighted live in the bin. After the edit the viewer will stay in the source tape so customers can move to the next shot faster.

Entering in and out points is the most used function in editing, so the speed editor keyboard includes large in and out point buttons that customers can easily locate by feel. That’s perfect for two handed editing where users are using their right hand for transport control and their left hand is placing in and out points and performing edits. Customers can simply scroll along with the search dial and place in and out points anywhere customers want. Once the in and out points are set, just reach their fingers up to the edit function buttons to perform the edit. The in and out points can also be used to focus the source tape. Then customers can change the source tape back to the whole bin by pressing the escape key.

Editing with a keyboard is different to editing with a mouse, so the cut page editing functions have been upgraded to take advantage of the speed of a keyboard. The edit functions are intelligent and use the "smart indicator" in the timeline to work out where to insert, so most of the time customers don't need to place in or out points in the timeline to do an edit. They are located just above the in and out keys, so are easy to locate by feel. Plus each time customers edit, the cut page won't waste time switching over to the timeline, allowing customers to stay in the source tape and visually browse, placing clips continuously. That's much faster as customers can just keep throwing clips into the timeline.

With a large high quality search dial built into the panel, customers get an extremely accurate way to trim shots. With the search dial being such a physically large control, it completely transforms how it feels to trim shots. Plus it’s much faster too. The trim buttons will change the search dial into a trim control and customers simply hold the trim buttons and rotate the search dial. This means customers can select various trim modes with their left hand while adjusting the trim with their right. It's extremely fast and the smart indicator in the timeline will let customers know which edit users are trimming. Just move along the timeline and live trim edits. It’s a whole new way to work.

Editing software can be slow at adding transitions to edits because customers have to click and drag effects down into the timeline. However, with the DaVinci Resolve Speed Editor, customers can just press a button to switch them on and off. It’s really fast as customers can scroll down the timeline adding or removing effects. The smart indicator in the timeline will let customers know which edit point will be affected, and customers can move the timeline to move the edit point in focus. The cut key will remove any effect on an edit point in the timeline. Pressing dissolve adds a dissolve to the edit point using the default duration. Pressing the smooth cut button adds a smooth cut so customers can eliminate jump cuts.

The DaVinci Resolve Speed Editor eliminates the large QWERTY keyboard for a smaller more portable design, so the function button area includes only the controls customers need for editing. Some of the enhanced function keys on the DaVinci Resolve Speed Editor are not even available on the full sized editor keyboard. Plus, some keys have an alternative function where customers can press and hold or double press to get a second function using the same key. That means customers need less keys for a more portable design, but it still retains a lot of editing power. The keys are in a separate group so customers can find the key customers need by feel and operate faster than a regular keyboard.

The escape key is positioned to the top left so it's easy to locate, as it’s the most common key for reversing some functions. A good example is the sync bin and if customers select a camera, customers can go back to the multiview by selecting this escape key. Plus, if customers double press it, it works as undo.

The sync bin is a new style of multi-cam and it allows customers to find shots that are sync'd to the current shot in the timeline. That lets customers find cutaways using a familiar multiview interface. Then use the camera keys to select an alternative shot, and source overwrite to edit it into the timeline.

The audio level key lets customers quickly set audio levels of clips by holding the key and adjusting the level using the search dial. That's a fast way to set audio levels while editing. Double pressing the key lets customers add a marker, and double pressing and holding allows customers to set the marker color.

The full screen button is highlighted red so customers can find it quickly and switch to a full screen view of their viewer. That’s great for presenting their edit to clients. Plus if customers double press the full view button, it will go into full screen view and play from just before their most recent edit.

The transition button is similar to the cut and smooth cut buttons, however it will add a custom transition of their choice from a pallet of all the available DaVinci Resolve transitions. If customers press and hold the transition button users will see the pallet appear allowing selection of the one customers want.

The split button will instantly cut the clip in the timeline at the current playback point. If users are positioned on a split in a clip, then pressing the split button will remove the split. If customers press and hold, customers can use the search dial to move the current clip up and down the timeline.

Pressing snap will turn on snapping in the timeline. Snapping on the speed editor is different, as it’s not magnetic so it’s more subtle. It works by momentarily pausing jog at the edit points so it's nicer to use. Or if customers press and hold, the search dial will let customers adjust the viewer size.

Ripple delete removes the current clip at the playback point then ripples the timeline to fill the space left by the deleted clip. This eliminates any blank spaces in the timeline. Customers can use it with split to remove parts of shots customers don't want. Plus, it will also reduce their timeline duration.

The camera number section lets customers select the cameras when using the cut page sync bin. Plus, if customers press a camera number while turning the search dial, the selected camera will be applied to the timeline in real time as customers jog forward. This feature is called live override and on the speed editor panel customers can do it momentarily by holding the camera button, or customers can latch it on using the live override button. When live override is latched on, the buttons light up and customers can select cameras just like a production switcher. Customers will see a multiview and customers can just cut from camera to camera. Plus, this section even has the video only and audio only buttons for greater editing control.

The DaVinci Resolve Speed Editor model includes built in Bluetooth so customers can use the keyboard without messy wires, and customers can even use it in conjunction with their regular computer keyboard. That’s perfect for using it with a laptop. Customers can also use the keyboard via USB if required and the USB connection will also charge the internal battery. With Bluetooth and a built in battery, the keyboard is extremely portable.

"We think this is an incredibly exciting product as it has such dramatic workflow ramifications," said Grant Petty, Blackmagic Design CEO. "Until now, editing software has been designed to be used with a mouse, however that’s slow as each edit function often takes multiple mouse clicks to do each task. Now with the DaVinci Resolve cut page and the DaVinci Resolve Speed Editor being co-designed, it means they work together for a whole new generation of editing workflow. It's so fast and a lot of fun to use!"

DaVinci Resolve Speed Editor Features

Source tape allows faster clip searching.
Large trim in and out buttons.
New keyboard modes for intelligent editing.
Buttons to allow search dial to live trim.
Buttons to change transition type.
Integrated search dial control.
Keypad for direct timecode entry.

Availability and Price

DaVinci Resolve Speed Editor is available now for US$295, excluding local duties and taxes, from Blackmagic Design resellers worldwide.

Blackmagic Design Announces DaVinci Resolve 17

district.digital.creatives (District Digital Creatives) — Mon, 09 Nov 2020 21:53:14 GMT

Over 300 new features including HDR grading, AI magic mask,improved Fairlight usability, improved editing and much more!

Blackmagic Design announced DaVinci Resolve 17, a major new release with over 300 new features and improvements including HDR grading tools, redesigned primary color controls, next generation Fairlight audio engine including Fairlight audio core and support for 2,000 real time audio tracks plus dozens of other time saving tools for editors including a redesigned inspector, new bin sorting and metadata clip views!

DaVinci Resolve 17 public beta is available for download now from the Blackmagic Design web site.

DaVinci Resolve 17 is a major new release with over 100 new features and 200 improvements. The color page features new HDR grading tools, redesigned primary controls, AI based magic mask and more. Fairlight updates mouse and keyboard edit selection tools so customers can work faster, along with Fairlight Audio Core and FlexBus, a next generation audio engine and busing architecture with support for 2,000 tracks. Editors get a metadata slate view with bin dividers, zoomed waveforms for audio trimming, smart reframing, a unified inspector and dozens of other time saving tools. In addition, compositions created in Fusion can now be used as an effect, title or transition on the edit and cut pages.

DaVinci Resolve 17 features incredible new creative tools for colorists. Power Window drawing has been improved, there are new split screen wipe options, an additional Sat vs Lum curve, improved scopes, support for 17 point 3D LUTs and more.

The HDR grading palette lets customers create new color wheels with custom roll off for specific tonal ranges, giving customers more creative control to make fine adjustments. The wheels include exposure and saturation controls for each zone. They’re color space aware so customers get perceptually uniform results.

The mesh based warping tool lets customers adjust two color para7 at once. Customers can adjust both hue and saturation or chroma and luma. Adjustments are made by dragging control points, with smooth falloff for clean, natural looking adjustments. It’s an entirely new way to transform color in their images.

Selecting and tracking people for targeted correction has never been easier. Magic mask uses the DaVinci Neural Engine to automatically create masks for an entire person or specific features such as face or arms. Customers get matte finesse tools, the ability to add and remove strokes and automatic tracking.

DaVinci Resolve color management adds features to simplify their workflow and improve image quality.

DaVinci wide gamut and DaVinci intermediate are timeline color space and gamma settings that provide a universal internal working color space. It’s larger than what cameras can capture, or BT.2020, ARRI wide gamut and even ACES AP1. Customers will never lose image data, no matter where it comes from.

DaVinci Resolve 17 is the biggest update in Fairlight history with new features, tools and core improvements that make it the world’s fastest and highest quality solution for audio post production.

Edit selection mode with new keyboard shortcuts unlocks functionality previously available on the Fairlight Audio Editor. These context sensitive tools make editing incredibly fast. If users are switching over to Fairlight, these intuitive and familiar tools will help customers get up and running quickly.

Fairlight Audio Core is a low latency, next generation audio engine that intelligently manages workload by using all CPU cores and threads, as well as the optional Fairlight Audio Accelerator card. Customers get up to 2,000 tracks, each with real time EQ, dynamics and 6 plug-ins, all on a single system.

FlexBus is a flexible bus architecture that uses up to 26 channel wide multi purpose buses instead of fixed buses. Customers can send tracks to buses, buses to tracks, and buses to buses in as many cascade layers deep as needed to create massive sessions. Route anything to anything without limitations.

The new transient analysis tool automatically detects individual words, beats, or sound effects. Transient markers are displayed as vertical lines in the waveform. Customers can navigate between them using the arrow keys. Transient markers make it easy to identify specific parts of a sound for editing.

Fairlight Audio Core and FlexBus enable large projects with thousands of tracks on a single system. Previously this required "chase" computers to be sync’d with a primary system. Plus DaVinci Resolve’s multi user collaboration lets multiple sound editors work on the entire project at the same time.

DaVinci Resolve 17 makes the cut page even smarter with great new features designed to help customers finish quick turn around projects even faster.

Metadata slate view with bin dividers makes it easy to sort and find clips based on scene, shot, camera and more. When used with source tape, it’s the fastest way to jump in and out of scenes or groups of shots.

Customers can now see larger audio waveforms while trimming.

Now customers can edit in 16:9 HD or Ultra HD and quickly create square or vertical versions for posting to Instagram and other apps. The DaVinci Neural Engine automatically identifies faces and repositions them inside the new frame so customers don’t have to do it manually.

Finding the right effect, transition or title is faster and easier than ever. The elegant, new multi column view lets customers see more and scroll less. Descriptive icons also help customers quickly find what customers need. Plus, customers can hover scrub the mouse across any item to see a live preview in the viewer.

Live production projects from ATEM Mini Pro ISO can be opened as a video edit. The sync bin with multiview lets customers fine tune edits from the original live production or even replace shots. You can use the HD ISO recordings from ATEM or relink to Blackmagic RAW camera files for finishing in Ultra HD.

The edit page adds dozens of time saving new features that professional editors have asked for.

Now customers can create easily managed, independent proxy media that dramatically improves system performance and makes projects portable. Proxies can be as small as 1/16th resolution and saved as H.264, H.265, ProRes or DNxHR. They can even be generated internally or externally by third party tools.

It’s now easier to create synchronized multicam clips. Simply stack clips on the timeline and use the new "auto align" tool to sync based on timecode or waveform. Customers can also manually move clips into position to create a sync map. Timelines can be converted into a multicam clip or a compound clip.

New Resolve FX 3D, HSL and luma keyer plug-ins let customers pull keys directly in the timeline on both the edit and cut pages. In addition, alpha channels from Resolve FX and Open FX plug-ins are now supported, as are embedded alpha channels and external matte files giving customers even more compositing options.

The render in place command lets customers generate render files for any portion of the timeline. Once rendered, customers can move, edit and trim without having to re-render. Unlike cache files, render files are easy to manage and portable.

Source side adjustments let customers change a clip before editing it into the timeline. For example, customers can adjust RAW controls, add a LUT, remap audio tracks, change sizing, playback frame rate and more, all before editing a clip into the timeline.

Customers can now import and export individual timelines or bins, giving customers more ways to collaborate. Timeline and bin files are easy to share and small enough to email.

New support for native processing of interlaced timelines results in higher quality compositing and titling for interlaced deliverables. High quality DaVinci Neural Engine de-interlacing analyzes motion between fields to reconstruct progressive frames. Customers also get realtime 3:2 pulldown removal.

Compositions customers create on the Fusion page can now be saved as a template and used on the edit or cut page. New animation curve modifiers can be used to automatically retime animations when customers change their duration in an edit. Audio playback with waveform display makes it easier to create precisely timed animations, there are shared markers with the edit page and more. In addition, 27 GPU accelerated Resolve FX have been added to the Fusion page, including the noise reduction and sharpening tools from the color page. New node view bookmarks make it easy to navigate large comps, the toolbar can be customized with their favorite tools, and vertical layouts are supported in the node editor.

Node tree bookmarks let customers quickly navigate to any part of the node tree in a large composition. Customizable toolbars let customers quickly switch toolbars based on the current task. Vertical node tree layouts give customers more room to view the spline and keyframe editors when creating animations, and more.

Customers will find new and improved format support on the media page, new delivery options, and a unified inspector design on the media, cut, edit and Fairlight pages. DaVinci Resolve 17 also features consistent timeline navigation across all pages, better metadata support, new image scaling algorithms, the ability to share smart bins, smart filters and optimized media across all projects on a system, and even more GPU and CPU accelerated Resolve FX.

Now anyone can build their own post production studio. The free version of DaVinci Resolve now includes the revolutionary multi user collaboration tools previously available in DaVinci Resolve Studio. That means customers can have multiple users all working on the same project at the same time, for free.

Support for growing files in the media pool lets customers start editing while files are still being recorded. There’s decoding support for QuickTime PNG, uncompressed RGB 8-bit and YUV 10-bit AVI, and spanned Panasonic 8K SHV clips.

DaVinci Resolve 17 support for frame based metadata from Blackmagic RAW, ARRI, RED and Sony camera files, along with decoding and rendering per frame EXR metadata.

In addition to existing Python and LUA scripting, DaVinci Resolve 17 adds a new workflow integration API and a new encoding API. These APIs allow third party developers to create integrated asset and workflow management solutions for DaVinci Resolve, as well as encoder plug-ins for custom output options.

"This is a massive update and it has amazing new technology and features for colorists, audio engineers, editors and visual effects artists," said Grant Petty, Blackmagic Design CEO. "While the new color science, HDR grading and improvements and Fairlight usability are the most noticeable features, what I am most proud of are the thousands of small improvements that customers will notice every day!"

DaVinci Resolve 17 Features

Next generation HDR color correction with customizable wheels and tonal zones.
Mesh and grid based color warper delivers an entirely new way to transform color.
Magic mask automatic object isolation powered by the DaVinci Neural Engine.
Improved color management with tone mapping and color space aware tools.
Massive DaVinci wide gamut color space for higher quality image processing.
High speed audio editing with new keyboard and mouse context sensitive tools.
Fairlight Audio Core engine with auto load balancing and support for 2,000 tracks.
Revolutionary FlexBus architecture for audio routing without limitations.
Automatic transient detection for beats, words, and sound effects.
Support for massive audio projects with thousands of tracks on a single system.
Metadata based card view in media pool on cut page.
Precision audio trimming on the cut page timeline and graphical trimmer.
Smart reframe powered by the DaVinci Neural Engine on cut and edit pages.
Live effect, title, and transition previews on cut and edit pages.
Import and edit projects from ATEM Mini Pro ISO.
Proxy media workflows up to 1/16th resolution in H.264, H.265, ProRes or DNxHR.
Timeline based clip syncing to create multicam and compound clips.
Alpha support for keying and compositing on cut and edit pages.
Render in place command for effects heavy clips on cut and edit timelines.
Make source side adjustments before editing clips into the timeline.
Portable timeline and bin files for easy sharing.
Native interlace processing and realtime 3:2 pulldown removal.
Node tree bookmarks, customizable Fusion toolbar, and vertical node layouts.
Support for growing files in media pool.
Support for frame based metadata for BRAW, ARRI, RED, Sony and EXR.
Workflow integration API and third party encoder API.

Availability and Price

DaVinci Resolve 17 public beta is available now for download from the Blackmagic Design website .

OWC Announces Envoy Pro Elektron The Fastest, Toughest Mini-Sized USB-C Bus-Powered SSD

district.digital.creatives (District Digital Creatives) — Mon, 09 Nov 2020 20:37:32 GMT

Small enough to fit in your pocket, this USB-C bus-powered drive is crushproof and dustproof with up to 1011MB/s in real-world speeds

OWC announces the new OWC Envoy Pro Elektron USB-C Bus-Powered SSD. This new portable drive puts pro-grade speeds, dust and waterproof ruggedness, and universal compatibility in the palm of your hand.

The OWC Envoy Pro Elektron is the fastest, toughest mini-sized SSD in the universe. Pocket-sized tiny, this USB-C bus-powered drive is crushproof, dustproof waterproof for editing/saving personal and work files anywhere at up to 1011MB/s real-world speed. That's like transferring 91 high res photos* per second or a 5GB movie in less than five seconds. The sleek, cool running aircraft-grade aluminum storage solution with drive status LED operates silently without a power adapter. With the included USB-C cable and Type-A adapter, the OWC Envoy Pro Elektron is plug and play compatible with Macs or PCs produced over the last decade, current models, and well into the future; as well as iPad Pro and Chromebook tablets.

OWC Envoy Pro Elektron Highlights:

Superfast for all: save, backup, and edit personal and work files with up to 1011MB/s real-world performance
OWC Aura SSD powered: advanced NVMe technology delivers up to twice as fast performance compared to other portable SSDs
Universally compatible: Plug and play with Thunderbolt and USB Macs or PCs produced over the last decade, current models, and well into the future, as well as with devices like the iPad Pro and Chromebooks
Built like a tank: Crushproof, dustproof and waterproof IP67 rated
Tiny: pocket-sized to go anywhere easily
Bootable: start working and launch apps in seconds
Informative: LED for at a glance confirmation of power and activity status
Cool: heat-dissipating aircraft-grade aluminum housing for silent, throttle-free performance
Connected: included USB-C cable with Type A adapter plugs into to any machine anywhere
Worry-free: 3 Year OWC Limited Warranty

With technology, we always want to go smaller, faster, lighter and rugged and the OWC Envoy Pro Elektron does just that,” said Larry O’Connor, CEO, and Founder of OWC. “This pocket-sized, tiny, crushproof, dustproof, and waterproof drive provides superfast, pro-grade speeds and up to 2.0TB capacity in the palm of your hand so you can edit and save wherever, whenever with virtually any Mac, PC or tablet.”

Pricing & Availability

The OWC Envoy Pro Elekton is available now through MacSales.com in capacities of 240GB and 480GB starting at $99.00 with 1.0TB and 2.0TB shipping in early and mid-November.

Join FCP X Experts from all over the world on November 16-22, 2020!

district.digital.creatives (District Digital Creatives) — Mon, 09 Nov 2020 18:37:30 GMT

The latest FCPX and Motion software, plugins, and editing techniques.

Attend the 6th annual FCPX Global Virtual Summit , which is taking place in one week! Instead of convening at Cupertino, the conference will be delivered virtually. The event focuses on all aspects of production for professionals who use FCPX. From editing techniques to color correction, the FCPX Global Virtual Summit has the session perfect for you. Join the industry experts as they share their knowledge of FCPX and Motion softwares, plugins, editing techniques, and more!

The event also features an unique opportunity to meet with the Apple Pro Video Team in real-time during Apple Day. All sessions on Apple Day will be livestreamed from Apple Park, with surprise guests all day long. Make sure to register to attend!

For only $199, registration includes access to all training sessions, Apple Day, keynotes, and training session recordings to be streamed for 90 days post-event. Learn more at fcpxcreativesummit.com .

Introducing DaVinci Resolve 17

district.digital.creatives (District Digital Creatives) — Fri, 06 Nov 2020 22:47:19 GMT

What’s new in DaVinci Resolve 17.

Join Blackmagic Design on November 9 at 1:00pm EST/10:00am PDT to learn about what’s new in DaVinci Resolve 17. Held by CEO and cofounder Grant Petty, the live stream will be available on Blackmagic Design’s website, as well as on the company’s YouTube and Facebook pages.

Los Angeles 10am PST9 November 2020

New York 1pm EST 9 November 2020

London 6pm GMT 9 November 2020

Singapore 2am SGT 10 November 2020

Tokyo 3am JST 10 November 2020

Sydney5am AEDT10 November 2020

Adobe Bridge levels up workflows with Premiere Pro integration and new asset management features

district.digital.creatives (District Digital Creatives) — Fri, 06 Nov 2020 22:30:51 GMT

Sponsor Content

Adobe Bridge is a powerful tool for managing your creative assets, and can be a major productivity booster if you’re using Photoshop, Illustrator, InDesign, or After Effects. Now, with this latest release of Adobe Bridge, right in time for Adobe MAX 2020 , we’re adding enhanced support for video files to our roster. We’re thrilled to announce that Bridge will now integrate with Adobe Premiere Pro and Adobe Media Encoder, a step that will make editing and transcoding video clips easier than ever.

In addition to an enhanced video workflow, we’re also rolling out many new features to boost content velocity for photographers, all centered around the Export Panel. This includes the ability to resize based on a target rectangle or resolution and the ability to rearrange presets by dragging and dropping. Read on for more details on everything new in this release of Adobe Bridge.

Video thumbnail scrubbing when hovering

Users can now hover their mouse pointer over the top of video thumbnails to see the frame update. This allows users to ‘scrub’ the video frames by moving the mouse pointer over the video thumbnail, which is particularly helpful when you’re trying to quickly ‘peek’ at a specific part of a video.

Of course, video preview in the Preview panel and in full screen (View > Full-screen preview) is still supported, but this should make it easier to select videos (using ratings and labels) for further edits.

E dit video clips in Premiere Pro, right from Bridge

It is now easier to storyboard your video files in Bridge, and get right to editing them in Premiere Pro. Using Bridge’s Sort Manually option, arrange your video clips per your storyboard, select them and then click Tools > Premiere Pro > Edit (Create a Sequence).

This will launch Premiere Pro and add the selected files to the Premiere Pro sequence, as per the manual sort order in Bridge. Now you are ready to begin your project.

OWC Launches New Hub for Thunderbolt™ 4 PCs

district.digital.creatives (District Digital Creatives) — Thu, 01 Oct 2020 20:59:33 GMT

Tech leader releases first hub to expand the connection possibility of your Thunderbolt 4 PCs –– one cable keeps more devices connected, displayed, and charged

The OWC Thunderbolt Hub, for the first time, expands the number of Thunderbolt ports available on a Thunderbolt 4 PC. Through a single Thunderbolt 4 port, you can connect and charge any device with a USB-C or USB-A connector with this compact hub. Dual 4K displays or a single 5K/6K/8K display, high-performance storage--including NVMe solutions, A/V mixers, phone or tablet, even desktop accessories like a keyboard or mouse are all fair game. Accessories with past, present, or future USB or Thunderbolt interfaces…all connect to the OWC Thunderbolt Hub.

OWC Thunderbolt Hub Highlights:

All the Thunderbolt you’ve always wanted: For the first time ever, add more full speed, fully functional Thunderbolt ports to your computer
Plug everything in: Same device compatibility and performance, whether plugged into the hub or directly into your machine
Manage more devices: Connect storage, two 4K displays or one 5K/6K/8K display, multiple accessories you name it, you can use it
Revolutionary development: New multi-port accessory architecture reinvents the daisy chain and allows more bus powered devices
Adjustable LED: Customize illumination for your unique work setting
Built-in security: Kensington Nano Security Slot™ for anti-theft cabling
OWC ClingOnTM ready: cable stabilizer prevents work session interruption and data loss
Independently tested and Intel Thunderbolt-certified for Windows

“As a leader in Thunderbolt integration and accessories, OWC is proud to lead the market and offer our first Thunderbolt 4 hub for the new 11th Gen Intel® Core™ processor-based PCs.”, said Larry O’Connor, CEO and Founder of OWC. “In addition to giving users the ability to expand the number of Thunderbolt ports they have access to, the new ability to create separate chains, and connect more devices from individual computer ports will revolutionize workflows.”

Daisy chains can be complex. In the past, removing any device besides the last one in a daisy chain caused a disruption that rendered all devices unusable until the chain was re-established. OWC’s Thunderbolt Hub lets you create a separate multi-port accessory architecture consisting of three “tree branch” chains, so you can remove devices from one chain without affecting or disconnecting the others. Now you can connect multiple portable SSDs directly to the OWC Thunderbolt Hub to experience the fastest speed your storage device can deliver.

Pricing & Availability
The OWC Thunderbolt Hub is available for pre-order through MacSales.com for $149.00

FiLMiC Pro Cinema Camera App Gains Clean HDMI Out

district.digital.creatives (District Digital Creatives) — Fri, 11 Sep 2020 18:01:40 GMT

iPhone Pro Max is now your Filmmaking and WebCam solution

FiLMiC Inc. announced the newest upgrade to its FiLMiC Pro mobile cinema camera app for iOS and Android devices, adding support for clean HDMI output. This new development presents significant opportunities for a number of high-value mobile video workflows, including mobile live streaming, mobile webcams and mobile monitoring.

Using a compatible HDMI adapter or over WiFi using AirPlay (iOS only), FiLMiC Pro now enables users to output a camera feed without any additional UI elements overlaid. The ability to leverage a Clean HDMI Output enables several use cases, including:

Live Streaming: FiLMiC Pro users can now use one or more smartphones (running FiLMiC Pro) as a cost-effective camera solution for live streaming with an HDMI live switching device, such as the ATEM Mini from Blackmagic Design. Using a compatible HDMI adaptor users can easily transform an iPhone and compatible Android handsets into powerful live camera solutions. When FiLMiC Pro is paired with our companion app FiLMiC Remote, users can also seamlessly control all cameras wirelessly for complete manual control.

Mobile Monitoring: Clean HDMI Out in FiLMiC Pro is also ideal for turning a large screen TV or computer monitor into an on-set monitor. Now users can send a high quality feed to the director, or simply create a large reference monitor for talent - all easily achieved with an HDMI adaptor or wireless connection over Airplay on iOS.

Mobile Webcam Solution: When FiLMiC Pro is paired with the Elgato CamLink 4K or equivalent, FiLMiC Pro can be used as a webcam in just about any scenario where a webcam is required, including video conferencing applications like Slack, Zoom, Google Meet, Skype or just about any video conferencing application available on a Mac and Windows computer.

A detailed tutorial and walkthrough of all the key features of FiLMiC Pro with Clean HDMI Output is available below.

Pricing and Availability
The newly-upgraded FiLMiC Pro is available immediately for both iOS and supported Android devices and is priced at $14.99 USD. The upgrade is also free for existing FiLMiC Pro customers. To download FiLMiC Pro for iOS from the App Store, please visit here . To download FiLMiC Pro for supported Android devices from the Google Play Store, please visit here .

OWC Launches New Mercury Elite Pro Dual with 3-port Hub

district.digital.creatives (District Digital Creatives) — Fri, 04 Sep 2020 17:07:11 GMT

The Digital Desktop Centerpiece for Home Office, Small Business, Creative Pros

Sponsor Post

OWC introduces the new OWC Mercury Elite Pro Dual with 3-Port Hub . Designed to handle diverse workflows, the Mercury Elite Pro Dual offers up to 32TB of storage capacity plus a built-in high-powered USB hub for accessory connectivity and device charging, easily making it the centerpiece of your digital desktop. The compact Mercury Elite Pro Dual is equipped and ready to go to give you its best performance with any USB equipped Mac, PC, or tablet from nearly the last decade. You don’t need to worry about what system you have, theMercury Elite Pro Dual with 3-Port Hub is there to provide the performance, data capacity, and hub capability your digital needs.

Highlights

Universally compatible: works with any USB-equipped Mac, PC, or mobile device such as iPad Pro, gaming consoles, you name it that supports external storage
Pro-grade storage with real-world tested1 performance
Connect and charge: Three USB ports for audio or video mixers, cameras, card readers, tablets, keyboards, mice, anything USB
Configurable capacity: up to 32TB of high-performance data storage
Plug and play & ready to go: no drivers needed and includes USB connecting cables
Optional, user configurable hardware RAID settings for 0, 1, Span, or independent mode operation for advanced users with specific application requirements
Whisper-quiet: heat-dissipating aluminum with high-efficiency cooling fan
Easy drive monitoring: front panel activity LEDs offer instant status update
Quality and Reliability assured: all solutions undergo rigorous multi-step testing and performance certification
Worry-free: up to 3 Year OWC Limited Warranty with 1 Year Level 1 data recovery and lifetime US-based support

The Digital Desktop Centerpiece

The Mercury Elite Pro Dual with 3-Port Hub gives you nearly infinite options for your workspace. This modern designed solution is universally USB compatible and can handle diverse workflows. Available plug and play ready, the Mercury Elite Pro Dual is not only superfast, convenient, and versatile, it will quickly become the centerpiece of your digital lifestyle.

High performance where it matters, the Mercury Elite Pro Dual with 3-Port Hub delivers over 1000MB/s (1GB/s) of real world1 data transfer speed. Now you can transfer the equivalent of an entire DVD in less than 5 seconds or transfer 1,000 photos in 2 seconds. Performance like this is great for backup, photography, audio, virtual machines, even video editing.

The rear-side hub offers three USB ports to connect high-speed storage with performance of up to 1250MB/s as well as keyboards, mice, phones, etc. In short, you can connect virtually any USB peripheral or device you have, and the Mercury Elite Pro Dual with 3-Port Hub supports it. Designed for the accessories of today and tomorrow, all three USB Hub ports are backward compatible, fully powered, and provide full performance. Whether connecting your keyboard and mouse, bus-powered or desktop drives, mixers or video – you are assured you have all the ports you need at maximum speed and power. And, of course, it fully supports the charging, powering, and data syncing of your mobile devices, tablets, cameras, headphones and gaming devices too.

The Mercury Elite Pro Dual with 3-Port Hub includes all the cables you need to connect to any computer or USB equipped mobile device and its whisper-quiet design lets you work without distraction. This solution is the convenient do-it-all, works-with-all solution that puts you in control of your desktop.

Need to take it on the go/disconnect it, or done with the drives? Safely dismount the OWC Mercury Elite Pro Dual with 3-Port Hub and any additional external drives connected to it from your computer in a single click with OWC’s free Dock Ejector app . You’ll be sure that all data has been safely written before any drive is unmounted, protecting against accidental data loss or corruption.

Ready to Work Anywhere
At 5.8” high x 3.3” wide the Mercury Elite Pro Dual with 3-Port Hub is compact leaving you more room to work on your desk or work area. It connects to any Mac or PC with an available USB port, so it’s universally compatible with nearly all USB computers from the last decade up to the latest machines. You can also work cross-platform with Macs and PCs using OWC's MacDrive software (sold separately).

Secure Your Workflow with OWC ClingOn
Active workspaces expose gear to bumps, shoves, and the random tail wag from a pet. Just one ill-timed touch can cause an accidental cable disconnection interruption to your workflow. The OWC ClingOn custom cable stabilizers (sold separately) screw into the OWC Mercury Elite Pro Dual with 3-Port Hub housing to secure your USB-C connections so you can work with confidence even in the highest foot traffic environments.

The OWC Mercury Elite Pro Dual with 3-Port Hub is available to purchase now at MacSales.com , starting at $249 for the 2TB solution, available up to 32TB. The Mercury Elite Pro with 3-Port Hub solution is also available for ‘DIY, 0GB add your own drives’ for $149.

G-Technology Announce ArmorLock Encrypted NVMe SSD

district.digital.creatives (District Digital Creatives) — Thu, 03 Sep 2020 18:30:17 GMT

Next-Gen Security. New-Gen Simplicity.

"We built the ArmorLock ™ encrypted NVMe™ SSD and app from the ground-up with technology that delivers revolutionary data protection that’s amazingly simple to use and doesn’t slow you down. Use the app to unlock and control who gets access to your drive – no password needed. Pro-grade performance and ultra-rugged features give you durability you can rely on. It’s next-generation security, with new-generation simplicity." Full Details

Psych 2 DIT Work Completed Using Multiple Blackmagic Design Products

district.digital.creatives (District Digital Creatives) — Thu, 03 Sep 2020 18:20:18 GMT

Blackmagic Design Stuns with the announcement of the URSA Mini Pro 12K

district.digital.creatives (District Digital Creatives) — Thu, 16 Jul 2020 19:06:11 GMT

Sponsor Post

Blackmagic Design today announces the URSA Mini Pro 12K with there own in house sensor, the camera maintains the same form factor as the 4.6K G2 with completely revamped internals according to Blackmagic Design CEO Grant Petty. Some of us were expecting 8K and a modular build, but maintaining the current form factor means no new accessories to purchase.

URSA Mini Pro 12K (US$9,995, available July 2020): a new digital film camera with an advanced 12,288 x 6,480 12K Super 35 image sensor, 14 stops of dynamic range and high frame rate shooting at up to 60 frames per second in 12K at 80 megapixels per frame. This new 3rd generation model supports new Blackmagic Generation 5 Color Science and higher Blackmagic RAW performance, all in the award winning URSA Mini Pro camera body. Blackmagic URSA Mini Pro 12K features:

• 12,288 x 6480 12K Super 35 sensor.

• Use for feature films, VFX and high end TVC's.

• 14 stops of dynamic range and native 800 ISO.

• New Blackmagic RAW for real time 12K editing.

• Blackmagic RAW optimized for Metal, CUDA and OpenCL.

• Generation 5 Color Science with new film curve.

• Shoot up to 60 fps in 12K, 110 fps at 8K and 220 fps at 4K.

• Dual card CFast recording at up to 900MB/s.

• PL mount included, EF and F mounts available.

• SuperSpeed USB-C for recording to external disks.

• Includes DaVinci Resolve Studio for post production.

"With Blackmagic URSA Mini Pro 12K we have advanced imaging technology into a new generation where new styles of shooting will be possible," said Grant Petty, CEO, Blackmagic Design. "It’s not just the 12K sensor, but there is so many other innovations in this camera. From the Generation 5 Color Science, the in sensor scaling, new symmetrical color pattern, full RGB quality and of course the 12K resolution, it's going to be exciting to see what DOPs do creatively with this technology!"

Blackmagic Design Camera Update July 16, 2020

district.digital.creatives (District Digital Creatives) — Wed, 15 Jul 2020 18:28:51 GMT

Blackmagic Design News

Join us for a live stream from Blackmagic Design as they give us an update on new developments in cameras. Live stream starts at Los Angeles 9 AM PDT, New York 12 PM EDT, London 5 PM BST on the 16th of July, and Singapore 12 AM SGT, Tokyo 1 AM JST, Sydney 2 AM AEST on the 17th of July. Watch on YouTube. https://discre.link/32hUsc5

OWC Announce the Thunderbolt 3 mini Dock

district.digital.creatives (District Digital Creatives) — Tue, 14 Jul 2020 19:41:47 GMT

Sponsor RePost

A few days after the role out of it's NVMe enclosure , they now have followed up with the announcemt of the OWC Thunderbolt 3 mini Dock. The new adapter solution harnesses the full potential of a Mac or PC's Thunderbolt 3 port, with fast data transfers, dual 4K display support, and small device charging power creating a hub of powerful connections.

The OWC Thunderbolt 3 mini Dock harnesses the full potential of your laptop’s Thunderbolt 3 port—fast data transfers, dual 4K display support, and small device charging power—creating a hub of powerful connections. Built by the world’s largest producer of Thunderbolt devices, OWC follows the highest standards in engineering and manufacturing, so you can use the Thunderbolt 3 mini Dock with full confidence in its compatibility and precision performance.New Paragraph

The OWC Thunderbolt 3 mini Dock effectively utilizes your computer’s Thunderbolt 3 40Gb/s capability to provide support for two displays up to 4096 x 2160 4K @ 60Hz without impacting performance. With huge benefits to every workflow, the OWC Thunderbolt 3 mini Dock is small enough to fit easily on a desktop or pop into a gear bag for remote use. And with HDMI and USB support, no agonizing over which device to disconnect from a port-limited machine...the OWC Thunderbolt 3 mini Dock truly lets you work at your best, anywhere.

The OWC Thunderbolt 3 mini Dock is available to order now for $119.00 at MacSales.com and other online retailers. Shipping will begin the week of July 27th.

DDC Live Thursday 6.18.20. Teacher, actor, inventor of iOgrapher David Basulto

district.digital.creatives (District Digital Creatives) — Mon, 15 Jun 2020 21:31:54 GMT

Turn your mobile device into a filmmaking, and live streaming powerhouse

Coming up Thursday, June 18, 8 pm EST, 5 pm PST DDC Live, we will welcome, teacher, actor, and inventor of iOgrapher, David Basulto.

"Turn your mobile device into a filmmaking, and live streaming powerhouse," and at age 50, that's what Dave set out to do with his "iOgrapher filmmaking case" invention giving the masses that power.

His cases are used all around the world in classrooms, by physical fitness trainers, and on film sets. Join the conversation and hear how schools, studios, and beyond are using his invention.

Register and attend on Zoom: https://discre.link/ddc_live_6_18_20

Note: Raffle and Q&A will only be on Zoom

Watch on Facebook

Page: https://facebook.com/districtcreate

Group: https://facebook.com/groups/districtcreate

Security Note: You must have a Zoom account to join this online meeting.

OWC announces Mercury Extreme Pro 6G SSD, Up To Massive 4TB Capacity

district.digital.creatives (District Digital Creatives) — Wed, 10 Jun 2020 20:15:56 GMT

Mercury Extreme Pro 6G SSD

OWC announce new Mercury Extreme Pro 6G SSD , in capacities up to a massive 4TB. OWC’s newest 2.5-inch SATA SSD is among the most versatile and reliable on the planet, featuring state-of-the-art components and engineering that bring older Macs and PCs up to current model performance levels.

The Mercury Extreme Pro 6G SSD is ideal for audio, video, photography editing, and production, for users who require sustained performance. These drives maintain consistent read/write speeds exceeding 500MB/s over entire drive capacity, where many other drives slow down after only 2-3 percent use. They offer universal fit and are ideal for both notebooks and desktops, supercharging both Mac and Windows PCs.

The OWC Mercury Extreme Pro 6G 4TB 2.5-inch SSD is available now at MacSales.com for $899.75. The Mercury Extreme Pro 6G line starts at 240GB for $79.75.

DDC Live on Zoom with Adobe's David Helmly, Sr. Discover Premiere Pro 14.2 Features

gkennedy@magekfilmworks.com (George E. Kennedy, Jr.) — Mon, 08 Jun 2020 17:13:54 GMT

Premiere Pro 14.2

Adobe recently announced Premiere Pro 14.2. While, not a major update, it carries significant improvements including stability, faster exports, faster auto reframe, improved playback, and overall performance. David Helmly, Sr. Head of Strategic Development Adobe Professional Video joins us to answer questions about the updates and the new Public Beta program.

DDC Live conversation with Larry O’Connor CEO, OWC about his company and their technology roadmap.

district.digital.creatives (District Digital Creatives) — Mon, 08 Jun 2020 16:32:25 GMT

DDC Live May 27, 2020

There’s much going on as it relates to creative professionals during COVID19, making the shift working out of spacious office spaces to upgrading their home space for production work, and OWC has hardware such as ThunderBay: 4,6,8 RAID Configurable storage, ThunderBlade] fast SSD drives, Mercury Thunderbolt Dock , Helios PCIe enclosures, eGPU enclosures, and Refurbish Macs to help creatives get up and running.

Blackmagic Design Announces Blackmagic URSA Mini Pro 4.6K Update

district.digital.creatives (District Digital Creatives) — Mon, 25 May 2020 16:55:48 GMT

Blackmagic Camera 6.9.3

Blackmagic Design announced a major new software update for the original Blackmagic URSA Mini Pro 4.6K camera that adds localization for 11 languages, the ability to embed custom 3D LUTs in Blackmagic RAW clips, new customizable frame guides as well as improved behavior for function buttons. The update also adds improved compatibility for embedded audio on SDI outputs, better jam sync timecode functionality, and much more.

Download

Mac

Blackmagic Camera 6.9.3 Features

Support for 11 popular languages.
Adds common off speed frame rate options above slider.
Ability to embed custom LUTs in Blackmagic RAW clips.
Ability to disable or remap function and HFR buttons.
Remapping of VTR and Ret buttons on B4 lenses.
Improved compatibility for embedded audio on SDI outputs.
Sidetone level adjustment.
Improved ballistics and scaling of audio meters.
Choice of -18 or -20dB reference levels for audio meters.
Quick media switching from the heads up display.
Support for HDR metadata in SDI output.
'LUT' icon to status text overlays.
'PRE' icon to status text overlays for preset timecode.
2:1, 1:1 and 4:5 monitoring frame guides.
Customizable frame guides.
Ability to lock timecode to SDI Input.
Better jam sync timecode functionality.
Improved stability when using external or program reference.
Improved accuracy of status text on SDI outputs.
Improved ND filter status text.
Improved auto exposure speed and performance.
Improved media formatting user interface.

Transform your iPad or tablet into a video rig!

Sat, 25 Jan 2020 18:06:58 GMT

iOgrapher's Most Amazing iOgrapher Case Ever!

With iPhones and iPads more powerful than ever for mobile filmmaking and live streaming, iOgrapher maker of cases for mobile devices geared towards content creators has a new astonishing case for the new generation of iPads. You can check it out below and preorder by backing it on Indiegogo .

“ Hi, we're iOgrapher! We've been helping mobile video filmmakers for years, by making the best mobile phone and tablet cases out there -- manufactured right here in California, USA.

And now, we are proud to announce...

Our Most Amazing iOgrapher Case Ever!

Since we first launched our iOgrapher Cases for iPad and tablet devices over 5 years ago, coaches, parents, teachers, and filmmakers have all RAVED about them. But we knew we could do better...”

Repost: Adobe Character Animator Receives Emmy® Award for Technology and Engineering

Thu, 16 Jan 2020 19:35:14 GMT

Sponsor RepostPost

Article on Adobe Blog

At Adobe, we’re proud to provide tools that celebrate the infinite imagination of animators worldwide, and today, we’re excited to share that the National Academy of Television Arts and Sciences has recognized Adobe Character Animator for breaking new ground in television animation.

Today, the Academy announced that it will honor Adobe Character Animator as a Pioneering System for Live Performance-Based Animation Using Facial Recognition, showing excellence in engineering creativity. In the biz, this is an Emmy! We might be on a bit of a roll here, for industry bling, since this latest award follows on from our two technical Academy Awards in 2019 for Photoshop and After Effects.

A lot has changed in the six years since Character Animator began as a research project. Through technology powered by Adobe Sensei, like auto lip sync, face tracking, and triggerable animation and audio, Character Animator complements traditional tools. And it empowers storytellers to bring artwork to life, in high-quality recorded and live animations faster, and with new levels of flexibility.

We share this award with the visionary customers who took the leap with us — the actors, animators, and directors who were willing to “perform” their characters, in real-time, in front of the whole world.

Some of the pioneers using Character Animator include the ever-imaginative team at The Simpsons, who took a chance and used it first in live TV broadcasts. Talk about jumping in at the deep end. The result – hilarious and improvised ‘audience call in’ segments featuring the great man himself, Homer J. Simpson, live on air at primetime.

Tim Luecke and the small team at Showtime’s Our Cartoon President bet an entire production pipeline for a network show on Character Animator. Character Animator is probably the ultimate tool for our time as Tim and his team leaned on it to keep up with the wild developments in current events every week. And thanks to the countless artists, professionals and early adopters that created live interactions with their cartoon creations, and let them speak directly with fans, young and old, across broadcast and social media.

We are honored by the award and share it with all the creative minds who have trusted Adobe to bring their characters to life.

And last, but certainly not least, thanks to everyone on the Character Animator team and in Adobe Research who had a hand in envisioning the possibilities, bringing the technologies through research to the users, building out the user experience, and continuing to develop this tool.

We can’t wait to celebrate with you at the awards ceremony in Las Vegas on Sunday, April 19, 2020.

Vlog University kicks off at the Los Angeles Convention Center on January 31-February 1, 2020!

Wed, 15 Jan 2020 22:53:45 GMT

Vlog University will focus on three main components of success: producing visually compelling video content, generating followers, and the monetization of your online channel. The core of the program features Justine Ezarik , the industry-leading influencer. Training sessions will also cover topics such as writing scripts, budgeting, setting up your studio, video editing techniques, and an overview on selecting the right gear, work stations, and cameras. We will also have unique panel discussions led by the Apple product team, YouTube specialists, and TikTok influencers!

To further your knowledge on all the latest tech and editing software on the market, Vlog University will host an expo night event. Companies are going to gather here to show off their latest gear, including cameras, lighting equipment, and more. We have Sony, Blackmagic Design, Nanlite, and Saramonic exhibiting in the showroom!

Don’t miss this opportunity to learn from top content creators, professional video editors and influencers in the industry on January 31-February 1, 2020. As a District Digital Creative member, you can save 10% on your pass using code: DDC10. Visit the event website for more details on the conference and available pass options!

NXT Meet: The Creativity 2020 Q&A Panel Discussion w/ PRO Industry Leaders.

Thu, 05 Dec 2019 23:08:39 GMT

Meetup

Join District Digital Creatives on December 19, 2019, for our 2019 Wrap-up Meet, at Mac Business Solutions in Gaithersburg, MD. on the Shady Grove Metro Stop.

We will explore what to expect in 2020 in terms of content creation with "The Creativity 2020 Q&A Panel Discussion," featuring Richard Harrington - RHED Pixel , Cirina Catania - The Catania Group, and David K. Helmly, Sr.- Adobe .

The MBS team will be on hand to provide technical services for minor Mac computer related issues before the event. They will showcase the new 2016 Macbook Pro and answer questions about other production and post-production gear they offer.

There will be networking and refreshments before the event. Get out and meet fellow DC, Maryland, and Virginia Creatives. Trade business cards. The person next to you may be a resource for your next project. Explore and discuss with your creative peers about what's new in production and post-production in the DMV community, and then get your questions answered about all the post-production, camera, and hardware news from 2019, and get those questions answered about the 2020 production, and post-production landscape for creatives.

Quick Registration below , Full Details on Eventbrite Here: https://ddc-12-19-meet.eventbrite.com

Richard Harrington

CEO & Founder of RHED Pixel, Inc.

Rich is a member of the National Association of Photoshop Professionals Instructor Dream Team, and a popular speaker on the digital video circuit. He has been the Program Manager for the Post|Production World Conference since 2003.

Rich is an internationally published author. His book, Photoshop for Video, was the first of its kind to focus on Photoshop’s application in the world of video. He is also a contributing author for From Still to Motion, Video Made on a Mac, Final Cut Pro On the Spot and Professional Web Video.

A Master’s Degree in Project Management fills out Rich’s broad spectrum of experience. Rich enjoys traveling and digital photography, as well as teaching his kids the joys of science fiction and comic books. @rhedpixel

Cirina Catania

Writer/Director, Cirina Catania, is the Founder and Lead Creator at The Catania Group, a partner in Lumberjack System and a creative evangelist for companies such as Blackmagic-Design and OWC. She is one of the original co-founders of the Sundance Film Festival and an active member of the PGA, WGA, IATSE, NPPA, and the National Press Club.

Her company is currently in post-production on a TV Series, “Cowboy Country,” the full-length documentary, “Kionte Storey, Athlete,” and a 1/2 hour doc, “Chuck Caldwell - Artist of War.”

Cirina hosts, produces and writes the weekly NPR-style podcast, “OWC RADiO” featuring in-depth interviews with technology experts and creative artists.

Cirina has chased lightning for National Geographic, filmed Danny Glover in South Africa for the UN Goodwill Ambassador Program, shot avalanche control training footage for the National Ski Patrol, written and directed 48 branded shorts for Chivas Regal and MSN; and post-produced the Mi3 Collector’s Edition DVD’s. She has written, directed or shot for reality TV series such as, “Untold Stories from the ER;” “Ancient Aliens,” “Southern Steel;” “Worst Case Scenario;” and “Merge.” Cirina previously worked for eight years at MGM/UA and United Artists in the worldwide theatrical division as VP Worldwide Marketing. @cirina

David K. Helmly, Sr.

David K. Helmly, Sr., Head of Global DVA Field Operations at Adobe Systems, Inc.

Dave Helmly is the Senior Manager for Pro Video for the Americas Adobe Systems Incorporated. As the Senior Manager for Pro Video for the Americas at Adobe, David Helmly manages a Senior Field Team specializing in Pro Video/Audio production workflows for film and broadcast in North and South America. Helmly also travels abroad giving lectures and participating in various industry advisory councils and panel discussions.

Helmly has worked for Adobe for nearly 20 years and has specialized in digital video and digital imaging products for more than 25 years.

Prior to Adobe, Helmly worked for a digital video pioneer, Radius Inc, a well-known hardware company developing digital video and digital imaging accelerator products for Adobe's award-winning line of software. You can watch his latest videos at http://www.youtube.com/user/dhelmly.He also has his own blog site on Adobe.com where he discusses new hardware and software tools and workflows for Adobe’s Video and Audio applications at http://blogs.adobe.com/davtechtable. @dhelmly3

Indie Filmmaking: Creating Artificial Sunlight

Fri, 22 Nov 2019 16:22:22 GMT

rePOST: Aputure lighting

As a filmmaker, you are clearly going to shoot plenty of scenes on sunny days. Sometimes the sunlight can really help the look of a shot, and natural light can be really beautiful. But when the sun isn’t working exactly the way you want it, you need to know how to use artificial light to act as sunlight. Knowing how to control the natural sunlight and place lights to fake your own sunlight will help you make the most of your daylight scenes. Today, director of photography Carissa Dorson walks us through how to recreate sunlight for a day interior scene that could fit into a mystery or drama film.

In this video, Carissa shows us the steps she takes when recreating sunlight indoors.

First, she shoots a master shot that follows the character as she walks through the room. For these scene she uses multiple lights to create the textures of sunlight. Next, she shoots a wide shot facing the window that creates a silhouette of the character. This establishes the space and shows the direct sunlight. Lastly, she shoots a medium close up of the character reacting to something in the scene. The tighter shot allows her to fine tune the lighting.

The main techniques we will be discussing today are light quality, color temperature, and negative fill. Light quality refers to whether a light is hard or soft. Since the sunlight is a hard light source, we used hard lighting in the scene to make it feel like sunlight. Color temperature refers to how warm or cool a light source is. Outside during the day the light is more blue, so it’s important to have your lights match that. Negative fill is a technique for using black fabric to take away light in a scene. When working with natural light, it can be more useful to take away light rather than to add light.

At the end of the day, lighting a scene using sunlight is all about realism. If the natural light in the environment is what feels the most real to you, then use that. If adding a single light and a lot of negative fill feels the most real, then use that. The lighting is dependent on the scene itself, and should not take away from the scene. Ultimately the best lighting is whatever tells the story the best.

Connect with Valentina: https://www.twitter.com/valentinavee

Connect with Carisa: https://www.instagram.com/cldorson/

Connect with Catarina: https://www.instagram.com/iamcatarina...

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��How to Light the Cinematic Film Look!

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Pocket Cinema Camera 6K Shoots Rare Show Content for Mumford & Sons

Fri, 15 Nov 2019 14:00:55 GMT

Sponsered Post

Blackmagic Design announced that award winning live director, Steve Price, used the Blackmagic Pocket Cinema Camera 6K to create a cinematic, slow motion backdrop for Mumford & Sons’ recent appearance at the iHeart Radio music festival in Las Vegas.

Although the rise of LED technology has seen screens become an essential creative element of concert and festival productions, some artists, including the British indie folk band, prefer the focus to be on the live performance, with some clever staging and lighting to help lead the atmosphere.

With two weeks to go till the band were due to headline the festival, where the stage was almost entirely built from LEDs, a new approach was critical. “Other acts on the bill included Miley Cyrus, Alicia Keys, Def Leppard and Chance the Rapper, so it was important to stand out visually and create a unique identity for the set given the diverse lineup,” begins Steve.

“We decided to keep things simple with a classically beautiful ‘analogue’ aesthetic, with some slow motion, based around nature and people,” he reveals. “Time was tight as we were also in the midst of a US tour, and I needed to get back to the UK to pick up kit.

“I needed a camera that was capable of 120fps, that also wasn’t too bulky for a one-man shoot. That brought me to the Blackmagic Pocket Cinema Camera 6K which allowed me to travel as light as possible, while still being able to produce the stunning image that I like in Blackmagic’s larger cameras.”

Instead of staying on the tour bus, Steve drove into the Arizona desert. “I had a handful of lenses with me, and I picked up a tripod in Tucson, but I didn’t need anything else,” he says. “I was able to just get out there and shoot; it’s an area I know well and after making a few calls all the locations were sorted.”

Having already got footage of the band and crowds at previous shows, Steve focused on capturing dramatic desert landscapes and charging horses. “I filmed the horses in 120fps using ProRes HQ in film mode, and it looked incredible on screen. The band saw it at sound check for the first time and really loved it."

He concludes: “I’ve been working in film for a really long time. Back in the day, things were slow, time consuming, post heavy and expensive, and you always wished for things to get a bit quicker, a bit easier, a bit more efficient.”

“Some manufacturers did get closer to that over the years, but I feel Blackmagic has finally got there. Not so long ago this kind of shoot would have been impossible at short notice, but now I’m at a point where I can confidently just go out and shoot anything, knowing the footage will not only be beautiful but easy to work with.”

Watch: Adobe MAX 2019 Playback

Thu, 07 Nov 2019 13:19:36 GMT

Accelerating Your Creativity

Creativity is what sets humans apart, and it’s never been more important. But our innate creativity is held back by one thing: time. The Adobe Creative Cloud team takes center stage to show how we’re accelerating creativity with new products and feature improvements. This includes new and improved tools that help you create anywhere and collaborate efficiently, and products and services that help you master new mediums and techniques.

Sneaks

Leica Announces the SL2: A 47MP Full-Frame Mirrorless Camera With Body Image Stabilization & 4K Recording Cine Mode

Wed, 06 Nov 2019 16:34:42 GMT

rePOST Adorama 42 West

Curated

“As a new member of the SL series, the new Leica raises the bar for image quality for mirrorless cameras while retaining the signature Leica style. The new Leica SL2 blends a new 47-megapixel CMOS sensor with built-in body image stabilization to deliver exceptional photo and 4K video. Designed with a slim, weather-sealed frame and a revised menu interface, the Leica SL2 is more than impressive.”

Exceptional Shooting Performance:

The Leica SL2 full-frame mirrorless camera has a 47 megapixel CMOS sensor for stunning image detail. A sensor that hefty offers an ISO range that spans from 50 to 50,000 to give users clarity and reduced noise in low-light settings. To top it off, the advanced sensor is paired with body image stabilization to produce the sharpest photos and videos possible, even with a slower shutter speed. And to take the stress out of action shots, the autofocus on the new Leica tracks both faces and bodies with fine-tunable settings.

The Leica SL2 is a useful companion for videographers with its 4K/60fps and 5K/30fps cropped video shooting capabilities. To further cater to cinematographers’ needs, Leica included Cine Mode workflow, which changes shutter speed to shutter angle and ISO to ASA. The SL2 is designed with a 3.5mm microphone jack to properly capture audio when shooting footage.

The SL2 equips users with different shooting modes to fit their creative needs. The Maestro III Processor allows the capture of burst shots up to 20fps electronically and 10fps mechanically, all in 4K. Adjusting the “Long Exposure Noise Reduction” setting shortens the time needed for a well-executed long exposure shot. The Multishot function (which will come via a 2020 firmware upgrade) uses image stabilization to stitch photos together into a 187-Megapixel masterpiece.

Key Features:

47 Megapixel full-frame mirrorless CMOS sensor
4K/60fps and 5K/30p cropped video recording
Autofocus with face and body tracking
Cine Mode for cinematographers
Built-in body image stabilization
3.5mm jack for headphones or microphone
Maestro III processor
New EVF with 5.76 million dots
3.2-inch rear LCD
Ergonomic with IP54 weather rating
Three-button layout

The End of the F***ing World Season Two Graded in DaVinci Resolve

Wed, 06 Nov 2019 14:38:12 GMT

Sponsor Post

Blackmagic Design announced that CHEAT has continued its expansion with DaVinci Resolve Studio, adding a new HDR ready grading suite as well as a research and development lab.

This adds to CHEAT’s three preexisting grading suites, which include Linux machines with dual Intel Xeon E5-2600 v4 processors supported by four Nvidia GTX 1080Ti GPUs and the DaVinci Resolve Advanced Panel.

The first project to be realized through the new workflow is The End of the F***ing World season 2. Returning following the critically acclaimed first season, which has been nominated for BAFTA and Primetime Emmy Awards, the grade on series two was led by CHEAT’s owner and colorist Toby Tomkins.

“Season two was a challenge because it introduced a new director, new DPs and a new production designer. It was also our first Dolby Vision grade as a facility,” says Toby. “There was a lot of pressure to ensure we delivered to the same high standards expected of us from our work on season one.”

D lab to help adapt all of its proprietary film emulation look up tables, originally used in series one, for the HDR delivery on the latest season. The result was a core node tree made up of 18 components, designed to provide a cinematic base look for every shot. Grading with 4.5K rushes Toby then refined the base look to create a neutral palette and analog film aesthetic that stayed true to the first series.

“The software CMU in DaVinci Resolve was a lifesaver, as it meant I could simultaneously monitor dual output to see the HDR on one screen and the SDR on another, at no additional cost,” Toby explains. “If something didn't look right, I could quickly adjust Resolve’s trim controls to ensure the SDR grade wasn't compromised. We would have previously had to use a hardware CMU, which would have been a lot more expensive and harder to use.”

Toby also manually created his own render transform from the project camera source to CHEAT’s scene referred space using DaVinci Resolve, allowing the team even greater control over the final look. “The transform was flexible enough for all the lighting situations we had, and ensured there was more latitude in the HDR range if we needed to use it, while maintaining the same amount of shape in the SDR range,” he concludes.

“From now on, any client that wants a filmic print look, but with the flexibility and extended opportunities of HDR, can come to us for a distinctive aesthetic catered to their needs. That’s crucial with our ever increasing client demand to deliver in Dolby Vision.”

The End of the F***ing World Season 2 will premiere in November on Channel 4 in the UK.

CHEAT London

OWC Release Thunderbolt 3 Dock for PRO Creatives w/ CFast 2.0 and SD 4.0 Readers

Wed, 06 Nov 2019 14:06:23 GMT

Curated

“THE BEST NETWORKING, MEDIA, AND DOCKING FOR PRO CREATIVES”

OWC ®; a leading zero emissions Mac and PC technology company and one of the world’s most respected manufacturers of hard drives, SSDs, PC & Mac docking solutions and performance upgrade kits, today announced the availability of the all-new OWC Thunderbolt 3 Pro Dock . Designed by professionals for professionals, the newest addition to OWC’s lineup of connectivity solutions was built from the ground up to meet the rigorous demands of today’s professional video production, image processing and extreme performance data workflows.

High Bandwidth and Flexibility for Demanding Hi-Res Needs

Pro-level docking stations must be equipped to handle any situation in a production workflow. The OWC Thunderbolt 3 Pro Dock is the ultimate on-location, post production “mission control” solution, with an unrivaled combination of super-fast 10Gb Ethernet, CFast and SD card readers, two Thunderbolt 3 ports, three USB 3.1 ports, and full support for eSATA devices and drives. For maximum efficiency for multiple card transfers, the CFast and SD 4.0 card readers are conveniently accessible on the unit’s front side. And while big on pro-level features, OWC’s new Pro Dock sports a compact footprint roughly the size of a single external drive enclosure.

Extreme Performance and Unprecedented Versatility

With this unique productivity configuration, creators can ingest and work with 4/8K RAW video and RAW photo files immediately at speeds up to 600MB/s. Collaborate in a shared workflow environment via the 10Gb Ethernet port to keep your projects streaming from file setup to final renders with headroom to spare. The new OWC Thunderbolt 3 Pro Dock shines with versatility, supporting either one or two 4K monitors, or alternatively one 5K monitor connected to the second Thunderbolt 3 port. Daisy chain up to five additional Thunderbolt devices like studio-level storage, RAID arrays, PCIe expansion, or Thunderbolt displays – all while powering a laptop and managing the typical USB 3.1 devices required to get the job done.

OWC Thunderbolt 3 Pro Dock Delivers

(2) Thunderbolt 3 ports delivering lightning-fast 40Gb/s transfer speeds, with backward compatibility for all Thunderbolt 2 devices
Blazing media transfer at speeds up to 600MB/s – (1) CFast 2.0 Card Reader and (1) SD 4.0 Card Reader
Bandwidth to edit from your server – (1) 10Gb Ethernet port
Power while working – 60W notebook charging
Connect your peripherals – (3) USB 3.1 Gen 1 ports
See your work – (1) DisplayPort 1.2 port for an additional monitor (up to 4K), or one 5K monitor via Thunderbolt 3 port
Securely powered – locking power connection
Multi-bay external drive access – (1) eSATA port with port multiplier support
Thunderbolt certified for Mac and Windows

“Many of the world’s most talented content creators and producers have been loyal OWC customers for decades because pros know our performance and reliability is simply unmatched, and they won’t settle for second best,” said OWC founder and CEO Larry O’Connor. “We built the new OWC Thunderbolt 3 Pro Dock for them, and I am confident it will take their creativity and productivity to the next level in a world where speed, versatility and reliability are everything.”

Availability

The OWC Thunderbolt 3 Pro Dock is available now, MSRP: $339.99.

Blackmagic Design Announce Camera 6.6 Update

Fri, 25 Oct 2019 06:31:18 GMT

SPONSOR POST

Blackmagic Design Pocket Cinema recieved feature rich update that users requested.

What's new in Blackmagic Camera Setup 6.6 New features in Blackmagic RAW

Blackmagic RAW Avid Media Composer plugin general performance and stability improvements.
Blackmagic RAW Adobe Premiere Pro plugin general performance and stability improvements.
CUDA general performance and stability improvements.

New features for Pocket Cinema Camera 4K

Added support for Blackmagic Pocket Battery Grip.
Added support for language localization.
Added support for built-in camera horizon tool.
Added support for 4K 2.4:1 4096 x 1712 recording in Blackmagic RAW up to 75 fps.
Added support for 2.6K 2688 x 1512 up to 120 fps recording in Blackmagic RAW suitable for Super16mm lenses.
Added support for 2.8K 4:3 2880 x 2160 recording in Blackmagic RAW up to 80 fps for anamorphic lenses.
Added support for 2x desqueeze preview when recording 4K 4:3.
Added support for 1.33x desqueeze preview.
Added support for pinch to zoom up to 8x magnification.
Added USB PTP control support.
Added ability to embed custom 3D LUTs in Blackmagic RAW clips as metadata.
Added common off-speed frame rate options above slider when changing frames.
Added common ISO options above slider when changing ISO settings.
Added 1:1 and 4:5 frame guide options.
Added ability to type in customized frame guide ratios.
Added ability to monitor voltage level when powering via 12V DC connector.
Improved auto focus performance.

New features for Pocket Cinema Camera 6K

Added support for Blackmagic Pocket Battery Grip.
Added support for language localization.
Added support for built-in camera horizon tool.
Added support for pinch to zoom up to 8x magnification.
Added USB PTP control support.
Added ability to type in customized frame guide ratios.
Improved auto focus performance.

No new features in 6.6 for other camera models.

URSA Broadcast Captures Hit Chilean Television Series Amor a la Catalán

Fri, 25 Oct 2019 05:20:52 GMT

Sponsor Post

Blackmagic Design announced that Chilean production company, AGTV, incorporated a full Blackmagic Design workflow, including six URSA Broadcast cameras, to produce the hit television series “Amor a la Catalán” for Canal 13 , the second oldest television station in Chile.

“Amor a La Catalán” is a romantic comedy series created and directed by acclaimed television director and producer, Vicente Sabatini, and telenovela producer and owner of AGTV, Pablo Ávila. Having premiered this summer on Canal 13 with a second season already in the works, the series tells the story of Fernando, a baker who hides a secret from his family for more than thirty years.

To bring the story to life with a higher production value while still staying on budget, AGTV decided to incorporate a Blackmagic Design workflow, starting with the URSA Broadcast cameras.

“We saw how Canal 13 used Blackmagic Design on ‘Runaways,’ and we wanted to recreate the workflow to achieve the same quality,” said Cesar Norambuena, operations manager at AGTV. “For ‘Amor a la Catalán,’ we had the URSA Broadcasts divided into two groups: unit one consisted of three cameras used as our main cameras in studio, and unit two consisted of two cameras used mostly for outdoor scenes. Our sixth camera functioned as a backup for the crew.”

By using three cameras at once in studio, Norambuena and the crew were often able to shoot scenes in one take, eliminating the need for reshoots to capture different angles or reactions from the actors. Unit two was set up for “grab and go” use, with the cameras’ batteries always charged, allowing the crew to grab them as needed to shoot outdoors.

In order to help maximize efficiency during production, the crew used an ATEM Camera Control Panel for monitoring and adjusting color balance, shutter speed and more, freeing the camera crew to focus on other needs during shooting.

“Our shoots can last up to ten hours, and the URSA Broadcasts have never failed us,” Norambuena noted. “They are very reliable, and our crew has been able to quickly adapt and use them efficiently during long shoots. Many members of our camera crew were used to regular broadcast cameras, so we were able to find a camera that is basically two in one, with traditional broadcast controls but cinematic features.”

Norambuena and the crew took advantage of the URSA Broadcast’s ability to shoot in 4K, as well as its rich colors and crisp images, the ability to use their existing lenses and the extensive support for different codecs.

AGTV also incorporated ATEM Television Studio Pro HD and ATEM Production Studio 4K live production switchers, a HyperDeck Studio Mini recorder as part of both camera units for additional recording, a SmartScope Duo 4K monitor, and an ATEM Talkback Converter 4K, which allowed the camera operators to remain in communication with the director while distancing themselves from the URSA Broadcasts in order to let the action happen uninterrupted.

“Using Blackmagic Design on this production has been an incredible experience. The gear has integrated into our workflow seamlessly and the quality is top notch. We’re excited to start the next season of ‘Amor a La Catalán’ and once again trust Blackmagic Design for an incredible production,” Norambuena concluded.

Aputure Launch The Aputure MC RGBWW Film Light

Wed, 23 Oct 2019 19:07:56 GMT

We are fans of the Aputure 300D Mark II and 120D Mark II, and today Aputure is launching the Aputure MC announced back at NAB 2019 .

ANY COLOR. ANY TIME.

Flexibility at it s Finest

“ The Aputure MC is Aputure’s first RGB WW film light. This light features full HSI color control and a CCT range of 3200K 6500K, giving you a full range of color options. On top of that, the built in magnets and footprint roughly the size of a credit card allow this mini RGB light to fit anywhere you could ever need. The MC also features USB C PD and Qi wireless charging , so it’s always ready to go . It is also compatible with Aputure’s own Sidus Mesh technology, so you can use the Sidus Link app to unlock all of the light’s capabilities The lates t in the line of M Series lights, the MC is Aputure’s smartest light to date, offering . you immense flexibility. ”

Any Color

The MC is Aputure's first light to include full Hue, Saturation, & Intensity (HSI) color control. With 360° of hue and 100 levels of saturation adjustment , you have the power to convenient ly reproduce any color all in the palm of your hand.

Stellar Color Quality

A s with a ll Aputure lights, the MC prides itself in its color rendition, with CRI and TLCI scores of 96 ++, and SSI scores of 84 in tungsten and 74 in daylight This is all accomplished by an underlying technology that reproduces color better and more accurately than ever before: RGBWW. Unlike traditional RGB, the Aputure MC isn’t just a light that relies on Red, Green and Blue LED s . By adding two additional white LEDs one balanced at tungsten and a second at daylight the Aputure MC is an impossibly small light that competes with industry giants.

HSI/CCT/FX Lighting Modes

The MC is Aputure's first mini LED that offe rs fine CCT control. You can accurately choose any color temperature in the MC's expanded bi color range between 3200K 6500K, in increments of 100K, allowing you to adapt to any situatio n

In the MC's FX mode toggle between any of the MC ’s nine built in lighting effects presets to help you out in a pinch. If you need more control over your lighting effects, the Sidus Link app will allow you to adjust all of the effect s’ parameters. Lighting effects include: Paparazzi, Fireworks, Faulty bulb, Lightning, TV, Pulsing, Fire, Party, Cop Car.

Any Place. Any Time.

As part of our M Series of mini LEDs, the 130g MC easily fits in the palm of your hand. With a footprint only slightly larger than a credit card and thickness of only 17mm (11/16 in.), the MC fit s anywhere . The built in magnets and 1 4" 20 screw mount allow you to place and use it in seconds. Use it as an on camera light, or hide it off screen for an app controllable accent or fill light. With its lightweight, slim profile, you can tuck several MCs in your camera bag or pockets, so you're always ready to go.

Sidus Link Control

A Truly Smart Light

As the first RGBWW light to be compatible with the Sidus L ink mobile app, the true abilities of both the light and the app are finally unlocked.

Sidus Mesh

The Sidus Mesh technology built into the MC, the backbone of the Sidus Link mobile app control, is perhaps the most advanced smart light technology yet. T he proprietary Sidus Mesh system allows each light to communicate with each other and with the mobile app simultaneously. Each additional light increases the integrity of the network. This enables you to control lights within a 400 meter range, without the need for an external router, as long as there are lights at most 80 meters between each other.

*Given ideal conditions.

Ultimate Control

With the current Sidus Mesh technology, you can control up to 100 lights in a stable network. Control a single light or all of them simultaneously from the Sidus Link mobile app for iOS and Android . Sidus Link allows for finer control of the light's HSI, CCT, and FX functions by enabling additional control methods and parameters. Color Picker

Color Picker

One of the most groundbreaking features of the Sidus Link app is the Color Picker function. With the Color Picker, you can simply point your phone's camera at a color, capture it, and your light will reproduce it instantly . What you see is what you get. Just grab the color and start shooting!

Wireless Charging

Enjoy Freedom from Cables

The MC is compatible with the Qi wireless charging protocol enabling it to be used with the majority of the wireless chargers on the market. Simpl y place it on a wireless charging pad and the MC will be ready when you need it MC

MC Charging Case

Durable, and Convenient Wireless Charging Case

The MC is also availabl e in a 4 Light Travel Kit and 12 Light Production Kit. Each of these kits comes with a custom hardshell wireless charging case to protect and conveniently charge your MCs wherever you go. Make your workflow as efficient as possible. The 4 Light Travel Kit was designed for guerilla and travel filmmakers, so you can slip the case into your camera bag or backpack while you're on the move. The 12 Light Production Kit was made for owner operators and rental houses, including not only an accessory drawer built i nto the ca se, but also enough lights to pull off the unimaginable. Just plug in a D Tap or power cable and you're ready to go.

USB Type-C Charging

Supercharge Your Battery

Equipped with a USB Type C charging interface, the MC is the first Aputure light to support the PD (Power Delivery) quick charging protocol. With 18W USB C PD charging the MC can reach a full charge in a little over 90 minutes.

Ready for Any Challenge

Supercharge Your Battery

Th e MC is a light that is designed to be ready for any situation, whenever you need it. Offering multiple convenient power options, control methods, and mounting solutions, this fixture is truly the swiss army knife of light .

Best Headphones For Mixing?

Tue, 22 Oct 2019 06:01:48 GMT

via Deity Microphons

Best Headphones For Mixing? What are your favorite headphones for mixing? Does it even matter? When is it best to NOT use a dead cat? Tips for syncing audio in post? You asked - we answered! Check in with Andrew and Steve on this Mailbag episode of Sound 101 for all these answers and more.

Pro sound mixers, post wizards and boom ops will all learn something from this one! We even cover the elusive lobar pickup pattern. And how best to boom an echoey room!

Be sure to leave us questions in the comments below that we can answer in future episodes! If your question is the first one featured, you will win a free V.Lav!

#headphones #pickuppatterns #deadcat

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Beyond the Darkness with Roy H. Wagner, ASC

Wed, 09 Oct 2019 19:05:58 GMT

The Beyond the Darkness series is now available free-of-charge on VideoVillage.pro's YouTube channel!

Named one of the world's top 100 Directors of Photography by Kodak, Roy H. Wagner, ASC invites you to join him on an exciting journey “ Beyond the Darkness .” In this online teaching series, Roy and his accomplished guests offer their insider knowledge and the benefit of decades of lessons learned to catapult your career to new levels of success.

Subscribe on YouTube

“Director of Photography Roy H. Wagner ASC shares a lifetime of Hollywood insider knowledge and cinematography experiences with his viewers.

Welcome to an exciting teaching series with two-time Emmy award-winning cinematographer, Roy H. Wagner. With a career spanning more than 50 years across the motion picture and television industries, Roy is a member of the prestigious American Society of Cinematographers (ASC). Named one of the “Top 100 Directors of Photography in the World” by Kodak, Roy goes “Beyond the Darkness,” offering his insider knowledge and the benefit of 50 years of lessons learned to catapult your career to new levels of success.

Beyond the Darkness is a unique online, digital university, presented by Roy H. Wagner, ASC. The platform is designed to take you - the filmmaker - on an immersive journey into the world of cinematography -- from a look into Old Hollywood and surviving in the politics of today’s Hollywood, to tools and technologies of the trade, to a complete look at Roy’s process in step-by-step views of his many widely-successful projects. Beyond the Darkness is the culmination of thousands of hours of study, phone calls, and interviews and over fifty years of on-the-job experience. Fast track your learning curve and your career by subscribing to Beyond the Darkness on YouTube today.”

Chase Jarvis: Adaptation, Self-Awareness and Art of the Side Hustle with Chris Guillebeau

Sat, 28 Sep 2019 04:13:15 GMT

Curated Content

“Chris Guillebeau has traveled to 193 countries. And just to be clear, that is all of the countries recognized on the planet. He is the first person to do it before the age of 35. More importantly, he has built online businesses, side hustles, and mastered the art of a non-conforming lifestyle since he was 19 years old.

There's almost nobody better person equipped to talk about starting lots of businesses. He has a daily podcast called Side Hustle School where he's featured more than 850 different side hustle businesses + featured many in his new book called 100 Side Hustles. Chris also started half a dozen or more himself, started one of my favorite conferences, The World Domination Summit, and is a New York Times bestselling author of books like the $100 Start Up and The Art of Non-Conformity and many others. This guy is a beast and he's so savvy, so humble.

In this episode:

* We go into details about some of Chris' favorite side hustle businesses he's come across in his podcast & writing this book - what are some of the most common traits and failures.

* Chris shares his experience with depression, how he's faced it, and focused on some self-care.

* We talk about transitions, how to know when to quit something or to push through.

* and so much more...”

Creative Calling by Chase Jarvis In Book Stores

Sat, 28 Sep 2019 03:25:00 GMT

Creativity changes everything

Life isn’t about “finding” fulfillment and success – it’s about creating it. The good news? Creativity isn’t a skill—it’s a habit, a mindset, and a practical lever that transforms our lives and delivers vitality to everything we do. Your personal power awaits.

Bonuses with Purchase

To help you go further and get the most out of this book, click the button.

SeeBoundless Creates 3D Augmented Reality Model of Amazon Rainforest with Blackmagic eGPU Pro

Fri, 20 Sep 2019 17:35:08 GMT

SIGMA CINE LENS welcomes a new series “FF Classic Prime Line” to the lineup

Sun, 15 Sep 2019 19:02:36 GMT

State-of-the-art resolution meets the classic “look”.

The SIGMA Corporation announced the launch of “FF Classic Prime Line” as a new series in the SIGMA CINE LENS.

FF High Speed Prime Line has been offering the highest resolving power in its class, that is compatible with 8K shooting with large format sensors, while achieving outstanding compact design. Based on this product line, the FF Classic Prime Line incorporates more non-coated optical elements to achieve unrivaled expression. It retains the high resolution capability that SIGMA CINE LENS is well known for, and offers a unique combination of low contrast and artistic flare/ghost in the image. As with all other lenses from the FF High Speed Prime Line, it creates beautiful bokeh effects to improve creativity.

FF Classic Prime Line has implemented newly developed coatings on the glass elements and offers consistent T value across the lineup (14mm and 135mm at T3.2 and the rest of the lenses at T2.5). This will greatly contribute to the effective workflow in postproduction. Furthermore, it is compatible with the communication protocol of Cooke “/i Technology”, thus an ideal tool for shooting and editing with the latest technology, such as VFX. A special coating is implemented on the front and rear elements so that the lens durability is ensured as with all other cine lenses from SIGMA.

“Classic Art Prime” is a new solution from SIGMA that is required for the most advanced technology for classical expression. The “look” that FF Classic Prime Line can offer will enable cinematographers to explore new possibilities in movie creation. full details: https://discre.link/2Amyfdy

RePOST - Coming soon to Premiere Pro: Auto Reframe

Sun, 15 Sep 2019 14:12:12 GMT

Auto Reframe allows Editors and Content Creators to cut a sequence for regular output then make a copy of that sequence and apply AutoReframe for social media destinations.

While the process is automatic, editors and creators can tweak the Reframe then Nest the sequence to preserve adjustments.

AutoReframe is powered by Adobe Sensei. -@gekjr

theblog.adobe.com

“Today, we’re excited to announce a new feature coming to Premiere Pro that will be a must-have in the age of content and platform proliferation. Powered by Adobe Sensei , our AI and machine learning technology, Auto Reframe intelligently reframes and reformats video content for different aspect ratios, from square to vertical to cinematic 16:9 versions. Like Content-Aware Fill for video in After Effects (introduced this spring), Auto Reframe uses Adobe Sensei to accelerate manual production tasks, without sacrificing creative control. Through Adobe Sensei, we’re leveraging over a decade of AI and machine learning capabilities built into Adobe’s flagship products.

For broadcasters, or anyone else who needs to optimize content for different platforms, Auto Reframe will help you get there faster. If you’re on the ground at IBC, we’d be happy to show you how Auto Reframe analyzes, crops, and pans footage to prioritize the most compelling parts of your video”

How to use Auto Reframe in Premiere Pro #PremierePro #AutoReframe

Blackmagic Design Announces New Blackmagic Video Assist 12G

Fri, 13 Sep 2019 09:15:28 GMT

With Blackmagic RAW recording

Blackmagic Design today announced Blackmagic Video Assist 12G which are new models of the company's popular combined monitoring and recording solutions. These new models feature brighter HDR screens, built in scopes, upgraded batteries, 12G-SDI and much more. Blackmagic Video Assist 12G will be available in September 2019 from Blackmagic Design resellers worldwide from US$795.

The new Blackmagic Video Assist 12G HDR adds professional monitoring and recording to any SDI or HDMI camera in all HD, Ultra HD, 2K and 4K DCI formats. The new improved design includes innovations such as brighter screens for HDR work, tally indicator, 4 built in scopes, enhanced focus assist features, 3D LUTs and native Blackmagic RAW recording from supported cameras. With 12G-SDI and HDMI 2.0 on both 5" and 7" models, customers get support for recording from virtually any device in all formats up to 2160p60. A brighter touch screen ensures a better view of their recording when shooting HDR digital film, or when shooting outdoors in sunlight. The new design also features upgraded batteries and supports two standard Sony L-Series batteries. This means Blackmagic Video Assist 12G is incredibly versatile and is the perfect solution for the next generation of digital cinema shoots, live production mastering, broadcast testing and measurement.

There are two models of Blackmagic Video Assist 12G, with each model including an innovative touch screen user interface with deck controls, as well as a large screen to view recordings. The Blackmagic Video Assist 7" 12G model also includes 2 media slots, while both the 5" and 7" models include 12G-SDI for high frame rate Ultra HD, analog inputs for audio, USB-C external disk recording, plus a front panel speaker and side mounted headphone jack. Customers also get 2 rear battery slots for mounting Sony L-Series batteries, so customers have enough power for the brighter HDR screens and higher speed Ultra HD electronics. A 12v universal power supply is included for studio or on location use.

Blackmagic Video Assist 12G HDR is an ideal upgrade for cameras, as it’s super bright 2500nit display is bigger than the tiny displays found on consumer cameras, plus users are also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because customers can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. No matter what editing software customers use, Video Assist lets customers support them all, as customers can record in Apple ProRes, Avid DNx and Blackmagic RAW. With both HDMI and 12G-SDI inputs customers can connect it to any consumer camera, broadcast camera or even DSLR cameras. Then, on supported cameras, customers can even upgrade to RAW style workflows with Blackmagic RAW.

The innovative touchscreen LCD user interface provides incredible control. On screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. Plus customers can load and save 3D LUTs.

Video Assist uses commonly available SD card media, so customers can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 12G 7" model even includes 2 SD card slots so customers can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable.

If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility with other recorders such as Blackmagic HyperDeck models. Customers even get on screen menus for managing external disks using the touch screen.

Video Assist features a wide range of video and audio connections such as multi-rate 12G-SDI for SD, HD, and Ultra HD SDI devices. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7 inch model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. Video Assist even includes a 12V DC power connection with locking power connector.

Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide color gamut. Plus the high brightness screen makes outdoor shooting in bright sunlight possible. The built in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so it can handle both Rec. 2020 and Rec. 709 colorspaces. The built in Video Assist LCD color gamut can even handle 100% of the DCI-P3 format.

Video Assist features full internal waveform monitoring so customers can ensure compliance to broadcast standards and it also works great as a portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) levels view of the video inputs or the playback signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get an RGB parade display which is ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope.

The SDI and HDMI connections are multi-rate, so handle SD, HD, and Ultra HD. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. Customers can even record 2K and 4K DCI rates up to 25p for digital film work.

Video Assist works with industry standard 17 and 33 point 3D LUT files, or customers can work with the built in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.

Video Assist records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW when connected to supported cameras. Best of all media files work on all operating systems.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from cameras. Video Assist supports Blackmagic RAW recording from popular cameras such as Panasonic EVA1 and Canon C300 MK II. This eliminates the problems with popular camera formats such as H.264, which are highly compressed resulting in noise and processing artifacts. It also saves camera settings as metadata so customers can set ISO, white balance and exposure, then override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.

Blackmagic Video Assist 12G includes a built in professional audio recorder that’s much better quality than the audio quality found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio in real time. For connecting microphones the Video Assist 7" model has two XLR analog audio inputs with phantom power that support the high definition audio sample rate of 192 kHz at uncompressed 16 and 24 bit per sample. Customers can monitor using on screen audio meters with user selectable VU or PPM ballistics.

Multiple languages are fully supported so customers don't need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish.

The files from Blackmagic Video Assist 12G are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with Video Assist because it features editing, color correction, audio post production and visual effects all in one software application.

"The original Blackmagic Video Assist monitors and recorders were very popular and a fantastic way to upgrade older cameras, as well as for use in general broadcast areas of the television industry," said Grant Petty, Blackmagic Design CEO. "These new models are an incredible improvement and incorporate all the lessons we have learnt from our customers in Hollywood. They have brighter LCD screens, 12G-SDI, Blackmagic RAW, better focus assist tools, presets, 3D LUTS and much more! They are so nice and it’s very exciting!"

Blackmagic Video Assist 12G Features

Supports live production, digital signage and archive use.
Modern design with fast to use touch screen controls.
Upgrades cameras to better monitoring and better record codecs.
Large LCD screen for digital film style focus assist tools.
SD/USH-II card support for commonly available media.
Records direct to external USB-C media disks.
12G-SDI and HDMI for recording in SD, HD and Ultra HD.
Advanced HDR support with bright 2500nits wide gamut LCD.
Built in scopes include waveform, vector, parade and histogram.
Latest Multi Rate 12G-SDI technology for SD, HD and Ultra HD.
3D LUTs can be applied for both monitoring and recording.
Standard open file formats compatible with popular software.
Records Blackmagic RAW from supported third party cameras.
Professional multi channel digital and analog audio.
Localized for 11 popular international languages.
Works with popular NLE software such as DaVinci Resolve.

Introducing the SmallHD Vision and Cine Series: 13,17, and 24-inch field monitors

Thu, 12 Sep 2019 18:10:11 GMT

“The revolution will be monitored in 4K HDR”

VISION SERIES

4K HDR Reference-Grade Field Monitor

The SmallHD Vision Series represents the next evolution of on set display technology for HDR cinematography. With an astonishing 2000+ zone local dimming array, Vision is making the future of HDR viewing a reality.

True HDR viewing with 1000000:1 contrast ratio
Proprietary 2000+ zone local dimming array
114% DCI P3 Coverage
4x independent 12G-SDI Inputs
Full suite of exposure tools for precise control of HDR cinematography

CINE SERIES

4K High Bright Field Monitor

Similar to Vision, the SmallHD Cine Series are ruggedly built 4K monitors, with up to 2500 nits of brightness. The Cine 13, 17, and 24 feature edge-lit LED panels, hitting 100% of the DCI P3 color gamut, and offer cinematographers a powerful toolset for dialing in 4K HDR content at a competitive price point.

Daylight viewable with 1000 & 2500 nit panels
100% DCI P3 wide color gamut
13, 17, 24 inch models
4x independent 12G-SDI inputs
Full suite of exposure tools for precise control of HDR cinematography

Available Q1 2020 https://www.smallhd.com/4k/

Frame.io v3.5 Announced

Thu, 12 Sep 2019 17:36:37 GMT

Introducing Frame.io v3.5 – more secure, more precise, and more flexible.

“Over the past two years we’ve made security a top priority and this release is no different. We’re introducing a completely secure way to share media, enabling you to use Frame.io for even your most sensitive pre-release content. We’ve also added range-based comments, a new iOS app, and a robust search and filter experience that rivals what you’d find in some expensive asset management systems.” Read the full announcement on blog.frame.io

B&H Video: Canon C500 Mark II | First Look

Wed, 11 Sep 2019 00:15:15 GMT

9 minute watch

“Canon has just announced the return of the EOS C500 Cinema Camera with the new C500 Mark II. The biggest feature of this new cinema camera is that Canon has added a 5.9k full-frame sensor capable of over 15 stops of dynamic range to bridge the gap for documentary and feature filmmakers.

The newly developed DIGIC DV 7 Image Processor expands functionality and flexibility by enabling features such as 5.9k recording, internal recording of Canon Cinema Raw Light, and Dual Pixel Autofocus with support for Touch AF and Face Detection AF. Three expansion units and compatibility with EF and PL* lenses with user changeable lens mounts enable operators to build their ideal cinema system. The new system also includes anamorphic lens support and electronic image stabilization, making it a great option for filmmakers who want flexibility and portability.

Read more about the Canon C500 Mark II Cinema Camera at https://bhpho.to/2lyLALI

Preorder the C500 Mark II at B&H: https://bhpho.to/2ZBQZ75 ”

Repost: Why Every Editor, Colorist, and VFX Artist Needs to Understand ACES

Wed, 11 Sep 2019 00:05:03 GMT

Over on Frame.io

When it comes to the future of filmmaking, few topics in recent memory have caused so much excitement and confusion as ACES.

If you read the marketing material, it’s easy to understand why ACES is creating so much buzz: it promises to deliver uncompromising image quality from set to screen, and every step in between.

The official technical documentation, on the other hand, tells a different story altogether, where ACES seems to be just a baffling avalanche of acronyms and technical charts.

But fear not! Understanding and adopting ACES doesn’t require a PhD in Color Science, or budgets with over 10 digits.

In today’s article, we’re breaking down what ACES is, what ACES isn’t, why it just might transform the future of post-production, and how you can start planning for it today.

ACES: An Overview

ACES or the Academy Color Encoding System is an open color management and interchange system developed by the Academy of Motion Picture Arts & Sciences (AMPAS) and industry partners like Technicolor, ARRI, RED, and many others.

Read More: https://blog.frame.io/2019/09/09/aces/

ARRI Introduce Orbiter LED Point Source Light

Tue, 10 Sep 2019 23:55:00 GMT

Reposting @arri:

...

"#ARRI is proud to introduce Orbiter, an ultra-bright LED point source. All systems in Orbiter are completely new and designed with versatility in mind.

To find out more visit https://microsites.arri.com/orbiter/

#arri #arriorbiter #arrilighting"

Blackmagic Design Announces New Blackmagic Pocket Cinema Camera 6K

Thu, 08 Aug 2019 21:51:39 GMT

Sponsor Post

Blackmagic Design today announced the Blackmagic Pocket Cinema Camera 6K, a new handheld digital film camera with a full Super 35 size 6K HDR image sensor, 13 stops of dynamic range, an EF lens mount and dual native ISO up to 25,600 for incredible low light performance. This new model builds on the popularity of the Blackmagic Pocket Cinema Camera 4K but has a larger Super 35 sensor size with 6K resolution, allowing higher image quality. The EF lens mount model works with a wide range of lenses from companies such as Canon, Zeiss, Sigma and Schneider.

Blackmagic Pocket Cinema Camera 6K is available immediately from Blackmagic Design resellers worldwide for US$2,495.

Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects. This means that customers can shoot in 6K and then in post production zoom and re-frame to allow wide shots and close ups to be created, all from a single camera and without losing image quality.

Blackmagic Pocket Cinema Camera 4K and 6K both have an incredible 13 stops of dynamic range which means they preserve more detail in the lightest and darkest areas of an image than simple video cameras can. This allows customers to set exposure for an indoor scene such as a cafe and still retain the details of bright outdoor light coming through a window. Customers even get more colors than the standard DCI-P3 colorspace used for feature films.

The Blackmagic Pocket Cinema Camera features dual gain ISO up to 25,600, which means both the 4K and 6K models are optimized to minimize grain or noise in images, while maintaining the full dynamic range of the sensor. The native ISO of 400 is ideal for scenes with on-set lighting. The gain is set automatically as they adjust the ISO setting on the camera, so it's easy to capture great images when they don’t have time to set up lights.

The new 6K model will shoot up to 50 fps at 6144 x 3456 16:9 or 60 fps at 6144 x 2560 2.4:1 and 60 fps at 5744 x 3024 17:9. For higher frame rates they can window the sensor and shoot up to 120 fps at 2.8K 2868 x 1512 17:9. Customers can even work in true anamorphic 6:5 using anamorphic lenses in 3.7K 60 fps at 3728 x 3104.

Blackmagic Pocket Cinema Camera records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. Best of all media files work on all operating systems plus customers can format media cards and disks in HFS+ for Mac and ExFAT for Windows.

The Blackmagic Pocket Cinema Camera features built in CFast and SD UHS-II card recorders, and a USB-C expansion port for recording direct to an external media disk. Customers can use regular SD cards for HD or higher performance UHS-II and CFast cards for native 4K or 6K when using Blackmagic RAW. Imagine capturing over an hour of full resolution 6K images on a single 256GB SD UHS-II card.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from their camera. Video formats such as H.264 are highly compressed, plus add noise and weird artifacts, causing original sensor detail to be lost forever. Blackmagic RAW eliminates this problem and gives them stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings as metadata so customers can set ISO, white balance and exposure in camera or override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.

The rear of the Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. It’s like getting a built in Blackmagic Video Assist with their camera. The touchscreen displays critical information while shooting, as well as menus for setting up the camera and intuitive touch to focus controls. On screen overlays show status, a histogram, focus and peaking indicators, levels, frame guides, playback controls and more.

With the advanced Blackmagic OS, customers get an intuitive and user friendly camera operating system based on the latest technology. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. Customers also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more.

Featuring the same Generation 4 Color Science as the high end URSA Mini Pro G2, the Pocket Cinema Camera delivers stunning, accurate skin tones and faithful color in every shot. Blackmagic Generation 4 Color Science uses a complex dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, so they get better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.

The camera includes a full size HDMI connector for monitoring with support for HDR and clean 10-bit output. There’s also a mini XLR connection with 48 volt phantom power for attaching professional microphones, a 3.5 mm video camera style microphone input, headphone connection and a professional locking DC power connector.

Digital film cameras shoot logarithmic colorspace to preserve the dynamic range, which is great for later post production, however when these files are viewed on a monitor they can look flat and washed out. 3D LUTs solve this problem because they allow customers to apply a "look" to the monitor so customers get an idea of how the finished images will look like when editing. The Pocket Cinema Camera works with industry standard 17 and 33 point 3D LUT files, or customers can work with the built in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.

Professional cameras include professional features and customers also get a built in timecode generator, allowing shooting with more than one camera while keeping perfect sync. Simply plug in an external timecode generator such as Tentacle Sync into the 3.5 mm audio jack and the camera will automatically detect timecode and lock the internal generator. Now each camera can start and stop recording and all the shots from all cameras will have the same matched timecode. Imagine shooting a music festival with multiple roving cameras. Best of all the new DaVinci Resolve 16.1 will automatically find and sync the shots from all cameras so they don't need to waste time sorting through thousands of shots.

The Blackmagic Pocket Cinema Camera uses standard removable LP-E6 type batteries and also features a locking DC power connector so they never have to worry about losing power in the middle of a shoot. The included AC plug pack can power the camera and charge the battery at the same time. The USB-C expansion port can also be used to charge the battery from portable battery packs, mobile phone chargers or a laptop computer. Customers can even add an optional Blackmagic Pocket Battery Grip that lets customers use 2 batteries to dramatically extend the power of the camera.

Blackmagic Pocket Cinema Camera 4K and 6K models include a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high end feature films, episodic television shows, commercials and more. DaVinci Resolve features a revolutionary new cut page with intelligent editing tools and innovative new features designed to help customers quickly find the footage customers want, edit it together and output it fast. In addition to the new cut page, customers also get DaVinci’s legendary professional editing, advanced color correction, audio post and visual effects tools, all in a single software application.

"The Blackmagic Pocket Cinema Camera 6K features incredible new 6K imaging and EF lens support that customers have asked for," said Grant Petty, Blackmagic Design CEO. "It has all of the great features customers love from the 4K model, but now adds an EF lens, increased 6K resolution for even higher quality images and more. Plus, with the built in Video Assist features, customers don't have to purchase and carry around extra equipment. DaVinci Resolve Studio is also included, making it an incredible all in one solution that enables anyone to be creative and tell a story."

Blackmagic Pocket Cinema Camera 6K Features

Use for independent films, documentaries, blogs and more.
Designed from carbon fiber polycarbonate composite.
Multifunction grip allows single hand operation.
2 models with 6K at 6144 x 3456 and 4K at 4096 x 2160.
Compatible with MFT or EF lens mounts.
Wide 13 stops of dynamic range for film looks.
Up to 25600 ISO for incredible low light performance.
Records full resolution up to 60 fps or 120 fps windowed.
Standard open file formats compatible with popular software.
Built in SD, UHS-II and CFast card recorders.
Features incredible quality Blackmagic RAW recording.
Built in 5" touchscreen allows accurate focus when shooting 6K.
Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
Includes Blackmagic Generation 4 Color Science.
Features full size HDMI for monitoring with status overlay.
Professional mini XLR input with 48 volt phantom power.
3D LUTs can be applied for both monitoring and recording.
USB-C port allows recording directly to external disk.
Built in timecode generator for sync muli-camera shoots.
Supports still frame capture up to 21.2 megapixel.
Localized for 11 popular languages.
Supports remote camera control via Bluetooth.
Powers via 12V DC input and can recharge via USB-C.
Includes full DaVinci Resolve Studio for post production.

Slow Down and Speed Up Clips in Premiere Rush!

Tue, 06 Aug 2019 13:27:04 GMT

The Premiere Rush team is thrilled to announce that our #l requested feature is available today in version 1.2 - Speed!

Slow down or speed up footage, add adjustable ramps, and maintain audio pitch - speed in Rush is intuitive for the first-time video creator, yet powerful enough to satisfy video pros who are editing on the go. Read on for a quick overview, or download Rush on iOS , Android , or Desktop to try it yourself!

Basic speed adjustments

Speed adjustments in Rush are quick and simple. We use a percentage value to display speed, where 100% is real time. Values below 100% result in slow motion, and values above 100% create fast motion. To adjust the speed, simply open the speed panel, select "Range Speed," and drag the slider.

Skimboarding with a GoPro HERO 7 in San Francisco, California.

You can also tap on the speed percentage next to the slider and enter a specific value.

Speed ranges

Speed ranges allow you to adjust the speed within a specific section of your clip. To create a range, drag the blue handles on the clip in the timeline or in the speed panel under "Range." The speed outside of your range is 100%, while speed inside the range is adjustable.

The classic "dronie'; capture in Florida (USA). Shout-out to my Mom Sofia standing next to me.

Ramping

To progressively speed up or slow down in or out of your range, enable ramping. This helps smooth out speed changes which might otherwise seem jarring. Rush is the first mobile editing app with adjustable speed ramps!

Pro tip: As you drag the range handles, Rush will display the particular frame where the speed change takes full effect. This is handy as you can select the exact moment that you want your speed change to occur!

Duration adjustments

For precise control, you can manually set a clip's duration. After setting the duration, Rush will do the math and adjust your clip speed to the appropriate value. This is especially useful for timelapses.

Maintain pitch

Adjusting the speed of a video clip often has drastic effects on audio, but not in Rush! Typically, speeding up footage will raise your audio's pitch (think mouse voice), while slowing down footage will lower it (think of a deep robot voice). "Maintain pitch" in the speed panel takes care of this by preserving the original pitch of your audio at any speed! It's enabled by default, but can be turned off if you prefer.

#madewith rush

The new speed panel offers quite a bit of creative control, and as with everything in Rush, your speed adjustments will transfer seamlessly when opening your Rush project in Premiere Pro.

Speed is here and the team is super excited to see what you create. Be sure to tag #madewithrush and #premiererush, and we'll see you on social!

Anhui Orange Media Completes Live Grading and Streaming for China’s Douyu Carnival 2019 with DaVinci Resolve

Sat, 03 Aug 2019 15:32:31 GMT

Sponsor Post

Blackmagic Design today announced that Anhui Orange Media completed live grading for Douyu Carnival 2019, a pan entertainment cultural festival hosted by China’s streaming giant Douyu, with DaVinci Resolve Studio and DaVinci Resolve Mini Panel. Streaming for the three day event, which had more than 310 million views, was done using DeckLink 8K Pro, ATEM 1 M/E Production Studio 4K, ATEM 1 M/E Broadcast Panel and HyperDeck Studio Pro.

Douyu Carnival is a three day multi genre entertainment extravaganza in China’s streaming sector, which includes a wide range of elements such as live shows, gaming, film, animation, food and many more, with an highest attendance of more than 410 thousand and 310 million online views.

At Douyu Carnival 2019, there were four major stages. These included the main Douyu Stage where Internet personalities perform live music or dance for the audience, the Link Stage where fan meetings were held, the Young Stage where more genres of live shows were presented and the Gaming stage for live game shows and streaming.

Tasked with live streaming all the shows was Anhui Organge Media, which was founded in 2014 and is known for their work for TV shows including “Mad for Music”, “Race Forward, Boys and Girls!”, “Anhui TV Spring Festival Evening Gala”, “Law of the Jungle” and ”China TV Drama Awards."

“Where this project was distinguished from regular streaming tasks was we needed to live grade the shows that were being performed on Douyu Stage,” revealed Zhu Jing, founder of Orange Media. “All performers here were Internet celebrities with millions of fans and their fans are more used to how they look in streaming APPs, the intelligent beautification feature of which can give these celebrities a milky white skin tone that their fans love. So Douyu asked us to do the same real time ‘beautification’ work.”

“We tried many live grading solutions, most of which only supported basic primary grading and couldn’t adjust a specific region of the image, such as skin. Fortunately, DaVinci Resolve could do both primary and secondary grading when used for live grading, just like for post production. We were allowed to add nodes, qualifiers and even OpenFX for accurate secondary grading. Douyu had attached great importance to the project and they particularly came to Hefei from Wuhan to inspect our Resolve Live grading solution. After a few demonstrations, they immediately confirmed that this was what they asked for.”

Resolve colorist Liu Kang from Chengdu based Kang Studio was asked by Orange Media to help do the skin beautification job. “Before adjusting the skin tone, we had to make sure every camera used at the show could reproduce the real skin color correctly. From there, we would be able to make a selection of skin. However, the seven cameras of mixed types, including studio cameras, a handheld camera and a drone, were equipped with different lenses and image sensors and the aged studio cameras gave us different looks, though they were the same model and had same settings,” said Liu.

In a bid to match the looks of all the cameras, the crew generated a LUT for each camera and each camera feed went to a Teranex Mini loaded with the LUT for color calibration before going into the ATEM 1 M/E Production Studio 4K. The program feed went into DaVinci Resolve via a DeckLink 8K Pro capture card and was live graded by the colorist with a DaVinci Resolve Mini Panel. The graded program video was then sent to the streaming solution, where it was live broadcast across the Internet.

Making selections of skin was the most critical process. But the lighting kept changing, which posed a challenge for live grading. Every show day of this event started at noon and ended at night. In daylight, there was only natural light but at night, complex artificial light and even smoke or haze for atmospheric effects came up, which would change the skin tone in the video, causing annoying noise when grades were applied. This could not be tolerated in live streaming. However, Liu Kang found a way. “I made the selection of skin using Resolve’s HSL tools but didn’t make the selection too hard edged. Instead, I used feather and soften tools to soften the edges, so we could get the selection under control,” he said.

Liu also noted that this was another reason that live grading solutions that only support primary grading didn’t suit this project. “The LUT could become useless when the lighting changed, but there was no time for you to create a new LUT and you gotta grade in real time. Also, your client was sitting next to you, issuing commands like ‘smooth her skin’ or ‘lighten her skin’ every now and then, which couldn’t have been done with just applying a LUT. “

Apart from skin tone, live grading was also used to improve the image quality and enhance the lighting effects.

”All the live grading work was done with the DaVinci Resolve Mini Panel, because it allowed me to get a function at once and to grade the video so subtly that the audience wouldn’t notice. With a mouse, a sudden dramatic change in the live image might happen if the colorist didn’t use it properly when pulling curves, which would be a disaster,” said Liu.

A HyperDeck Studio Pro was used to record the graded video for post production and archival. A good number of Mini Converter UpDownCross were used at the Gaming stage of the event for signal conversion and distribution.

“I started using Blackmagic converters and capture cards in 2014. Their cost effectiveness and reliability gave me confidence in other Blackmagic products, so I have been incorporating more and more Blackmagic production switchers, recorders and software tools into our workflow. The Douyu Carnival project brought us many challenges we had never faced before but with these Blackmagic products, especially DaVinci Resolve, we combined real time beautification with professional live production, creating a new workflow for live streaming with professional tools,” Zhujing concluded.

Adobe After Effects Selected for The Netflix Post Technology Program’s Newly Introduced VFX Category

Sat, 03 Aug 2019 15:15:00 GMT

Sponsor Repost

Adobe After Effects gives us a lot to celebrate. It empowers artists to explore infinite possibilities on screen, from fantastical planets and otherworldly creatures, to gravity-defying car chases, carved out of nothing but imagination.

Today, we’re excited to share that Adobe After Effects has been selected as one of the initial products in the new VFX category within Netflix’s Post Technology Alliance, a program committed to serving the evolving needs of the post-production community through innovation and support. After joining the program with Premiere Pro when it launched last fall, After Effects will now receive a Post Technology Alliance product designation specifically for VFX, a mark of quality, service, and support as a leading VFX tool. Premiere Pro will remain in the Editorial category of the program.

“After Effects has won the trust of visual effects artists all over the world, and now, we’re proud that Netflix has officially welcomed it into the VFX category in the Post Technology Alliance,” said Van Bedient, senior strategic development manager at Adobe. “Through this new designation, we’re excited to continue our work with Netflix to solve creative challenges and optimize workflows for all of the visual effects masters who rely on After Effects to create magic on screen.”

Website link: https://pta.netflixstudios.com/after-effects

Last fall, After Effects’ founding team was honored with a Scientific and Engineering Award from The Academy of Motion Picture Arts and Sciences for breaking new ground in the science of filmmaking.

For those who would like to learn more about Adobe’s professional resources for filmmakers, we recommend checking out our new Santa Monica office or following our Inside Hollywood’s Cutting Room playlist on the Adobe Creative Cloud YouTube channel.

Metabones® Introduces a New Series of Speed Booster® for BMPCC 4K Camera

Sat, 03 Aug 2019 14:46:02 GMT

Industry News

Caldwell Photographic Inc. and Metabones® are pleased to announce a new series of Speed Booster for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K).

The BMPCC4K Speed Booster ULTRA 0.71x and XL 0.64x are similar to the standard m43 Speed Booster adapters, but the optics have been re-designed to optimize for the filter stack thickness of the Blackmagic cameras, which is substantially thinner than that of standard m43 cameras.

The thickness of the camera’s filter stack is an important component of the overall optical design, and the re-designed optics ensure that both versions can achieve the same high performance as the Speed Booster versions for standard m43. This is especially critical at the extremely large apertures made possible by Speed Booster technology.

In addition to the new optical designs, the new series of Speed Boosters also features a longer tripod mount to perfectly match the height of the BMPCC4K camera body. This way the camera and the Speed Booster can be mounted firmly on the same quick release plate.

Both versions – the Speed Booster ULTRA 0.71x and XL 0.64x – are available with Nikon G lens mount, with Canon EF lens mount and with Canon EF CINE lens mount. The ARRI PL lens mount is available in ULTRA 0.71x version only. The Canon EF CINE lens mount creates a positive lock for a secure electronic connection, and together with the matching length of new the tripod mount, allows for a rock-solid mechanical setup, which is important when using follow focus attachments.

This new series of Metabones Speed Booster adapters is designed exclusively for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). They cannot be attached to any other m43 cameras such as JVC, Olympus or Panasonic cameras.

Metabones Speed Booster ULTRA 0.71x for BMPCC4K:

The new Speed Booster ULTRA 0.71x for BMPCC4K uses an advanced 6-element 4-group optical design incorporating ultra-high index tantalum-based optical glass. The new design is specifically optimized to bring the same level of astonishing performance as the ULTRA Speed Boosters for Micro Four Thirds to users of the Blackmagic Pocket Cinema Camera 4K.

In particular, the Speed Booster ULTRA 0.71x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies.

The Speed Booster ULTRA 0.71x reduces the crop factor of the BMPCC4K camera as shown in the above table. The new design for BMPCC4K makes very effective use of exotic materials at the furthest limit of glassmaking technology, and as a result is almost perfectly corrected for use with all full-frame SLR lenses regardless of aperture or exit pupil distance. The Speed Booster ULTRA 0.71x will also work extremely well with many DX and APS-C format lenses, provided the image circle provided by the lens is large enough. Optical performance of the new Speed Boosters is so good that the MTF of any lens attached to it will be improved. Even the latest generation of ultra-high performance SLR lenses such as the Zeiss Otus series can be improved by adding a Speed Booster ULTRA 0.71x.

Figures 1 through 3 below show MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.9, f/1.0, and f/2.0, respectively1. At the maximum aperture of f/0.90 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary across the entire image circle. At just one-third stop down to f/1.0 the performance is equal to or better than the best photographic lenses used at their optimum apertures. An additional stop down to f/2.0 yields performance that is rarely encountered in photographic optics. In practice, what all of this means is that the new Speed Boosters will always enhance and never degrade the performance of the attached master lens.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. Figure 4 shows that there is less than 1 stop of corner illumination falloff even wide-open at f/0.9. There is no vignetting at all after the output aperture reaches f/2.82. Figure 5 shows that rectilinear distortion added by the Speed Booster ULTRA is negligible at less than 0.7%. All of the charts below show the optical performance of the Speed Booster ULTRA 0.71x when mounted behind an ideal “perfect” lens.

Figure 1: MTF at 10, 20, and 40 lp/mm for f/0.90

Figure 2: MTF at 10, 20 and 40 lp/mm for f/1.0

Figure 3: MTF at 10, 20, and 40 lp/mm for f/2

Figure 4: Relative illumination

Figure 5: Distortion

Metabones Speed Booster XL 0.64x for BMPCC4K:

Also this Speed Booster XL 0.64x adapter has been designed exclusively for the Blackmagic Pocket Cinema Camera 4K, with a magnification of 0.64x. The Speed Booster XL 0.64x uses an advanced 7-element optical design to achieve extraordinary optical performance at apertures up to an incredible f/0.80.

The new Speed Booster XL 0.64x reduces the full-frame crop factor of the BMPCC4K as shown in the table further above. In addition, the speed of any attached lens is increased by 11/3 stops, with a maximum output aperture of f/0.80 when an f/1.2 lens is used. For example, a 50mm f/1.2 becomes a 32mm f/0.80, which is the fastest aperture available for Blackmagic cameras.

Perhaps most exciting of all, in addition to increasing lens speed and field of view, the Speed Booster XL 0.64x offers amazingly high image quality even at extremely large apertures. Figures 1 through 3 below show MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.8, f/1.1, and f/1.81. At f/0.80 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary out to an image height of 5.1 mm, which is the limiting image height of the BMPCC4K camera’s FHD video mode. Beyond 5.1 mm the performance drops gracefully, but remains very good even in the extreme corner of the full Blackmagic sensor. Note that as the master lens aperture is reduced to f/1.8 and then f/2.8 (corresponding to output apertures of f/1.1 and f/1.8, respectively) the performance improves everywhere, especially in the extreme corners.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. Figure 4 shows that there is only about 1 stop of corner illumination falloff even at f/0.8. There is no vignetting at all after the output aperture reaches f/3.42. Figure 5 shows that rectilinear distortion added by the Speed Booster XL 0.64x is negligible at less than 0.8%.

Figure 1: MTF at 10, 20, and 40 lp/mm for f/0.80

Figure 2: MTF at 10, 20 and 40 lp/mm for f/1.1

Figure 3: MTF at 10, 20, and 40 lp/mm for f/1.8

Figure 4: Relative illumination

Figure 5: Distortion

Just like the Metabones Speed Booster ULTRA 0.71x for BMPCC4K, the Speed Booster XL 0.64x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies. In fact, most lenses will have significantly improved MTF when used with the Speed Booster, compared to using them with a plain (i.e. “glassless”) adapter on Blackmagic cameras.

Availability:

The BMPCC4K Speed Booster adapters will be available starting in July 31st, 2019 from the Metabones webstore and its worldwide network of resellers.

Specifications:

Product name: Canon EF to BMPCC4K T Speed Booster® ULTRA 0.71x

Model Code: MB_SPEF-m43-BT8

Color: Black Satin exterior; Black Matte interior

Magnification: 0.71x

Dimensions: H 82.0mm x W 72.4mm x D 31.4mm

Weight: 176 grams

Retail Price: USD 649.00 (excl. tax & shipping)

Product Page: http://www.metabones.com/products/details/MB_SPEF-m43-BT8

Product name: Canon EF to BMPCC4K T Speed Booster® XL 0.64x

Model Code: MB_SPEF-m43-BT9

Color: Black Satin exterior; Black Matte interior

Magnification: 0.64x

Dimensions: H 82.0mm x W 72.4mm x D 30.9mm

Weight: 174 grams

Retail Price: USD 649.00 (excl. tax & shipping)

Product Page: http://www.metabones.com/products/details/MB_SPEF-m43-BT9

Product name: Canon EF to BMPCC4K T CINE Speed Booster® ULTRA 0.71x

Model Code: MB_SPEF-m43-BTA

Color: Black Satin and Satin Chrome exterior; Black Matte interior

Magnification: 0.71x

Dimensions: H 90.3mm x W 86.0mm x D 31.8mm

Weight: 219 grams

Retail Price: USD 699.00 (excl. tax & shipping)

Product Page: http://www.metabones.com/products/details/MB_SPEF-m43-BTA

Product name: Canon EF to BMPCC4K T CINE Speed Booster® XL 0.64x

Model Code: MB_SPEF-m43-BTB

Color: Black Satin and Satin Chrome exterior; Black Matte interior

Magnification: 0.64x

Dimensions: H 90.3mm x W 86.0mm x D 31.2mm

Weight: 216 grams

Retail Price: USD 699.00 (excl. tax & shipping)

Product Page: http://www.metabones.com/products/details/MB_SPEF-m43-BTB

Product name: Nikon G to BMPCC4K Speed Booster® XL 0.64x

Model Code: MB_SPNFG-m43-BM5

Color: Black Satin exterior; Black Matte interior

Magnification: 0.64x

Dimensions: H 80.7mm x W 68.2mm x D 33.6mm

Weight: 190 grams

Retail Price: USD 489.00 (excl. tax & shipping)

Product Page: http://www.metabones.com/products/details/MB_SPNFG-m43-BM5

Product name: Nikon G to BMPCC4K Speed Booster® ULTRA 0.71x

Model Code: MB_SPNFG-m43-BM4

Color: Black Satin exterior; Black Matte interior

Magnification: 0.71x

Dimensions: H 80.7mm x W 68.2mm x D 34.0mm

Weight: 195 grams

Retail Price: USD 489.00 (excl. tax & shipping)

Product Page: http://www.metabones.com/products/details/MB_SPNFG-m43-BM4

Product name: ARRI PL to BMPCC4K T CINE Speed Booster® ULTRA 0.71x

Model Code: MB_SPPL-m43-BT2

Color: Black Satin and Satin Chrome exterior; Black Matte interior

Magnification: 0.71x

Dimensions: H 94.0mm x W 93.1mm x D 46.0mm

Weight: 428 grams

Retail Price: USD 719.00 (excl. tax & shipping)

Product Page: http://www.metabones.com/products/details/MB_SPPL-m43-BT2

**Camera, lens and quick release plate are not included.

Notes:

MTF data is a full diffraction-based calculation that assumes the Speed Booster is attached to a perfect master lens having an exit pupil distance of 100mm. Note that the MTF calculations do not take into account sensor-induced apodization effects, sometimes called “pixel vignetting” or “pixel shading”, so actual results at large apertures are likely to be better than the calculations indicate.

Illumination data assumes a perfect master lens with an exit pupil distance of 100mm and zero vignetting. The slight falloff shown at f/2.8 is due to cos4 effects alone, as the mechanical vignetting is zero. Actual results will depend on the exit pupil distance and vignetting characteristics of the master lens used.

DDC 7.17.19 Meet: Blackmagic Design | Night, that's a WARP!

Thu, 25 Jul 2019 13:52:59 GMT

Thanks to the 45 District Digital Creatives that came out July 17, 2019, for our Blackmagic Design Night. Based on the event feedback, it was an excellent time for networking and the presentation content. Dave Hoffman delivered on ATEM , and Cinema Camera hardware and the primary draw of the night was the DaVinci Resolve presentation by Jason Druss. Special thanks to MBS Direct , Interface Media Group , and the Blackmagic Design for continued support.

Photo Gallery

Ben Hausdorff Shoots Pentatonix and New Kirstin Maldonado Music Videos with Pocket Cinema Camera 4K

Thu, 25 Jul 2019 13:03:40 GMT

Sponsor Post

Blackmagic Design announced director and videographer Ben Hausdorff used the Blackmagic Pocket Cinema Camera 4K to shoot music videos for Pentatonix’s new Ariana Grande medley. Hausdorff also used the Pocket Cinema Camera 4K to shoot Kirstin Maldonado’s upcoming music video for her cover of Selena’s ‘I Could Fall in Love.’

Pentatonix is a three time Grammy® Award winning and multi platinum selling group that has sold nearly 10 million albums worldwide and performed for hundreds of thousands of fans at their sold out shows across the globe.

Hausdorff is a director and videographer who has worked on a number of music videos, BTS videos for the band’s YouTube channel and concert videos for both Pentatonix and Kirstin Maldonado.

One of the most recent music videos he shot for Pentatonix was the band singing a medley of Ariana Grande songs. The music video captured the incredible harmonies of the five members of the group singing together, and was one of the fastest trending videos on YouTube in May, 2019, gaining more than five million views in less than a month.

“It was a simple shoot on paper, with each member of Pentatonix sitting on a single couch. We used three studio lights and I just tried to capture the moment,” Hausdorff said. “Even though it looks like an easy shoot, a lot of work had to go into it to make it perfect. The Pocket Cinema Camera 4K gave me incredible 4K images and great recording time.”

One of the aspects of the camera that Hausdorff found especially useful was the large monitor on the back of the camera.

“It is always better when the members of Pentatonix can see the result of each take, but with most camera’s monitors it is not possible because they are so small and do not show a quality image. But with the Pocket Cinema Camera’s large back monitor, they could all see exactly what they needed with each shot and they loved the quality.”

For Kirstin Maldonado’s new cover, Hausdorff used the Pocket Cinema Camera 4K with a larger lighting set up than with the Pentatonix video. This video was also run and gun style, with Hausdorff constantly moving and capturing Kirstin singing in front five other musicians.

“We wanted to get a real cinema look and feel for the video, but also capture a warm feel to it. At the same time we did not have the budget to go out and rent a lot of gear. The Pocket camera produces cinema quality images in such a small design that I was able to just use that camera and be as mobile as I needed to be,” he said.

“The video is a mix of close ups of Kirstin and wide shots of her and the instrumentalists in the background. No matter what type of shot I needed, I was able to get it with the Pocket. The people in the background even looked crisp in f4 aperture,” Hausdorff said. “I love the quality and RAW capture, along with the built in LUTs with this camera. It really helped us up our game.”

Imagine Products® Transforms Media Offloading With Updates to ShotPut Pro® and New Imagine HQ™ iOS App

Thu, 25 Jul 2019 12:21:24 GMT

ShotPut Pro and Imagine HQ iOS App Combine to Deliver New Levels of Flexibility in Managing and Monitoring Media Offloads

Imagine Products Inc., creator of software utilities for backing up, viewing, sharing, transcoding, and archiving video assets, introduced several key upgrades to the company’s ShotPut Pro app, the industry standard for offloading video, audio, and photo files. Together, the new ShotPut Pro Mac 2019.2 release and the new Imagine HQ iOS app combine to give users even greater flexibility in any file-based media workflow.

“Customer feedback is always the central factor when we make changes and add features to any of our apps,” said Michelle Maddox, marketing director at Imagine Products. “We feel it is vital that our products be able to adapt to the varying requirements of different users, and the newest enhancements to ShotPut Pro – including integration with the new Imagine HQ iOS app – reflect our commitment to giving out customers the tools, performance, and flexibility that can make their lives easier.

ShotPut Pro Mac 2019: Robust Functionality in a Proven Solution

Preferred by many major motion picture companies and used by more than 50,000 people worldwide, ShotPut Pro enables reliable and secure offloading of media. The series of new features and capabilities in ShotPut Pro Mac 2019 supports handling of various file types, enable versatile reporting, and simplifies offloading for anyone in charge of data management.

With the ShotPut Pro Mac 2019.2 update, users realize benefits including:

Real-time status updates via the Imagine HQ iOS app for iPhone and iPad
Support for ARRI .ARI file offloads with Codex HDE integration, perfect for the soon-to-be-released ARRI Alexa Mini LF
A redesigned simple mode for quick and efficient offloading
Media Hash List (MHL) reporting
More PDF reporting options, including the ability to designate first frame versus percentage sampling
Thumbs for Codex .ARX RAW frames
A new RED dropped-frame flag
Support for Blackmagic RAW and Canon RAW formats
An updated RED SDK for the most current metadata retrieval
Imagine HQ iOS App: Mobility and Flexibility
Available as a free download from the Apple App Store, Imagine HQ iOS app gives users the freedom to walk away from their computers to perform other tasks or just grab lunch with the crew as media is offloaded with ShotPut Pro. As long as both the computer and the user’s iPhone or iPad are connected to the internet and logged in under the same username, the new Imagine HQ app can provide remote access and real-time status reports.

The Imagine HQ iOS app offers ShotPut Pro users benefits including:

Real-time job status and push notifications for completed jobs

Listings of both completed and active jobs for quick reference

The ability to link multiple workstations together for a team experience and shared visibility across all offloads

Availability with any ShotPut Pro license type whether perpetual, rental, or company-owned (rather than user-owned)

“People are moving faster than ever, and workflows need to be more flexible and accessible,” Maddox added. “Our new iOS app transforms ShotPut Pro users’ day-to-day work experience, bringing them much greater mobility while giving them peace of mind with real-time data and notifications. Going forward, we anticipate that the integration of these two solutions with our forthcoming cloud solution will have the potential to change workflows forever.”

ShotPut Pro update plans are $60 for 12 months of upgrades. If users have a current update plan, the upgrade is free. New licenses can be purchased for $149, or they can be rented for a period of 15 to 45 days. More information about Imagine Products is available at www.imgaineproducts.com .

Diplo’s So Long Music Video, With New Artist Cam, Uses Blackmagic Design URSA Mini Pro and Blackmagic RAW

Mon, 15 Jul 2019 17:23:33 GMT

Production and Post

Blackmagic Design announced today that “So Long,” Diplo’s latest music video featuring country artist Cam, was shot using the URSA Mini Pro 4.6K and utilized the Blackmagic RAW format.

Produced at the 2019 Stagecoach Festival in Indio, California, the video and song is a departure from Diplo’s EDM base, taking a deep step into the country music genre. The departure proved to be an enjoyable challenge for Director Brandon Dermer.

Known for his DIY approach to his work, Diplo discovered Dermer’s death metal music video for Nekrogoblikon in 2012, and became a fan. The two have worked on several projects since, including the TV series, “What Would Diplo Do” for Hulu.

For “So Long,” Diplo reached out and asked if Dermer would be interested in creating the new video. “For making a video about a DJ playing a country music festival,” said Dermer, “it was one of the most punk rock experiences of my life.”

The team was given unprecedented access to Stagecoach. “We knew we were going to have crazy access to the event grounds like no one else has ever had, except maybe Beyonce at Coachella.”

The goal was to capture the experience as completely as possible, including performance video of Cam as well as striking documentary footage of the event. “Going into this, none of us knew what to expect in regards to how Diplo would be received by the Stagecoach audience. We wanted to get it all on camera.”

Shot with multiple cameras, Cinematographer Wojciech Kielar was eager to see how the URSA Mini Pro and Blackmagic RAW compared to other formats. Kielar operated one camera and his operator Justin Cameron shot with the URSA Mini Pro. Initially Kielar followed Diplo and Cam backstage while Cameron grabbed beauty shots and various footage of the attendees. For the concert, both cameras captured Diplo and Cam’s performances on stage.

“We recorded in Arri ProRes 444 and Blackmagic RAW,” said Kielar. “Both cameras have a pretty big dynamic range and produced wonderful images.”

Dermer and Kielar used multiple country music video and film references as inspiration, and chose a style that captured the feeling of Stagecoach while also keeping the rich saturation of EDM. “We married the best parts of those looks together,” said Kielar, “and had a plan to give the video a gritty feel, while also saturating colors as a nod to the EDM style.” They turned to colorist Ryan McNeal to create the final look using DaVinci Resolve Studio.

Having worked with Dermer and Kielar extensively in the past, McNeal felt he had a strong sense of what their goals were for the video. He sought out a unique combination of country music vibe with a filmic style. “We used heavy grain and warm highlights to enhance that film look,” said McNeal, “and I kept the overall exposure of mid tones and shadows low for a thicker negative feel.”

Combining Blackmagic RAW with other formats proved easy in DaVinci Resolve. The wide dynamic range gave McNeal plenty of range to match, and in the end is confident the viewer won’t be able to tell the difference. “It’s always fun working with beautiful images from Brandon and Wojciech,” said McNeal. “And Diplo in a country music video? What’s there not to like?”

Showtime’s The Chi Uses Blackmagic Design Cameras to Bring Southside Chicago to Life

Thu, 04 Jul 2019 17:52:16 GMT

Production

Blackmagic Design announced that Showtime Networks’ “The Chi” incorporated a wide array of Blackmagic Design cameras, including URSA Mini Pros and Micro Studio Camera 4K, for Director of Photography Abraham Martinez’ naturalistic portrayal of Chicago’s south side.

“The Chi” portrays an average day for Chicago kids, prepping for school as their parents head off to work, young adults trying to make a living and the elders keeping an eye on things from their front porches. But in this tough neighborhood, real dangers threaten daily to squelch dreams, and the simplest decisions can have life or death consequences.

Martinez wanted this coming of age drama to feel grounded and realistic. “I wanted the camera to walk alongside our lead characters. I wanted to feel that we were in the middle of the ever evolving conditions of the city that pressed into our characters,” said Martinez. “So this meant, our cameras had to be flexible for the journey.”

Martinez used three Blackmagic URSA Mini Pros, one URSA Mini 4K and two Micro Studio Camera 4ks recording into Blackmagic Video Assists 4K. Martinez feels his Blackmagic cameras have become an important part of his kit.

“I find that using my URSA Mini Pros has become somewhat of a paint brush stroke technique of my personal work flow. I’m able to have a half a dozen Blackmagic Design cameras around for my palette to fit the ever flexible work and city conditions that require me to adapt quickly.”

Shooting on location in Chicago was a must for this urban drama, and the visuals represent a naturalism that contrasted home life and the street. “The Chi” team used the colors of the environment to drive the style as well. “We celebrated color in many ways, from wardrobe to the set design,” said Martinez. “Our drama has many facets of story; the intersection of home/neighborhood/street life which is in contrast to the institutional aspects of the city, namely the prison and police corrections stories. I was able to build these two worlds in look and feel as we bounced between the delicate and interwoven story lines.“

While “The Chi” focused on a gritty realism, the shoot itself was rigorous at times, forcing the cinematography crew to move quickly. The Blackmagic cameras helped Martinez capture high quality imagery even if on the go. “My Blackmagic Design arsenal is always what I call ready at hand. If I needed a lock off camera ready for an additional angle, we shot with one of them. If I needed an establishing shot popped off during a company move, my URSA Mini Pro was ready for the task, helping us knock out the day’s work. As for the Micro Studio Cameras, we used them extensively throughout our shoot to power artistic angles, helping drive story and save time. We even had an URSA Mini Pro built into a full time gimbal system always ready to go. We were always ready for gimbal mode.”

With such a wide array of cameras, and a focus on color, Martinez had no fear about matching images. Working with Light Iron’s Steven Bodner, they had no problems matching looks between cameras or manufacturers. “The Blackmagic Design camera’s color space complimented the look and the feel of other cameras wonderfully.”

But beyond color, Martinez valued the combination of high end quality and ease of use. “The camera systems held up in the rigorous location moves and demands of the city,” said Martinez. “Speed was essential and it required very little to get the Blackmagic camera systems up and running. Often just a lens, card and battery and we were good to go.”

Elton John’s Rocketman Graded with DaVinci Resolve Studio

Thu, 20 Jun 2019 17:36:33 GMT

Color Grading

Blackmagic Design announced that its DaVinci Resolve Studio was used throughout the color pipeline on Paramount’s new musical biopic about Elton John’s breakthrough years produced by Marv Films & Rocket Pictures and directed by Dexter Fletcher.

Lensed by DP George Richmond, BSC, Rocketman’s on set DIT workflow was developed and managed by Onset Tech’s Joshua Callis-Smith with Goldcrest Post handling the final DI and online. Senior colorist Rob Pizzey handled the final grade delivering in Dolby Vision Domestic and Theatrical HDR, as well as SDR Rec 709 with Russ White and Daniel Tomlinson completing the online.

Pizzey and Richmond began pre production by defining the main show LUT in early testing where different lenses, exposure ranges and lighting setups were tested against elements from the film’s production design. “Three variations of the LUT were then created at multiple exposures as the films base look throughout the on set DIT, where I helped create a subtle color arc for the film’s dailies to inform the shifting narrative,” reveals Callis-Smith.

Adding: “Our dailies lab relied on a Blackmagic eGPU setup for the first time, allowing them to achieve faster processing speeds using the 5K iMac via Thunderbolt 3, even when it came to H.264 encoding,” explains Joshua.

Once production was complete, Richmond and Pizzey selected 350 still frames from the film to create a color bible for the final grade. They then spent two days picking different looks for each scene before a two week unattended grading process, where Rob matched up the different looks to the aesthetics in the color bible while handling subtle recuts and dropping in visual effects sequences where necessary.

“We wanted to reflect the narrative with a slightly muted, desaturated world for young Reggie,” says Rob. “Then, as the film progresses and Elton’s world goes out of control, the color pops more and vintage lenses were used to obtain a vibrant feel with exaggerated flares.”

“I aimed to maintain the soft look achieved with the vintage lenses, making sure not to go too hard on the bottom end of the curve,” adds Rob. “For one scene, we wanted to create a look where everything was muted except for Elton and Reggie. There was a lot of color in the scene’s rushes. The houses were red brick, there was lots of green in the gardens, and the dancers wore colorful outfits. To achieve the required look, we asked VFX to create mattes to help us to make sure the grade didn’t bleed into the other characters throughout the dance routine.”

Introducing the Pond5 Royalty-Free Editorial Video Collection

Thu, 20 Jun 2019 13:01:41 GMT

Curated: POND 5 News

“From historic wonders to current events, the new Pond5 Editorial video collection features the best footage from top editorial agencies, with new content added daily. Partners for the collection include world-renowned news agency Reuters, entertainment specialists Cover Video, and user-generated content platform Newsflare, with more coming soon. Content from these partners joins the extensive library of rare archival footage on Pond5 to create the largest editorial video collection of its kind.”

Full Blog Post: https://discre.link/2ZALhyC

The World’s Largest Collection of Royalty-Free Editorial Video

With this new royalty-free collection, Pond5 is reinventing an industry largely known for a strict rights-managed approach. The collection gives filmmakers and creators worldwide access to a massive selection of premium current events, celebrity, sports, and archival footage with one simple license, at a fraction of the cost of traditional licensing options — footage in the collection starts at $79 a clip, and all licenses include use of the media in trailers and promos at no extra cost.

Explore a series of collections featuring Editorial clips selected by our curators below, then discover the full Pond5 Editorial collection, and check back daily for updates!

Introducing the new Mac Pro and Pro Display XDR — Apple

gkennedy@magekfilmworks.com (George E. Kennedy, Jr.) — Tue, 04 Jun 2019 17:23:27 GMT

Introducing the most configurable, expandable Mac ever and the world’s best pro display. Mac Pro has a Xeon processor with up to 28 cores, numerous expansion slots, and the most memory capacity ever in a Mac. It also offers the world’s most powerful graphics card and a new accelerator card that eliminates the need for proxy workflows. Pro Display XDR completes the system with a 32-inch, Retina 6K display delivering extreme dynamic range, a P3 wide color gamut, and remarkable contrast ratio. Coming Fall 2019.
Learn more at https://apple.co/3184ycg

Blackmagic Design Announces NewTeranex Mini SDI to DisplayPort 8K HDR

gkennedy@magekfilmworks.com (George E. Kennedy, Jr.) — Tue, 04 Jun 2019 15:51:29 GMT

Advanced 8K monitoring solution that lets you use the new Apple Pro Display XDR as a color critical reference monitor on set and in post production!

Fremont, CA, USA - Monday, 3 June 2019 - Blackmagic Design announced Teranex Mini SDI to DisplayPort 8K HDR, an advanced 8K DisplayPort monitoring solution with dual on screen scope overlays, HDR, 33 point 3D LUTs and monitor calibration that’s been specifically designed for the professional film and television market and to take advantage of a new generation of monitors such as the Pro Display XDR. Teranex Mini SDI to DisplayPort 8K HDR will be available in Oct 2019 from Blackmagic Design resellers worldwide for US$1,295.

Teranex Mini SDI to DisplayPort 8K HDR is an advanced 8K monitoring solution for DisplayPort computer displays or high quality monitors such as the new Pro Display XDR. Unlike basic converters, Teranex Mini SDI to DisplayPort 8K HDR can use third party calibration probes to accurately align connected displays for precise color. There's even 2 on-screen scopes that can be selected between WFM, Parade, Vector and Histogram. Teranex Mini SDI to DisplayPort 8K HDR is perfect for film studios and broadcasters who need professional but affordable color accurate monitoring. Customers also get an elegant design with color LCD for monitoring and control of settings.

The front panel includes controls and a color display for input video, audio meters and the video standard indicator. The rear panel has Quad Link 12G-SDI for HD, Ultra HD as well as 8K formats. There's 2 DisplayPort connections for regular computer monitors or USB-C style DisplayPort monitors such as the new Pro Display XDR. The built in scaler will ensure the video input standard is scaled to the native resolution of the connected DisplayPort monitor. Customers can even connect both 2SI or Square Division inputs.

Teranex Mini SDI to DisplayPort 8K HDR has everything for the latest HDR workflows. All that’s required is to connect a HDR compatible DisplayPort monitor to allow HDR SDI monitoring. Static metadata PQ and Hybrid Log Gamma (HLG) formats in the VPID are handled according to the ST2108-1, ST2084 and the ST425 standards. Teranex Mini SDI to DisplayPort 8K HDR handles ST425 which defines 2 new bits in the VPID to indicate transfer characteristic of SDR, HLG or PQ. Plus the ST2108-1 standard defines how to transport HDR static or dynamic metadata over SDI. Plus there is support for ST2082-10 for 12G SDI as well as ST425 for 3G-SDI sources. Both Rec.2020 and Rec.709 colorspaces are supported and 100% of the DCI-P3 format.

Two fully independent on screen scopes are included so compliance with broadcast standards is easy when doing critical high end work. Scopes are overlaid on screen so they can customize position, size and opacity. Customers can select from a range of scopes, including waveform for displaying luminance levels of their input signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get RGB and YUV parade displays, which are ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping.

Teranex Mini SDI to DisplayPort 8K HDR includes the same high quality 33 point 3D LUTs as used in the film industry. It's even possible to calibrate the connected display by connecting a third party USB color probe and Teranex Mini SDI to DisplayPort 8K HDR will analyze the monitor and generate a 3D LUT to correct for color differences between displays. Two independent 3D LUTs can be loaded and customers can select between them from the front panel.

It’s always difficult to know if a monitor is the correct color because every display is slightly different, even between the same model. Teranex Mini SDI to DisplayPort 8K HDR solves this problem as it can use a third party USB probe for automatically aligning their monitor. SpectraCal C6, X-Rite i1 Display Pro or the Klein K10-A probes are supported and plug into the front of the converter. The converter takes care of all the work and will automatically generate test signals on the monitor during the calibration process.

All Quad Link 12G-SDI inputs have outputs for looping to other equipment. Plus all HD, Ultra HD and 8K standards are supported allowing broadcast or film industry use. In 720p customers get support for 50p, 59.94p up to 60p. In 1080i formats, they get 50i, 59.94i up to 60i. 1080p, 1080PsF as well as 2160p formats are supported from 23.98 to 60 fps. Customers even get support for 2K and 4K DCI film formats from 23.98p to 60p. 4320p 8K formats are supported at 23.98, 24, 25, 29.97, 50, up to 59.94. With 2SI to Square Division conversion built in, an 8K source will be automatically converted for the monitor. Teranex Mini SDI to DisplayPort 8K HDR even handles both Level A or B 3G-SDI plus YUV and RGB SDI formats.

The front panel LCD provides confidence monitoring with both images and accurate audio level meters. There are menus for all functions and it’s easy to scroll through menu "pages" to find settings that need changing. The 3D LUTs can be enabled just by pressing the 1 or 2 buttons. Calibration is also started via the menus and customers simply follow the prompts to calibrate their display. The audio meters can even be switched between VU or PPM ballistics. There are settings for configuring scopes, their on screen location or opacity. Customers can even view and edit network settings.

For rack mounting, customers can simply add a Teranex Mini Rack Shelf. This consists of a metal tray that holds the converter and allows it to be screwed down before the whole shelf is bolted into the rack. Of course Teranex Mini SDI to DisplayPort 8K HDR includes rubber feet that customers can attach to the underside of the converter if customers want to place it on a desktop.

"We are excited to announce the new Teranex Mini SDI to DisplayPort 8K HDR for customers working with the new Pro Display XDR," said Grant Petty, Blackmagic Design CEO. "It provides advanced HDR and color critical monitoring features such as built in scopes, 33 point 3D LUT support, automatic probe based calibration and native 8K for the latest customer workflows!"

Teranex Mini SDI to DisplayPort 8K HDR Features

Includes support for HDR via SDI and DisplayPort.
2 built in scopes live overlaid on monitor.
Film industry quality 33 point 3D LUTs.
Supports automatic monitor calibration using color probes.
Advanced Quad Link 12G-SDI inputs for 8K.
Scales input video to the native monitor resolution.
Includes LCD for monitoring and menu settings.
Utility software included for Mac and Windows.
Supports latest 8K DisplayPort monitors and displays.
Can be used on a desktop or rack mounted.

Availability and Price

Teranex Mini SDI to DisplayPort 8K HDR will be available in Oct 2019 for US$1,295, excluding duties, from Blackmagic Design resellers worldwide.

DJI Osmo Action Camera Captures Every Adventure in Stunning 4K Detail

Thu, 16 May 2019 01:08:04 GMT

New Camera Features Front and Rear Color Screens and State-Of-The-Art Electronic Image Stabilization

DJI, the world’s leader in civilian drones and creative camera technology, building on its heritage of advanced image stabilization, takes a bold new direction with the Osmo Action camera . Using DJI’s unparalleled experience with capturing smooth and stable videos in the most demanding environments, Osmo Action is as rugged as it is sophisticated, opening worlds of creative potential for professionals and adventure seekers alike.

“DJI has always pushed the limits of technology, and the content creators who love our products made clear they wanted us to push the limits of their creative potential too. Osmo Action is our cutting-edge answer to what the creative community demands: Exceptional image quality and stabilization in a unique and durable new form factor, with dual color screens and seamless software integration. For all types of creators who push their gear to the limits, Osmo Action sets the new standard,” said Roger Luo, DJI President. “Whether you are capturing aerial content with Mavic 2, incredibly smooth content with Osmo Pocket, or heart-racing footage with Osmo Action, DJI offers a full suite of products for your creative needs.”"

Rugged construction and intuitive design

A compact yet durable design makes Osmo Action the ideal camera for life’s adventures. Constructed to handle extreme conditions with ease, Osmo Action is dustproof, shockproof [1], waterproof [2] and has the ability to operate in sub-freezing temperatures[3]. Osmo Action uses color screens on both the front and back, a unique design feature that allows for more convenient scene composition while on the move. The 2.25-inch rear touchscreen employs a water- and fingerprint-repelling coating, and the 1.4-inch front screen makes vlogging and selfies easier than ever before. With a brightness of 750 nits, Osmo Action can be used in harsh lighting conditions, including direct sunlight.

Osmo Action’s interactive user interface, Action OS, combines a streamlined and functional physical design with flexible operation. Power on, initiate recording, and rotate through the video and photo capture modes in the blink of an eye with three dedicated buttons. Never miss a moment with the help of SnapShot, which allows Osmo Action to turn on and begin recording in under two seconds by pressing the shutter button once.

Advanced technology with exceptional image quality

A 1/2.3-inch sensor records 12-megapixel photos and 4K video up to 60fps at 100Mbps in stunning detail, assuring high-quality footage. A three-glass aspherical lens design records low-distortion content and aids in reducing warping effects for improved scenes. The lens cap is finished with two layers of anti-fingerprint coating to keep the shot clean during use, as well as an anti-reflective coating to reduce the unwanted effects of lens glare, giving users more flexibility to shoot in bright conditions.

Incorporating over a decade of experience creating three-axis mechanical gimbals, Osmo Action is the first DJI handheld camera to include RockSteady, DJI’s Electronic Image Stabilization (EIS) technology. High-performance stabilization algorithms work in conjunction with EIS to record every movement in smooth, stable, high-quality video, even when recording 4K/60fps. Additionally, Osmo Action is capable of High Dynamic Range (HDR) video in 4K/30fps, delivering an additional three stops of dynamic range to the scene, natural transitions between light and dark areas, and rich details that are often lost in complex lighting conditions. Osmo Action has a removable battery with a run time of 93 minutes recording at 4K/30fps with RockSteady enabled, and 135 minutes recording at 1080p/30fps without RockSteady. Dual microphones let users take advantage of Osmo Action's Voice Control, and a speaker ensures outstanding playback quality.

Creative, intelligent features

A staple in DJI’s product lineup, Osmo Action offers a wide variety of highly creative features built into the camera which users can access with a few simple taps. While recording, choose between:

▪️ Slo-mo: 8x slow motion in 1080p 240fps or 4x slow motion in 1080p 120fps creates a visually appealing effect when documenting action-packed scenes.

▪️ Timelapse: To turn minutes into seconds, Timelapse is perfect for capturing unique content with the effect of the world moving faster.

▪️ Custom Exposure settings: Shoot for the stars with manual and semi-automatic settings that allow up to 120 seconds of exposure, perfect for capturing the night sky.

Unlocking Osmo Action’s full potential[4]

Using the recently released DJI Mimo app, connect Osmo Action to your mobile device with WiFi or Bluetooth for added functionality, including a live feed of the camera, multiple story templates, in-app quick editing, and more. An ecosystem of accessories helps unleash all the possibilities of Osmo Action including:

▪️ Camera Frame Kit: Included with Osmo Action, the Camera Frame Kit offers a universal mount for additional accessories and a window for the LED indicator to show camera status in real time while protecting the device.

▪️ Adhesive Mounts: Attach Osmo Action to flat or curved surfaces including skateboards, bikes, helmets, and more to capture fast-paced moments. Both the curved and flat adhesive mounts are included with Osmo Action.

▪️ Waterproof Case: The waterproof case protects the device at depths down to 60 meters while providing a clear image using high-strength glass.

▪️ 3.5mm Adapter: The 3.5mm adapter offers users the ability to connect an external mic for professional sound recording.

▪️ Extension Rod: Capture unique angles using the Extension Rod, which features a rotatable phone holder and a ¼-inch screw adapter.

▪️ Floating Handle: The Floating Handle offers a comfortable grip for Osmo Action and keeps it floating when shooting in water.

▪️ Filters: Osmo Action comes with Neutral Density (ND), Polarizer, and underwater filters. ND filters (ND4, ND8, ND16, and ND32) reduce light exposure in various environments, while Polarizer filters reduce reflections and increase color saturation for a more appealing image. Orange Seawater and Purple Freshwater filters restore the natural color of underwater scenes.

▪️ Charging Hub: Charge up to three batteries simultaneously in less than 130 minutes.

DDC Coverage of the NABShow 2019

Fri, 19 Apr 2019 19:09:55 GMT

Audio Interviews with DDC Sponsors and Industry Professionals.

DDC- @districtcreate audio coverage of the #NABSHOW2019 on @soundcloud ugm, @gekjr chat w/ @fsimonitors @adobevideo @frame_io @wipsters @smallhd @imagineproducts @blackmagic_news @newbluefx @smalllhd @woodencamera @sounddevices @OWCsolutions

What's New in DaVinci Resolve 16

Tue, 09 Apr 2019 07:57:06 GMT

Sponsor Video

This video demonstrates some of the new features in Davinci Resolve 16. The first half of the video covers the new cut page, while the rest of the video covers dozens of other new features across the rest of the application.

00:00 Introduction
00:15 Difference between Edit and Cut pages
01:00 Cut page interface overview
01:43 Cut page media pool
02:19 Cut page dual timeline
02:46 Cut page scratch trimming
03:10 Cut page smart edit features
04:30 Cut page trimming
04:50 Cut page graphical trim editor
05:28 Cut page transitions and smooth cut buttons
06:23 Cut page source tape mode
07:26 Cut page fast review
07:46 Cut page transformation, retiming, audio tools
08:35 Cut page title 3D templates and other effects
08:58 Cut page quick export and upload
09:15 Edit page custom timeline settings
09:38 DaVinci Neural Engine and facial recognition
10:15 Edit page automatic Smart Bins and organization
10:45 Edit page Speed Warp retiming with neural engine
11:14 Edit page adjustment clips
11:30 Edit page new Resolve FX
11:35 Edit page realtime Fusion 3D title templates
11:58 Edit page shot stabilization
12:17 Edit page curve editor for Resolve FX and Open FX
12:27 Edit page rectified and full audio waveforms
12:33 Edit page tape style audio scrubbing
12:43 Native frame.io integration
13:27 Fusion page performance
13:53 Fusion page GPU accelerated tools
14:11 Color page new feature introduction
14:23 Color page DaVinci Neural Engine color and shot match
14:42 Color page curves with histogram overlay
14:55 Color page paste attributes
15:00 Color page Gallery interface improvements
15;27 Color page new split screen options
15;36 Color page smart fill object removal
15:58 Color page Resolve FX and neural engine
16:38 Color page keyframe editor for Resolve FX and Open FX
16:50 Color page GPU accelerated scopes
18:07 Color page viewer channel options
18:23 Fairlight page introduction
18:30 Fairlight page new automation controls
18:40 Fairlight page automation preview
18:54 Fairlight page bus and VCA timeline tracks
19:18 Fairlight page new loudness and metering tools
19:39 Fairlight page loudness graph in timeline
19:55 Fairlight page clip normalization options
20:05 Fairlight page ProTools session import
20:20 Fairlight page immersive 3D audio support
20:44 Fairlight page 3D panner and new 3D Space View
21:18 Fairlight page B-chain monitoring and setup options
21:35 Fairlight page elastic wave alignment for dialog sync
21:59 Fairlight page new Fairlight FX plugins
22:10 Fairlight FX Frequency Analyzer
22:24 Fairlight FX Limiter
22:40 Fairlight FX Phase Meter
23:00 Fairlight FX Dialog Processor
23:55 Fairlight page free foley sound library
24:10 Fairlight FX Foley Sampler
25:20 DaVinci Resolve 16 summary

Blackmagic NAB 2019 Technical Product Overview

Tue, 09 Apr 2019 07:45:43 GMT

Sponsor Content

Watch to learn more about the latest products released at NAB including HyperDeck Extreme 8K HDR, ATEM Constellation 8K, Teranex Mini SDI to HDMI 8K HDR, DaVinci Resolve 16 and more!

00:00:00 Introduction
00:00:27 HyperDeck Extreme 8K HDR
00:36:24 Blackmagic MultiDock 10G
00:40:11 ATEM Constellation 8K
01:05:40 Teranex Mini SDI to HDMI 8K HDR
01:40:00 DaVinci Resolve 16
02:13:37 Blackmagic Pocket Camera Battery Grip

Blackmagic Design NAB 2019 Customer Booth Speakers

Fri, 05 Apr 2019 15:10:00 GMT

Schedule of Presentations

Blackmagic Design schedule for presentations by a variety of filmmakers, streamers and broadcasters at its booth during the 2019 NAB show.

The presentations will provide a look at the vision and techniques used by customers with a variety of Blackmagic Design products. The presentations will take place in between DaVinci Resolve Studio demo sessions on the main stage at the Blackmagic Design Booth (SL216).

Monday, April 8

11:00 am DigitalFilm Tree’s Dan Judy will discuss their workflow on the CW’s “The 100,” and how they use DaVinci Resolve for remote finishing, grading and editing;

1:00 pm Cinematographer Roy H Wagner, ASC, will present his latest feature film, “Stand!” shot entirely on the URSA Mini Pro 4.6k;

3:00 pm Producer and educator Bill Allan details his Emmy award winning broadcasts at Chicago Lyons Township High School;

Tuesday, April 9

11:00 am Producer/Director Steven Calcote presents his newest project “Orbital Redux,” the first live streamed episodic narrative science fiction program;

1:00 pm Alexis Hurkman presents “Carry My Heart to the Yellow River” using a complete DaVinci Resolve workflow in 4K HDR;

3:00 pm Director David Risotto and Cinematographer Robert Giles present the feature film “The Silent Natural” using URSA Mini Pro and DaVinci Resolve Studio;

5:00 pm Award winning filmmaker Jody Eldred presenting on the use of the new URSA Mini Pro G2 on his recent Uganda film project;

Wednesday, April 10

11:00 am Visual Effects Supervisor Matt Hoffman from BluFire Studios presents on his use of Fusion on the WB’s “The Outpost;”

1:00 pm Chris Sobchak takes us on tour with Elton John, and discusses his use of DaVinci Resolve for full scale post production;

3:00 pm Colorist Ryan McNeal from RKM Studios talks about music video production using Blackmagic RAW and DaVinci Resolve Studio.

New Blackmagic Camera 6.3 update

Fri, 05 Apr 2019 12:20:55 GMT

URSA Mini G2 Update

“New Blackmagic Camera 6.3 update adds support for URSA Mini Pro 4.6K G2. This next generation URSA Mini Pro includes new high frame rate recording, Blackmagic RAW 1.3, Generation 4 Color Science, HDR LUTs, USB-C recording and more.” Download now from http://discre.link/2K9WXFJ

What's New for Spring 2019 Premiere Pro 13.1 (NAB Release)Video

Fri, 05 Apr 2019 04:08:40 GMT

Dave Helmly, Adobe Video Team

In this 15 min video Dave will walk you through some of the main highlights for our v13.1 Spring 2019 release of Premiere Pro. Some of the highlights include new enhancements to Render and Replace, Rulers & Guides, Freeform view, Essential Graphics Panel updates, new codec support, performance , and more **. At the end of this video you'll see a recap from another video featuring new eGPU support for Mac and Windows which was also added in v13.1

Adobe Announce Video Tools Update Ahead of NAB 2019

Wed, 03 Apr 2019 12:31:59 GMT

Adobe announces updates of its video tools ahead of NABshow 2019 available for download today. DDC will be at NAB 2019 covering all that's new with the powerful feature set of updates.

Refining workflows for video production

Storytelling with smarter tools

Try the new features yourself!

Explore new features with guided instructions and beautiful free footage from Adobe Stock:

Explore Content-Aware Fill in After Effects

adobe.com/go/tryit_contentawarefilladobe.com/go/tryit_contentawarefill

Explore Freeform in Premiere Pro

adobe.com/go /tryit_freeform

Explore Titling with new Rulers and Guides in Premiere Pro

adobe.com/go/tryit_titlesandgraphics

Adobe gives you creative control with tools you can count on. Industry-leading applications for
editing, motion graphics, audio, and animation, combined with the world’s best ecosystem of
creative tools and services, provide a rich production platform for film, broadcast, and video
content, empowering you to deliver on schedule and tell stories that stand out.

The April 2019 release of the Adobe video and audio tools offers improved performance, polish, and the power of
Adobe Sensei AI to accelerate post-production. This guide provides an overview of what’s new in Adobe Premiere
Pro, After Effects, Audition, and Character Animator.

Work creatively and efficiently with the Freeform Project panel
Organize your projects and storyboard your media in the new Freeform Project panel in Premiere Pro.
Visually arrange your clips as you select shots and build assembly edits. The Freeform Project panel gives you
a place to brainstorm ideas, without the constraints of a traditional list or grid view.

Streamline titling and motion graphics
Rulers and Guides in Premiere Pro make it easy to align text and graphics within the editing workflow and
ensure consistency across teams and deliverables. Work with familiar Adobe design tools, save and share
Guide Templates, and streamline titling and motion graphics.

What’s New in Adobe Premiere Pro

Premiere Pro is the industry-leading video editing application, offering robust native format support,
efficient workflows, and rich creative tools for color, graphics, and audio. Craft and deliver beautiful
content for film, TV, and online viewing.
The latest release is focused on improved performance and refining the toolset.

Freeform Project panel

With more media and tighter deadlines, editors need tools that help them manage their content
without losing sight of their stories. The new Freeform view expands the Project panel into an open
canvas for organizing your media and visualizing ideas. Arrange clips, sequences, bins, and other assets
into layouts that work with how you think. Color code clips, stack them in groups to save space, make
hero shots bigger and build assembly edits you can drag onto the Timeline.
Save different layouts for different tasks inside the same bin and move between layouts as you work.
With options to show multiple types of metadata or just clip thumbnails, you control the look of your
bin. The Freeform Project panel helps you work efficiently and think creatively.

Rulers and Guides

Layout titles and graphics with greater precision and consistency. New Rulers and Guides with
improved snapping bring familiar Adobe design tools into your video editing workspace, making it
easier to size and align graphics, still images, and video. Color code Guides for added efficiency and
share Guide Templates to ensure brand continuity across your content.

View menu

Premiere Pro now has a dedicated View menu, consolidating Program Monitor commands and new
commands for Guides and accessing or saving Guide Templates.

Improved Text tools

Work more efficiently with text in the Essential Graphics panel with all your titling and graphics tools in one place. Enhance titles with new options for adding multiple strokes and stroke styling to text, as used in Japanese and Korean titling and lower thirds. Make text and titles stand out with background fills or use masks with text for added impact.

Working with fonts is easier, too. Sync free Adobe Fonts automatically, avoiding issues with commonly used missing typefaces; define your own default font as a fallback option. Replace fonts in your whole project with one click to easily update a design.

Try it yourself!

Explore the Titling tools with new Rulers and Guides in Premiere Pro with instructions and free footage from Adobe Stock

adobe.com/go/tryit_titlesandgraphics

Graphics enhancements

This release gives you more options for creating graphics and animations in Premiere Pro. Group
shapes and apply masks, all from the Essential Graphics panel. Drag and drop multiple Motion Graphics
templates into the Essential Graphics panel for added efficiency.

Auto Ducking for Ambience

Ambience add atmosphere and a sense of place to video content. Auto Ducking leverages the power of
Adobe Sensei technology to detect speech and automatically adjust the volume of ambient sounds
below dialog, music, or sound effects. Adjustments are keyframed so you can fine-tune your mix.

Audio efficiency

Your audio workflow just got better with user-requested improvements that let you re-order audio
effects in the effects rack. Copy and paste effects and settings between audio tracks to improve your
efficiency while refining your sound.

Faster Mask Tracking and performance improvements

Mask Tracking is significantly faster, even at high resolutions, for more efficient Lumetri Color and
effects workflows. Hardware encoding for H.264 and HEVC is improved for smoother playback. Metal
acceleration improves playback for RED footage. Better load-balancing for multiple GPUs, including
eGPUs, provides faster rendering and exporting, especially with professional codecs, like Apple ProRes,
RED, and others. A new System Compatibility Report utility checks for known issues, such as out-ofdate
graphics drivers to help ensure reliable performance.

What’s New in After Effects

After Effects is the industry standard for motion graphics and visual effects, used by animators, editors,
designers and compositors to create sophisticated animations and composites for compelling video.
The latest release adds new features for removing objects from video clips, a better way to create
Expressions, and more.

Content-Aware Fill for video

With tight production and delivery schedules, the ability to repair or re-purpose a shot can make a big
difference. First introduced in Photoshop, Content-Aware Fill is now available to editors and visual
effects artists allowing them to remove unwanted elements from video clips, such as production
equipment, boom microphones or special effects wires that have inadvertently been included in a shot.

Powered by Adobe Sensei, Content-Aware Fill replaces masked objects, shadows, or blemishes with
backgrounds generated from adjacent pixels and other frames in the clip. Incorporating technologies
such as optical flow and 3D tracking, Content-Aware Fill estimates motion and depth of the masked
object to intelligently assemble a replacement background. For complex shots, you can refine your
results with reference frames edited in Photoshop.

For 360 VR projects, Content-Aware Fill is an indispensable tool since there is nowhere “off-camera” to
hide crew, tripods or lights. Content-Aware Fill can also be used to salvage footage by eliminating visual
distractions or fixing continuity issues, like a car driving through the background of a scene, dust on a
camera lens, or a misplaced prop.

Try it yourself! Explore Content-Aware Fill in After Effects with guided instructions and free footage from Adobe Stock

adobe.com/go/tryit_contentawarefill

Expressions Editor

Writing Expressions just got easier and more colorful with the Expressions Editor, a full-featured code
editor built into After Effects. Expressions are snippets of JavaScript used to link properties for flexible,
dynamic animations, without having to create hundreds of keyframes. Designed to help you code faster
and more accurately, the Expressions Editor allows you to navigate your code visually with syntax
highlighting, line numbers, matching brace highlighting and code folding.
Customize your experience with a wide range of color themes to show the structure of your code.
Locate issues faster with in-line error messages that give you the context you need to find the solution.
Building on the Expressions engine, added in the Fall 2018 release, the Expressions Editor provides an
improved workflow for creating compelling animations.

Performance improvements

Experience accelerated rendering when applying GPU effects such as Roughen Edges and Change Color.
Both effects now support 16- and 32-bit color. Sync missing typefaces automatically with new
automatic syncing for Adobe Fonts in After Effects and for Motion Graphics templates. Complex Team
Projects now load faster and offer improved workflows between Premiere Pro and After Effects.
Work more efficiently with RED RAW footage with new deBayering support for Metal on macOS.
Support for Sony VENICE v3 has been added. After Effects also offers improved hardware decoding for
H.264 and HEVC, providing smoother playback performance.

Share Guide Templates with Premiere Pro editors

Ensure visual consistency in your designs and across your team. Save Guide Templates in After Effects
and share them with editors for use in Premiere Pro.

Try it yourself! Explore the Titling tools with new Rulers and Guides in Premiere Pro with instructions and free footage from Adobe Stock
adobe.com/go/tryit_titlesandgraphics

What’s New in Adobe Audition

Adobe Audition provides a comprehensive audio post solution for virtually any type of sound
production work - from broadcasting to podcasting - including the best NLE integration in the industry.
The latest release offers full Punch and Roll recording, Auto-Ducking for Ambience, and workflow
refinements that improve efficiency.

Punch & Roll recording

New Punch and Roll recording in Audition provides efficient production workflows in both Waveform and Multitrack for long-form voiceovers and narration. Use it to accurately punch in replacement audio and continue recording a performance without interrupting your flow. An adjustable pre-roll, to match the cadence of your original recording, and visual countdown indicator achieve great results whether you are recording in a vocal booth or sitting at your workstation.

Auto Ducking for Ambience

Create richer soundscapes and bring more atmosphere into your mix, without obscuring other audio.
Part of the Essential Sound panel, Auto Ducking uses Adobe Sensei to automatically adjust the volume
of background tracks around foreground dialog or music. You tell Audition which audio clips you want
the audience to focus on and Auto Ducking creates a mix. You can “set it and forget it” while it works in
the background or manually adjust keyframes afterwards to fine-tune the final result.

Workflow refinements in Audition

Mix audio with greater precision. Manual keyframe value editing ensures your adjustments are exactly
what you intend. Move clips between tracks without taking your hands from the keyboard with useful
new shortcuts. A new Zoom to Selected Clips command gives you a flexible option for instantly
zooming in or out to see your whole selection.

What’s New in Adobe Character Animator

Character Animator unlocks a new level of artistry and enables expressive, performance-based
animation in any genre, including real-time livestreaming

With growing numbers of animation studios and productions embracing Character Animator, this
release is tightly focused on streamlining the toolset, including better Puppet rigging and tagging,
improved jaw movement and lip-synching, a new Twitch extension, and more.

Better Puppet rigging

Shape the gestures and movements that give personality to your characters more easily. With better
Puppet rigging you can apply behaviors, tag layers, and search through puppet rigs, allowing you to
accomplish more within your established workflows. Apply attributes to single layers or any group of
layers, simplifying the setup for complex puppets that allow for more nuanced performances. A new
search filter makes it easy to locate layers and behaviors for improved efficiency.
An improved visual interface for adding tags within the Puppet panel makes it faster and more intuitive
to designate layers and layer groups as mouths, eyes, and so on, without relying on perfect layer
naming. A new option to Swap Left & Right Tags makes it easier to modify puppet designs. You can now
copy and paste handles from one layer to another layer on the same puppet for perfectly aligned
magnets.

Jaw movement and Lip Sync improvements

Now a character’s jaw can automatically move in conjunction with their lip-synched, editable mouth
visemes. Compute nutcracker jaw movement from scene audio; the power of Adobe Sensei generates
better automatic lip-sync, by reducing the impact of noisy audio.

New Twitch extension

Use the new Character Trigger extension for Twitch to enhance livestreaming performances by allowing
viewers to trigger on-the-fly costume changes, impromptu dance moves, or signature gestures and poses.
Surprise and delight your viewers, while adding interactivity and monetization to your Twitch channel.

Characterizer workflow improvements

Characterizer is an Adobe Sensei feature that turns artwork into puppets you can animate in Character
Animator. Characterizer now offers a faster UI, three new styles, and better final results, thanks to the
power of Adobe Sensei.

The power of Adobe Creative Cloud

The Adobe video and audio tools are part of Adobe Creative Cloud, a unique collection of world-class
applications, including stalwarts like Photoshop and Lightroom, innovative new apps, like Premiere
Rush, Adobe Dimension and Adobe XD, and integrated services, like Adobe Stock, a diverse
marketplace for buying and selling high quality footage and Motion Graphics templates. Integrating
apps and services puts a wealth of tools at your fingertips, empowering you to leverage your strengths,
expand your skillset, and deliver amazing content.

Enrich your storytelling with Adobe Stock

Adobe Stock offers over 10 million curated, royalty-free cinematic HD and 4K videos sourced from leading agencies, including exclusive content from GoPro, and collections from Pond5, Discover Footage, ATW Media, Rubberball, and more. Adobe Stock makes it easy to find fresh, contemporary footage for establishing shots, to fill gaps in your project, or to enrich your storytelling.

Stock also offers Motion Graphics templates, including animated titling and lower-thirds with editable effects and text, to add sophistication and polish to video content. Accessible via the Essential Graphics panel in Premiere Pro, you can search and preview templates in Adobe Stock, and add them to the Premiere Pro Timeline with drag-and-drop ease.

Seamless production with third-party technologies

Adobe applications are designed as an open platform, including a rich and growing library of APIs to
support sophisticated integrations with third-party solutions, such as Media Asset Management tools,
plug-ins and extensions for audio, color, effects, and optimized performance on hardware, such as
shared storage. No man (or woman) is an island and no software operates in isolation. The Adobe tools
connect technologies and deliver a seamless production experience for large enterprises, small studios
and everything in-between.

Try the new features with free footage from Adobe Stock!

Explore new features in this release with guided instructions and beautiful free footage from Adobe Stock:

Try Content-Aware Fill in After Effects

adobe.com/go/tryit/contentawarefill

Try Freeform in Premiere Pro

adobe.com/go/tryit_freeform

Try Titling with new Rulers and Guides in Premiere Pro

adobe.com/go/tryit_titlesandgraphics

Learn more about Adobe technology partners for video

NAB 2019 Video Playlist

What's New in Premiere Pro

Refining Workflows for Video Production | What’s New in the Adobe Video & Audio Tools Spring 2019

Refining Workflows for Video Production | Spring 2019 Release for Adobe Video & Audio Tools

Refining Workflows for Video Production | Spring 2019 Highlights of Adobe Video & Audio Tools

Content-Aware Fill for Video in After Effects

New in Premiere Pro - Freeform View

New in Premiere Pro - Rulers and Guides

Expressions Editor in After Effects

Punch and Roll Recording in Audition

Auto Ducking Ambience in Essential Sound Panel

Better Puppet Rigging in Adobe Character Animator

Faster Mask Tracking in Adobe Premiere Pro

Adobe Leads with Innovation and Performance at NAB 2019

Wed, 03 Apr 2019 12:31:27 GMT

Press Release

Latest Video Release in Creative Cloud Brings Added Creative Power, Enhanced Workflows and IncreasedPerformance

SAN JOSE, Calif. — April 3, 2018 — Ahead of the 2019 NAB Show, Adobe (Nasdaq:ADBE) today announced
performance updates and new innovations for video and audio tools in Adobe Creative Cloud to improve efficiency
in video production. From a wide range of film, TV, broadcast and streaming projects including Dolemite is My
Name, Peanut Butter Falcon, Mindhunter 2, Wu-Tang Clan: Of Mics and Men, Last Black Man in San Francisco, VICE
Media and Fox Sports, Adobe Creative Cloud powers the world’s best video apps and services by providing the most
integrated product worfklows.

DDC Blog Post: https://discre.link/2WADGyK

Available today, new features include ground-breaking Content-Aware Fill for video, powered by Adobe Sensei, the
company's artificial intelligence (AI) and machine learning technology, along with new capabilities for titles and
graphics, crafting animations, refining audio mixing, and organizing and preparing project media. Some of the
hundreds of perfomance improvements include faster Mask Tracking for effects and color workflows, dual GPU
optimization and improved hardware acceleration for HEVC and H.264 formats in Premiere Pro. In After Effects,
enhancements include GPU-accelerated effects, such as Change Color and Roughen Edges.

“Video is experiencing a golden age as video professionals across broadcast, film, streaming services and digital
marketing are facing higher consumer demand for content creation. Meanwhile production timelines are shorter
and the list of deliverables are longer,” said Steven Warner, Vice President of Digital Video and Audio at Adobe.
“Through optimized performance and intelligent new features powered by Adobe Sensei, video professionals can
cut out more tedious production tasks to focus on their creative vision.”

Smarter Tools for Richer Storytelling

Attendees at this year’s NAB Show can get a closer look at the newly available features and hear from industry
experts at the Adobe booth (#SL5610, South Hall in the Las Vegas Convention Center) and at over 100 partner
booths from April 8–11. Tune-in to Facebook Live with Jason Levine on April 4 at 9 a.m. PST to hear about what’s
new.

New features in today’s release enable users to:

● Remove unwanted objects automatically with Content-Aware Fill in After Effects – Formerly Project
Cloak, Content-Aware Fill for video is powered by Adobe Sensei and automates the process of removing
visual elements like boom mics, signs, logos and even people from footage, saving hours of tedious manual
work.
● Organize and storyboard your media in the Freeform Project panel in Premiere Pro – Arrange assets
visually and save layouts for shot selects, production tasks, brainstorming story ideas, and assembly edits.
● Design with precision and consistency with Rulers and Guides - Work with familiar Adobe design tools
inside Premiere Pro, making it easier to align titling, animate effects, and ensure consistency across
deliverables.
● Polish audio easily and efficiently with Punch and Roll in Audition - The new feature provides efficient
production workflows in both Waveform and Multitrack for longform recording, including voiceover and
audiobook creators.
● Surprise viewers with Twitch Live-Streaming Triggers in Character Animator - Livestream performances
are enhanced where audiences engage with characters in real-time with on-the-fly costume changes,
impromptu dance moves, and signature gestures and poses.
● Generate an audio mix with Auto Ducking for ambient sound in Audition and Premiere Pro - Powered
by Adobe Sensei, Auto Ducking now allows for dynamic adjustments to ambient sounds against spoken
dialog. Keyframed adjustments can be manually fine-tuned to retain creative control over a mix.
● Add visual variety - Adobe Stock now offers an extensive collection of 10 million professional-quality,
curated, royalty free HD and 4K video footage and Motion Graphics templates from leading agencies and
independent editors to use for editorial content, establishing shots or filling gaps in a project.
● From shoot to showtime - Premiere Rush, introduced late last year, offers an efficient mobile-to-desktop
workflow integrated with Premiere Pro for on-the-go editing and video assembly.

Pricing and Availability
The new features for Adobe Creative Cloud announced at NAB are now available with the latest version of Creative
Cloud. For more information on pricing, visit https://www.adobe.com/creativecloud/plans.html . Multiple
subscription plans for Adobe Stock are available at https://stock.adobe.com/plans

Fairlight Mini Course: Dialogue Mixing in DaVinci Resolve's Fairlight

Sat, 16 Mar 2019 14:50:44 GMT

Curated: Curtis Judd, YouTube

Learn more about the Fairlight mini course at http://school.learnlightandsound.com

DaVinci Resolve is an amazing video post app for editing, coloring, adding visual effects, and mixing sound. And with free and studio versions, anyone can produce very high quality videos and films.

Fairlight is the incredibly powerful audio mixing module within Resolve.

New mini course on how to edit and mix dialogue and simple music intros and outros.

In the course, we’ll teach you:
- How to configure the Fairlight settings
- Import and sync your audio clips
- How to get around the Fairlight page
- How to use track layers
- How to choose which mic to use in a dialogue edit
- How to set up your channel mapping
- How to use keyframes and automation to dynamically adjust track and clip levels
- How and when to bounce tracks and timelines
- How to loudness normalize your final mix

Repost: Cinema Goes Virtual, VR Goes Indie, and Immersive Expands at SXSW 2019

Sat, 16 Mar 2019 14:02:04 GMT

Curated

From the snow-packed slopes of Sundance to the Texas heat of SXSW, VR is already having a big year. Interactive mysteries, VR narrative films, and documentary-style exhibits exploded out of Sundance’s New Frontier VR category, and now, it’s SXSW’s chance to create an enormous moment around immersive technology that inspires and connects our industry.

And it seems that the festival, a long time bastion for creative innovation that mints cultural currency, is up to the task. SXSW is embracing the expanding conversation between storytelling and tech through its VR/MR/AR panel discussions, screenings and exhibitions. And, incredible immersive theorists and filmmakers including Nonny de la Peña (bringing her Border Stories experience) and Jessica Brillhart, formerly the Principal Filmmaker for VR at Google and a keynote speaker this year, will be on the ground to help illuminate a path forward.

Read Article over at Immersive Shooter: https://discre.link/2JeSb9D

Timeline TV Adopts Remote Production Workflowfor Women’s Super League based on URSA Broadcast

Tue, 12 Mar 2019 00:00:00 GMT

Sponsor Post

Manchester, United Kingdom - March 12, 2019 - Blackmagic Design announced that broadcast services specialist, Timeline TV, has implemented a bespoke remote production solution to produce coverage of the Football Association’s (FA) Women’s Super League (WSL), built around the Blackmagic 3G-SDI Shield for Arduino and URSA Broadcast.

In order to meet the WSL’s requirements for live match coverage in the 2018/2019 season, its first as a full time professional league, the Timeline team needed to rethink how they’d approach a four multicamera OB, that could be deployed at any ground in the country while still delivering the level of quality expected by production partner, Whisper Films.

Timeline’s managing director, Dan McDonnell, explains that the URSA Broadcast was the ideal camera choice. “We pride ourselves on delivering broadcast quality output for our creative partners, and the URSA Broadcast, when paired with our B4 lenses, delivers excellent images, both on and off the pitch.”

When it came to controlling the URSA Broadcast, Timeline’s IP engineering team had to get creative. “Remote camera racking was essential and required a new approach to data transmission all while keeping the on site operation as simple as possible,” says Dan. “There was nothing else on the market that would afford us the flexibility, quality or control unless we deployed a full OB.”

Developed around the Blackmagic 3G-SDI Shield for Arduino using the Blackmagic SDI camera control protocol, Timeline’s engineers have developed a H.265 based 4G bonding & IP transmission solution that resides in a backpack. It integrates a transmitter and the camera control interface systems needed for acquisition and live transmission back to the companies Ealing Studios’ headquarters, where each weekend’s coverage is produced.

“Essentially, we’ve eliminated the requirement for a full, static router, which normally is in place for a camera control unit to feed through. As well as the high resolution camera signals, an additional low res feed is sent carrying all the necessary camera settings,” according to Dan. “Working over IP channels provides reliable and consistent remote signal feeds from wherever we are around the country, and this, combined with Blackmagic’s open protocol has given us the flexibility to devise a high quality remote production solution that meets broadcasters’ strict standards for live sports coverage.”

Timeline will continue to provide all Women’s Super League footage with the remote solution, but its efficiency and technical capabilities could be easily transferred to other sporting leagues, tournaments and touring events.

“The ability to control an entire multicamera system via IP means that we can produce comprehensive coverage of high profile events from anywhere in the world, without having to send a huge amount of staff or equipment out to the venues,” Dan concludes. ”Once the operators are on site, it’s simply a matter of switching on the receivers and the cameras, and we’re ready to go. That balance of speed, flexibility and quality has only been possible at this price point thanks to Blackmagic Design.”

Blackmagic Design Announces New URSA Mini Pro G2 Camera

Tue, 05 Mar 2019 00:00:00 GMT

Sponsor Post

Fremont, California, USA - March 5, 2019 - Blackmagic Design announced URSA Mini Pro 4.6K G2, a second generation URSA Mini Pro camera featuring fully redesigned electronics and a new Super 35mm 4.6K image sensor with 15 stops of dynamic range that combine to support high frame rate shooting at up to 300 frames per second. In addition, URSA Mini Pro 4.6K G2 supports Blackmagic RAW and features a new USB-C expansion port for direct recording to external disks.

URSA Mini Pro 4.6K G2 is available now for $5,995 from Blackmagic Design resellers worldwide.

The new URSA Mini Pro 4.6K G2 is a dramatic advancement over the original model as it now features entirely new electronics for higher speed processing. Also included is a new Super 35mm 4.6K image sensor that captures up to 4608 x 2592 pixels with 15 stops of latitude at up to 3200 ISO. This allows customers to record full sensor 4.6K images at up to 120 frames per second, windowed 4K DCI at up 150 frames per second, and windowed 1080 HD at an amazing 300 frames per second. That makes URSA Mini Pro 4.6K G2 ideal for capturing stylized fast action documentary work, nature photography, sports and more.

In addition, URSA Mini Pro 4.6K G2 can capture Blackmagic RAW images in both film and extended video modes, making it perfect for high end feature films, television shows, commercials, and indie films as well as broadcast news, studio and even live multi camera production.

Blackmagic RAW is a revolutionary, next generation codec that gives customers visually lossless images, extensive metadata support and highly optimized GPU and CPU accelerated processing. Blackmagic RAW combines the quality and workflow advantages of traditional RAW formats with the speed and ease of use of standard video codecs. With Blackmagic RAW, customers can choose compression levels up to 12:1 and still get stunning images that can be used for feature films, documentaries and broadcast programming. Blackmagic RAW settings such as 12:1 are important to allow customers to get the highest frame rates from the camera, and this means only Blackmagic RAW can allow high frame rates while retaining enough quality for professional results.

URSA Mini Pro 4.6K G2 also uses Blackmagic Design Generation 4 Color Science for superior imaging that results in extremely accurate skin tones and gorgeous, lifelike colors that rival those of cameras costing tens of thousands of dollars more. Blackmagic RAW images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range. These formats can be recorded onto CFast or SD cards, as well as direct to flash disks using the new USB-C expansion port.

URSA Mini Pro 4.6K G2 is designed to be extremely tough and fully featured. It includes everything customers need in a compact handheld magnesium alloy body that’s durable and light enough to use anywhere. There’s an external high visibility backlit LCD status display for viewing critical shooting information, a foldout touch screen for reviewing shots without needing an extra on-set monitor, professional connections such as 12G-SDI, XLR audio, built in high quality stereo microphones and more. Plus, every single control on the camera is redundant, including the power, so if anything should go wrong in the field, the camera can still be used.

URSA Mini Pro 4.6K G2 features neutral density (ND) filters with IR compensation for quickly reducing the amount of light that enters the camera. The 2, 4 and 6 stop filters are specifically designed to match the colorimetry of the camera and provide additional latitude, even under harsh lighting conditions. That means customers can use different combinations of aperture and shutter angle to achieve shallower depth of field, or specific levels of motion blur, in a wider range of situations. The IR filters evenly compensate for both far red and infrared wave lengths to eliminate IR contamination. The ND filters are true optical filters with a precision mechanism that quickly moves them into place when the ND filter dial is turned.

The broadcast camera design of URSA Mini Pro 4.6K G2 puts powerful external control buttons, switches, knobs and dials on the outside of the camera, giving customers direct access to the most important camera settings. The controls are laid out in a logical order that makes them easy to remember so cinematographers can operate the camera without having to look at the buttons, hunt through menus, or take their eye off of the action. URSA Mini Pro 4.6K G2 also features a high visibility status screen that displays important information such as timecode, shutter and lens settings, battery, recording status, and audio levels. The status display features a backlight and is designed to be clearly visible in both dimly lit studios and outside in direct sunlight.

URSA Mini Pro 4.6K G2 comes standard with an interchangeable EF lens mount for working high quality photographic lenses. If the camera is being used on a high end film or commercial shoot that calls for large cinematic lenses, simply remove the EF mount and replace it with the optional PL mount. There’s even a B4 broadcast lens mount for working with broadcast HD lenses. URSA Mini Pro 4.6K G2 also includes a standard 12 pin Hirose lens control connector.

Featuring both dual C-Fast 2.0 recorders and dual SD UHS-II card recorders, customers can choose the media that works best for their projects. C-Fast cards are ideal for full resolution Blackmagic RAW 12 bit recording, while UHS-II SD cards are inexpensive and commonly available, making them perfect for recording Blackmagic RAW 8:1 or 12:1 for Ultra HD and regular HD files. With dual slots for each media type, the camera never has to stop recording because when the first card is full, it automatically continues onto the next card. Full cards can be swapped for empty ones, all without stopping the camera.

URSA Mini Pro 4.6K G2 also includes a new and innovative high speed USB-C expansion port for adding accessories such as an SSD for external recording. That means customers can now record for even longer durations without stopping. Plus, they can record directly onto the same external disks they will use for editing and color correction.

URSA Mini Pro 4.6K G2 includes the full DaVinci Resolve Studio software, giving customers a complete post production solution. This powerful software combines professional nonlinear video editing with the world’s most advanced color corrector for importing, editing, color correcting, finishing and delivering projects shot on URSA Mini Pro 4.6K G2. DaVinci Resolve Studio works natively with Blackmagic RAW files from the camera, so customers can take them directly into post production without having to convert or change them. Every single bit of quality is preserved because it is a true lossless workflow. Using DaVinci Resolve Studio is the fastest and highest quality way to work with Blackmagic RAW files from URSA Mini Pro 4.6K G2.

“The original URSA Mini Pro has been an extremely successful and very popular camera,” said Grant Petty, CEO, Blackmagic Design. “Blackmagic URSA Mini Pro 4.6K G2 is exciting because it gives customers second generation electronics and an even higher performance image sensor so they can shoot at extremely high frame rates for crystal clear slow motion images. URSA Mini Pro 4.6K G2 is powerful enough to be used on high end feature films and television shows, versatile enough to be used for broadcast news and live multi camera event production, and affordable enough for indie filmmakers and even students! It’s like getting 3 cameras in one!”

Blackmagic URSA Mini Pro 4.6K G2 Key Features

Digital film camera with 15 stops of dynamic range.
Super 35mm 4.6K sensor with Blackmagic Design Generation 4 Color Science.
Supports project frame rates up to 60 fps and off-speed slow motion recording up to 120 fps in 4.6K, 150 fps in 4K DCI and 300 fps in HD Blackmagic RAW.
Interchangeable lens mount with EF mount included as standard. Optional PL, B4 and F lens mounts available separately.
High quality 2, 4 and 6 stop neutral density (ND) filters with IR compensation designed to specifically match the colorimetry and color science of Blackmagic URSA Mini Pro 4.6K G2.
Fully redundant controls including external controls which allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
Built in dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders allow unlimited duration recording in high quality.
High speed USB-C expansion port for recording directly to an external SSD or flash disk.
Lightweight and durable magnesium alloy body.
LCD status display for quickly checking timecode, shutter and lens settings, battery, recording status, and audio levels.
Support for Blackmagic RAW files in Constant Bitrate 3:1, 5:1, 8:1 and 12:1 or Constant Quality Q0 and Q5 as well as ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at 4.6K, 4K, Ultra HD and HD resolutions.
Supports recording of up to 300 frames per second in HD, 150 frames per second in 4K DCI, and 120 frames per second at full frame 4.6K.
Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
Built in high quality stereo microphones for recording sound.
4 inch foldout touchscreen for on-set monitoring and menu settings.
Includes full copy of DaVinci Resolve software color grading and editing software.

Blackmagic Design Forms StrategicPartnership with the USC School of Cinematic Arts

Tue, 12 Feb 2019 23:09:20 GMT

Sponsor Repost

Blackmagic Design announced that it has formed a strategic partnership with the USC School of Cinematic Arts to provide Blackmagic hardware and software to the School over three years.The products will be used by USC students studying filmmaking and post production, while broadcast production students will now have the opportunity to work with UltraHD in the school’s television station, Trojan Vision.

Through the partnership, Blackmagic Design will provide URSA Broadcast cameras and URSA Mini Pro Cinema cameras, ATEM 4 M/E Broadcast Studio 4K switchers, ATEM Camera Control Panels, HyperDeck Studio Pro recorders and Resolve Micro and Resolve Mini Panels.

“Blackmagic is known for providing high quality equipment that filmmakers and other content creators find accessible,” said Elizabeth Daley, Dean of the School of Cinematic Arts. “We are thrilled our students get to use Blackmagic Design tools because we know that means they will be better prepared for the work environments they will encounter after graduation.”

The partnership with Blackmagic Design will provide a major upgrade to the equipment used by USC students who create programming for Trojan Vision, the School of Cinematic Arts’ award-winning television station that airs to homes across Los Angeles, and online.

Greg Vannoy, who oversees Trojan Vision, said: “While we broadcast in HD, the upgrade gives us full Ultra HD capability, which we feel creates a better learning facility for our students.” The studio, which is located in the Robert Zemeckis Center for Digital Arts, will now have URSA Broadcast cameras, ATEM 4 M/E Broadcast Studio 4K switchers, ATEM 1 M/E Advanced Panels, ATEM Camera Control Panels, and a massive array of routing components, as well as HyperDeck Studio Pro recorders; transforming the facility into a modern teaching environment.

“We are thrilled that some of the media industry’s most talented young creators will be consistently learning on and using our products and we are excited to see what they end up creating,” said Grant Petty, CEO of Blackmagic Design.

Beyond the broadcast equipment, the partnership provides DaVinci Resolve Micro Panels for students studying color grading. Students will have access to DaVinci Resolve Studio and instructors will have DaVinci Resolve Mini Panels for use in their classes. A number of URSA Mini Pro cinema cameras will be used for student productions.

“It’s important for our students to learn in an environment that closely resembles the industry,” said Meri Weingarten, Director of Digital Media & Technology at the School. “We know this will improve their skills,”

“We are excited to offer the URSA Mini Pro to our students. Blackmagic has done a great job creating a compact, multi-purpose camera that captures a beautiful image,” said Vannoy. “We are always interested in the newest and best tools the industry is using and we’re excited to see what our students do with the URSA Mini Pro.”

‘Stand!’ shot with Blackmagic URSA Mini Pro

Tue, 22 Jan 2019 11:17:36 GMT

Sponsor News

Legendary cinematographer Roy Wagner shot the new feature film, “Stand!” on Blackmagic URSA Mini Pro. Watch the new behind the scenes video to see the beautiful imagery and to learn how Roy and Director Robert Adetuyi created the unique period look using Blackmagic cameras and DaVinci Resolve.

Australia’s Stage Mums Shot withURSA Mini 4.6K and Edited with DaVinci Resolve Studio

Mon, 21 Jan 2019 22:34:56 GMT

Sponsor News

Blackmagic Design announced that season one of the popular Australian television comedy “ Stage Mums ” was shot using its URSA Mini 4.6K and Pocket Cinema Camera digital film cameras. The show’s editing, audio editing and color correction were also completed using DaVinci Resolve Studio.

Airing on a Network Ten in Australia and available on Tenplay, “Stage Mums” takes a tongue in cheek look at the lives of two stage mothers who will go to any lengths to give their daughters opportunities to showcase their amazing talents, most of which don’t work out exactly as planned. Created by Anna Waters-Massey and produced by SundayArvo Productions in association with OZPIX Entertainment, the series was filmed on Australia’s Gold Coast, and recently had its debut broadcast season, which comprised of an entirely Australian cast and crew.

With a highly stylized look and feel to match its over the top comedy, “Stage Mums” combines a familiar run and gun reality show look with the bright, warm and hot feeling that comes from shooting on the Gold Coast. Director of Photography Andrew Condor and internationally acclaimed filmmaker, actress and producer Amie Casey decided to use URSA Mini 4.6K as the main camera for the most recent season in order to capture the stylized look.

“We definitely wanted ‘Stage Mums’ to be bright and colorful and relative to the style of high quality Australian television, allowing us to build a product that Australians can get behind and be proud of while becoming a beloved series internationally,” explained Casey. “As a producer, one of the great things I loved about working with both Blackmagic Design cameras was the portability. Our production days were fast paced and largely location based, and working with such easily maneuverable cameras while not having to compromise on quality was a dream come true.”

Condor used an URSA Mini 4.6K as the A and B camera and the Pocket Cinema Camera for BTS and as a second unit insert and pick up camera. Both cameras made use of a Rec. 709 LUT and were used in multiple locations and in a variety of different natural and artificial lighting situations.

“The Ursa Mini 4.6K is a giant for quality in a lightweight, compact body! It was the perfect camera for ‘Stage Mums’ as I wanted a smaller camera package for a run and gun feel, but I didn't want to compromise on quality of the image. Its compact size allowed us to get shots where bigger cameras just would not fit, and we often found ourselves in very small shooting locations, but we were always able to fit both cameras to keep the style of the show consistent,” said Condor. “The 15 stops of dynamic range and the low light capabilities really came in handy with our tight schedule and even tighter lighting budget.”

Shot on a very tight schedule, and with the reality, on the run production style, Condor wanted to work with a smaller team of people around the cameras.

That's where the URSA Mini 4.6K comes into its own. My excellent B camera operator, Colin Larsen, and I were able to control everything in an instant and keep the flow of the show going. We had a few slow mo shots, and being able to shoot up to 120fps without quality loss was fantastic. We also had a lot of locations where we were constantly dealing with different levels of illumination, and I loved the quality of the built in ND filters so that we didn't have to concern ourselves with ’in front of lens’ filtration,” he said.

Post production for the series is completed at Sound Vision Studio by post producer Robert Merlini. DaVinci Resolve Studio was used for color correction, audio and video editing and final HD and UHD delivery for the various channels, including Australia’s Channel 10 Peach, Tenplay and US platform Seeka TV.

“DaVinci Resolve Studio was the obvious choice for the overall look and feel of the show. Its color features helped to no end in our final product. I also used the Fairlight audio editing page for the the sound mix and was amazed at the functional mix features that helped create the end sound,” Merlini said.

He continued, “We really benefitted from DaVinci Resolve Studio not having unnecessarily complicated processes for preparing final deliverables. On the Deliver page, we were able to batch compile and process the file in all of our delivery file formats. DaVinci Resolve Studio made this a breeze. To be able to deliver to the broadcaster exactly to their specification was the perfect way forward for us.”

Stage Mums can also be viewed at www.stagemums.com .

Repost: The Ultimate Post-Production Workflow Guide is Here

gkennedy@magekfilmworks.com (George E. Kennedy, Jr.) — Fri, 14 Dec 2018 14:50:39 GMT

Frame.io

If you haven't heard of Frame.io the standalone collaboration tool and integrated extension for Premiere Pro, Final Cut Pro X, please head over to Frame.io immediately. The just dropped " The Ultimate Post-Production Workflow Guide ," which we think here at DDC every creative and student should take a read. https://workflow.frame.io/

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Los Angeles 10am PST9 November 2020

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Turn your mobile device into a filmmaking, and live streaming powerhouse

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