With the classic tunable white and new RGB, the Matrix II soft lights put out a 1k+ tungsten while pulling only 340W. It was just a few months ago when we were excited to get to spend a little time with a then-new Fiilex light, the Q8. That unit offered exceptional spot ability, with a crazy amount of focus and the Fiilex signature lightweight fresnel creating a light that is punchy in a way you don't often see in LED. Just a few short months later, Fiilex has rolled out another host of upgrades to Continue reading "Watch: Fiilex Joins the RGB Party with the New Matrix II"
The exciting RED announcements keep coming this week. Lucid, a company best known for its small 180° 4K capture camera and VR phone apps, has announced a partnership with RED to build a capture platform for the new H4V immersive media format. It will be utilized by the new Hydrogen phone from RED. Best of all, the Hydrogen phone can be attached to the platform and used as a viewfinder, providing stereo depth to the preview image in a fashion that had previously been difficult to achieve. Beyond a mere rendering, Continue reading "RED Teams with Lucid for a 3D Camera That Will Deliver in Its New H4V Format"
The RED DSMC2 will come in three simple flavors. It all started out so simple. There was just the RED ONE, a 4K digital cinema camera (back when nobody really knew what the term meant). It would make obsolescence obsolete. But the company soon released the Mysterium-X sensor, meaning that, every time you rented a RED, you had to ask if it had gotten the MX upgrade yet. Then came the Epic, the Weapon, the Scarlett, the Raven, the Dragon, the Helium, and the Monstro. Oh, and don't forget the Gemini. Some of those terms Continue reading "RED’s Big Price Cut and Simplified Product Line Make Your Camera Choices Easier"
Resolve's user sharing tools take some getting used to but can add a lot of speed to your workflow. If you tried to set up a shared workflow when Resolve 14 Beta came out last May, or even when the stable release arrived last September, only to find using the terminal for command line control was a bit much, it might be time to take another look. While the biggest Resolve news lately has been the features coming with Fusion Integration (we'll be taking a deep dive into that this summer), and native DCP authoring Continue reading "5 Ways to Get Faster with Resolve Shared Workflow"
Is there finally a viable option for true medium format cinema cameras? Alpa has gone and done it: a PL mount on a Hasselblad. Before we get too excited, let's start with all the caveats. First off, the Alpa Platon PL Mount we tested is a prototype, so this is still purely a thought experiment, a design study. Yes, many design studies show the next steps coming from a company, but sometimes they turn out to just be the concept car that never arrives, like VW releasing designs for a new Bus every few years Continue reading "Demo Test: Alpa PL Mount for Hasselblad Opens Possibilities for Medium Format"
Jason Levine, Principal Worldwide Evangelist at Adobe, breaks down the lessons filmmakers can take away from this viral audio sensation. The great debate of "Yanny or Laurel" took over the internet earlier this week. Like a particular blue (or gold?) dress of 2015 (only with sound), this is an audio clip where some hear the word "laurel" and others hear the word "yanny." The debate is fierce, not only online, but for many who stand in a room with other humans, listening to the same clip on the same speakers, and hear wildly Continue reading "Is it Yanny or Laurel? Discover the Real Reason for this Instant Viral Debate"
New features keep on coming for the popular alternative mirrorless camera from Fujifilm. The Fujifilm X-T2 is a fascinating camera. With a sensor that's between the GH5 and the Sony A7SII in size, it offers a very familiar field of view for filmmakers, with internal film simulation modes appreciated by people working with a tight turnaround. It uses its own X-mount—the GH5 uses MFT, the Sony E. Read More
Duplicate copies of files on a single drive do nothing but waste space. Perhaps you want multiple copies of your source media. You only want a certain number—usually three copies—and it's a bummer to waste space (and money; hard drives aren't free) accidentally making more duplicates than you intended. Be careful: with the hectic nature of a film set, and the multilayer file structure, you might copy over media multiple times, wasting storage. The most common scenario that creates multiple copies of the same file is when the camera crew hasn't Continue reading "This New Update From Hedge Allows You to Stop Wasting Storage"
Cinemartin is not the company that most people assumed would deliver the first 8K global shutter cinema camera to the market. Cinemartin is probably best known as a small Spanish company that makes accessories. We did a review of its sub-$200 4K monitor a few years back and found the combination of price and performance compelling, but of course, price is a hard battle to fight and there are now many entrants competing for the "very affordable monitor" space. Cinemartin fought hard, rolling out a $99 monitor not long after, but hasn't stuck with just Continue reading "A Small Company Pivots to Deliver First 8K Global Shutter Cinema Camera"
Skip the DMX board and go right to an app to paint with light. Want to make a composite or car shot feel more dynamic? One of the best ways to do just that is to dynamically move your lights so that the lighting on your performers' faces sync with the images you wish to comp in behind them. That sort of dynamic lighting really helps ground it in reality; nothing ruins a comp more than a massive explosion in the background while the lighting on your actors face stays static. Continue reading "Create Easier Composites and Car Shots with the Voyager from Digital Sputnik"
DCP Transfer helps filmmakers ensure their DCP files are formatted properly for theatrical and festival delivery. A DCP (Digital Cinema Package) is the required technology needed to show your film in theaters. If you're wondering why theaters can't show ProRes or H.264, that's because the system for showing movies in theaters was invented in the 1990s before those technologies existed. It's designed to be highly stable, show content cleanly, and work without constant software updates. Since many movie theaters bought their cinema server in 2006 and haven't updated it since, it's a good thing Continue reading "DCP Transfer is the Missing Link in DCP Creation"
Founder of color and post house Light Iron, Michael Cioni, claims that 8K and beyond will be survivable—and even beneficial—formats. For many, the transition from SD to HD was meant to be the last big switch for a while. After working with standard definition for decades, and a very slow transition from analog to digital video, the long, expensive, and years-delayed transition from SD to HD felt like a major technical moment after which we could rest. However, in the last decade, we've seen 4K go from a niche product (many didn't believe RED could Continue reading "Light Iron Founder Spells Out Why 8K is Coming and That’s OK"
Image 2 LUT by Picture Instruments exports LUTs that will work with all its post tools. LUTs are one of the most likely misused terms in the film industry. Even knowledgeable cinematographers will refer to something like in-camera menu settings as a LUT, when in reality LUTs are actually very simple items with a simple purpose. A LUT is a small file, generally readable with a text editing program like TextEdit or Notepad, that allows you to affect the look of an image. Thus, when we first heard about Photo 2 Continue reading "Demo: Create Matches of Your Favorite Shots with Image 2 LUT"
Take a photo and a color and generate that color light with the Rosco Mix LED units. When Rosco bought Canadian lighting company DMG Lumiere, the end result was always going to be colorful light units. After all, the company is best known for being one of the premiere light gel manufacturers. With the LED industry moving toward more colorful light units, it makes sense to bring the two together for a dynamite combination. The initial results of that combination have now been revealed with the Rosco Mix, shipping this summer. Continue reading "Match the Light of Photographs with the Rosco Mix"
RED has announced a non-exclusive partnership with Facebook to create a VR capture platform. First RED teams up with Apple. Then it partners with Apple supplier Foxconn. Soon the company will be launching Hydrogen, its holographically-driven smartphone platform running on the Android operating system. While it doesn't appear to be abandoning the cinema market (be prepared to hear a lot about Monstro this year), the company clearly has bigger ambitions in the consumer space, which offers a massive opportunity for volume sales compared to the relatively few buyers that exist for a $50K camera package. Continue reading "RED Partners with Facebook on a VR Camera"
The Biggest Name in color-accurate monitors moves into UHD, OLED, and HDR capable. Flanders Scientific is hands down the biggest name in color grading monitors. You see nice monitors from other vendors that also do lots of other things (Sony, Panasonic, and LG all have popular, accurate monitors), but with Flanders, color accurate monitoring for post-production is its whole thing, and it does it well. While the company hasn't been aggressive in pushing into UHD/4K, most color pros would rather have accuracy than resolution, especially since at the normal color monitor Continue reading "Flanders Makes Its Move into UHD, OLED, and HDR Capable Monitors"
CW Sonderoptic makes some of the best compact lenses in the history; working with ARRI they are now able to mount directly to the Alexa Mini body. The Leica M mount, first launched way back in 1954, is one of the longest continually used lens mounts in the photo and cinema industry. With Leica releasing the amazing M 0.8 lenses back in 2016, a full set of cine oriented primes in M mount designed to be adapted to mounts like Sony E or used with dedicated Leica mounts on RED Continue reading "Get Leica Glass on Your Alexa Mini Thanks to CW Sonderoptics"
With a new transfer app, Frame.io aims to make video uploads faster and more affordable all at once. Waiting on a file to upload to send to clients can be torture when under deadline. And yet, you have to upload video content to a cloud dozens—sometimes hundreds—of times in a typical post process. Maybe it's dailies at the top of the show, or elements to a VFX artist, or final full res deliveries at the end of a job, every filmmaker is used to waiting on that upload progress bar. To make it easier, Continue reading "Deliver Faster with New Frame.IO Watch Folders—Even with Interruptions"
Following hot on the heels of the exciting 703 Bolt, SmallHD rolls out five new monitors and monitor/wireless combo units. Small HD is on quite a roll over the last year. First, the company gave us a color accurate on-set monitor with the 702 OLED, finally giving filmmakers a small monitor we could trust on set to match our calibrated monitors in post. Then, SmallHD rolled out the 703 Bolt, which, while not as color accurate as the OLED, upped the brightness to 3000 nits (viewable in hot noon sun), and added a wireless receiver Continue reading "Make Pulling Focus Easier with New SmallHD monitors"
Apple releases a new RAW flavor of the popular ProRes codec to simplify post workflows on RAW productions. ProRes has made life much simpler for many filmmakers. Instead of trying to make an edit system that works with every single popular codec, Apple promoted ProRes as the one codec to rule them all, the format to transcode your source camera footage to, edit in, and even deliver in. Accepted or even requested by many networks for final delivery, and increasingly supported by many cameras as a capture format, ProRes is pretty great. Read More