Hasselblad X1D II 50C, a camera to optimize the X System


This post is by Jose Antunes from ProVideo Coalition


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Hasselblad X1D II 50C

Hasselblad introduces the evolved X1D II 50C camera, along with a XCD 35-75 zoom lens, Phocus Mobile 2, and reveals details of the upcoming CFV II 50C digital back and 907X camera body.

The X1D II 50C camera from Hasselblad is, one can say, a Mark II of the model with which the company introduced the world’s first mirrorless medium format digital camera. The new model continues to challenge users to take medium format outside of the studio, and Hasselblad says that this model further optimizes the X System for a wider audience of creatives. Having listened to user feedback

Hasselblad X1D II 50C
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Filmmakers and Financing: you’ve read the book, the film comes soon


This post is by Jose Antunes from ProVideo Coalition


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Filmmakers and Financing

Now in its eighth edition, the book “Filmmakers And Financing: Business Plans For Independents”, by Louise Levison, is the inspiration for a film, “Movie Money CONFIDENTIAL” that  premieres July 13!

“Filmmakers and Financing” is the industry standard. It explains in a step-by-step format how to write a business plan and shares with readers other proven tips for attracting financing. In the book, now in its eight edition, an updated and expanded filmmaker’s guide, Louise Levison tells how to pitch investors, explaining who they are, what they want and what to tell them, and offers words of advice from filmmakers who

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A Special Offer from Syncly – Affordable Music and Customizable Tracks for Editors and Production Professionals


This post is by Jeremiah Karpowicz, for Syncly Music from ProVideo Coalition


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Creative professionals of all types and sizes continue to sort through challenges related to identifying and licensing the right piece of music for their project. From a licensing perspective, everyone from music supervisors to freelancers to students struggles with the costs for music on their projects. On a technical level, editors often have to slug through large quantities of tracks while also finding the time to listen to and assess all of their options.

Syncly Music provides a solution to both of these issues by offering high-quality music with industry-leading tech to customize tracks. Additionally, their pricing model is also

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Bullies don’t own you


This post is by Walter Biscardi Jr from ProVideo Coalition


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You sad little man…You are quite honestly not that important to me.”

Those words were directed at me by my former employer.

The words and the personal attack are supposed to hurt and humiliate me, but they simply sound like the taunts of a schoolyard bully. Words like those might have affected me when I was 10 or 11 years old on the playground, but as a 30 year veteran in the creative field, they strike me as sad.

It’s a fact that in your career you are likely to… no scratch that. You WILL interact with people who

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Cine Gear: VISTA-M Lenses by T M Camera Solutions


This post is by Brian Hallett from ProVideo Coalition


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A mix of modern optical performance and function with the character of a vintage lens. The all-new Masterbuilt VISTA-M lenses are Large Format lenses. The entire lens range has an aperture of T1.4 and a flair for flare.

These lenses are all about delivering vintage character. Like many older lenses, these MasterBuilt VISTA-M lenses all have very clear center sharpness and a look our Nathan Thompson thought reminded him of Canon C-35 vintage cinema lenses.

VISTA-M

Like a lot of the new lenses on the market, these lenses have a vintage look, but with the added benefit of modern optics,

VISTA-M
VISTA-M
VISTA-M
VISTA-M

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Cine Gear 2019: cMotion Cinefade VariND and Depth of Field


This post is by Brian Hallett from ProVideo Coalition


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Subtle image control when done very well is subtextual to the viewer. To execute the effect smoothly and repeatedly can be a challenge. With the Cmotion lens control system the iris motor slaves to the Cinefade VariND allowing cinematographers to change their depth of field while maintaining perfect exposure.  The in-camera effect is remotely controlled with a cmotion cPRO LCS via the hand unit.

 

The Cmotion Cinefade VariND consists of a Motorised Polariser and a Static Polariser. When inserted into a matte box together, they form a variable ND filter that works as a standalone VariND or as a

Cinefade
Cinefade

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Mistika Workflows: Media Management, Transcoding and Delivery in a single app


This post is by Jose Antunes from ProVideo Coalition


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Mistika Workflows

SGO pre-releases Mistika Workflows, its first dedicated Media Management, Transcoding and Delivery software solution. The open beta phase is open to everyone who wants to test-drive it.

Aware that the demand for highly efficient content production is greater than ever before, with new delivery standards becoming a requirement, especially from the increasing number of on-demand providers, the European developer, SGO, which offers high-end software solutions within the post-production market since 1993, developed a new product, Mistka Workflows.

The new app aims to solve the problems created by the lack of automation and repetitive human interventions that can lead to mistakes,

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Laowa 100mm f/2.8 2:1 Ultra Macro from Venus Optics is now shipping


This post is by Jose Antunes from ProVideo Coalition


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Laowa 100mm f/2.8 2:1 Ultra Macro is now shipping

The Laowa 100mm f/2.8 2:1 Ultra Macro APO lens looks like any other 100mm Macro lens in terms of size, but its optical construction gives you much more in an affordable package, priced at $449.00.

The same size as my Canon EF 100mm f/2.8L Macro IS USM, the Laowa 100mm f/2.8 2x Ultra Macro APO is different, because it only offers manual focus, which may be a negative point for some. On the other end, it doubles the magnification, which can be an advantage for macro shooters. The lens is available for Canon, Nikon and Sony.

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SMPTE Hollywood explores Immersive VR and shows holographic display


This post is by Jose Antunes from ProVideo Coalition


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SMPTE Hollywood Section explores Immersive VR and shows holodeck

Star Trek’s holodeck continues to be the goal in terms of Virtual Reality projects, and at SMPTE’s next meeting a group of specialists will discuss their plans for building holodeck-like technologies.

June’s meeting of the Society of Motion Picture and Television Engineers makes justice to the organizations claim that it is defining the future of storytelling. At the meeting, held under the title, “Building Truly Immersive Experiences: Are You Ready for the Holodeck?”,  SMPTE Hollywood will host a panel discussion by representatives of companies that are founding members of  the Immersive Digital Reality Alliance, IDEA. The event will include

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SMPTE Hollywood Section explores Immersive VR and shows holodeck

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Cine Gear: Cooke Anamorphic/i Full Frame Plus Standard and SF Lenses


This post is by Brian Hallett from ProVideo Coalition


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Large Format. Full Frame. That super shallow depth of field. The evolution of filmmaking has been in a state of constant change which seems to speed up faster and faster. Cooke Optics showed off their Anamorphic/i Full Frame Plus Standard and SF (Special Flair) prime lenses to give the ever-changing camera technology lenses fit to keep pace. Thes lenses give cinematographers the anamorphic characteristics, including flare and oval bokeh found in older lenses which may not cover the large format image circle.

The Cooke Optics Anamorphic/i Full Frame Plus Standard lenses coverage circle covers a full 24 x 36 still

Cooke
Cooke
Cooke

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Sony’s new long lenses: a 600mm prime and a 200-600mm zoom


This post is by Jose Antunes from ProVideo Coalition


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Sony

The new white Sony lenses, FE 600mm F4 GM OSS and FE 200-600mm F5.6-6.3 G OSS for full frame cameras give photographers and videographers new options in terms of creativity.

Which 600mm should I choose? The FE 600mm F4 GM OSS prime or the FE 200-600mm F5.6-6.3 G OSS zoom. The versatility of the zoom will win, for many users, but the prime lens is, no doubt, a choice when a fast aperture is a must. In terms of weight, the 600mm prime is the lightest in its class, at least at the moment, with approx.

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10 Years Ago: The Analog Shutoff


This post is by Adam Wilt from ProVideo Coalition


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June 12, 2009 was the last day of full-power over-the-air analog broadcasting in the USA.

Well, mostly: the original shutoff date was supposed to be February 17, 2009, but the DTV Delay Act pushed that back to June. Even then, 120 full-power stations maintained night-time analog service for another month, thanks to the Short-term Analog Flash and Emergency Readiness (SAFER) Act.

Broadcast translator and low-power TV stations had various exceptions and deferrals. At present, TX and LPTV stations are required to switch off analog by July 13, 2021, but you never know: we’re not there yet, and there can always

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Shot of a 16x9 picture on a 4x3 CRT in the New Hour's studio
Off-air shot of PBS News Hour, June 12 2009
Off-air shot of PBS News Hour, June 12 2009

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Cine Gear: The Panasonic 6K Full-Frame Lumix S1H


This post is by Brian Hallett from ProVideo Coalition


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This camera, according to Panasonic, is designed especially for film production. The LUMIX S1H is more than a mirrorless camera from Panasonic. Oh no, this camera, which was only teased at Cine Gear Expo 2019 and under plexiglass, appears to be feature rich and built for success in Panasonic’s portion of the mirrorless market they have carved out for themselves.

The LUMIX S1H is the world’s first camera capable of video recording at 6K/24p (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K, and it combines the video quality of a professional camera and the high

Lumix S1H
Lumix S1H

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Steadicam Air monopod: a lower price and a new set up guide video


This post is by Jose Antunes from ProVideo Coalition


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Steadicam Air monopod: a lower price and a new set up guide video

A complete game changer, the Steadicam Air monopod allows users complete freedom in operating, as they can go from kneeling to standing in seconds and never miss a moment. A new video explains how.

There is a new special price for the Steadicam Air monopods, making this solution even more attractive and maybe something you should check.  The Steadicam Air is not a monopod like others, because it’s air lift and spring activated. Weighing only 3.5 lbs, the Steadicam Air is made up of three sections including one twist leg lock that allows for a 360 degree rotation.

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DISH: timecode sync uses satellite dishes


This post is by Jose Antunes from ProVideo Coalition


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DISH: timecode sync using satellite dishes

Ari Krupnik decided sound sync was a good place to try a different approach, so he created LTCsync. Now he reveals DISH, a way to sync sound using satellites. It’s plug and play sync for the rest of us!

Back in April I presented PVC readers LTCsync, a timecode system that is simpler to use than a clapper. Designed by Ari Krupnik, who believes his previous tech experience can be used to reduce manual labour in film, LTCsync is a timecode system based on a completely new approach to the sound sync problem: it uses satellite dishes to make

DISH: timecode sync using satellite dishes
DISH: timecode sync using satellite dishes
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Cine Gear 2019: Shot On Cooke. “A Motion Gallery”


This post is by Brian Hallett from ProVideo Coalition


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If you are a painter and you want to learn from the Masters you have to study those who came before you. Cinema is no different. It is an art, albeit a very technical art form, and to build upon the shoulders of those who came before you than you need to have seen their work. With Cooke’s new #ShotOnCooke online video gallery directors, cinematographers, and everyone really can learn the characteristics of Cooke Optics.

The brainchild of Cooke’s Director of Sales – Europe, Carey Duffy, #ShotOnCooke has been designed as an insightful, educational resource presenting professional content created with

Cooke
Cooke

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Cine Gear: Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 MFT Lens


This post is by Brian Hallett from ProVideo Coalition


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At Cine Gear 2019 we got to opportunity to check out the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH Micro Four Thirds lens. With a f1.7 constant aperture throughout the entire range, one can bet this lens will become a favorite of GH5 and Blackmagic Pocket Cinema Camera 4K shooters.

Here are some quick highlights of this new lens: no focus breathing, step-less aperture, and a 9 blade aperture. The Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH., first mentioned last year, during Photokina, is now confirmed to be available after the 15th of July.

Panasonic Lense

The Leica

Panasonic Lens

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Cine Gear 2019: Sony Xperia1, a wireless VENICE monitor?


This post is by Brian Hallett from ProVideo Coalition


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The world’s first 4K OLED Phone… which can wirelessly monitor your Sony VENICE? The Xperia1 is more than a smartphone. This is a 21:9 CinemaWide display with HDR remastering technologies and Dolby Atmos sound in your hand. Let me break it down a little bit. Nearly 2:1 display, which is near perfect for Netflix streaming, and OLED color so good Sony compares it to their color confidence monitors for cinema.

Yes, this phone as 3 lenses. Yes, this is a top-of-the-line smartphone from Sony. Yes, it is brilliant. But, if there is a bit of this phone which is

Xperia1
Xperia1
Sony Xperia 1: a smartphone with CinemaAlta technology inside
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Xperia1

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Cine Gear 2019: Sony VENICE Firmware Updates with HFR and more


This post is by Brian Hallett from ProVideo Coalition


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We had a chance to talk to Sony about the new firmware 4.0 for the Sony VENICE. The big news? High Frame Rates up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9 on the large-format 6K camera.

At Sony’s booth, the new  Version 4.0 high frame rate capabilities and the popular VENICE extension System were shown to those who tried to get black VENICE t-shirt swag during Cine Gear 2019. Hey, it was a cool t-shirt.

Here are the key features of the VENICE Version 5.0 firmware, designed to achieve enhanced shooting usability and

VENICE
Venice

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Cine Gear 2019: Panavision Shows Off Entire Lens Line Up


This post is by Brian Hallett from ProVideo Coalition


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According to Panavision, the PanaSpeed lens line-up is a large-format update of the classic Primo look. At T1.4, the PanaSpeed lenses will be the fastest large-format lens option at Panavision. Considering these PanaSpeed lenses looks down-right drool-worthy, and the lenses have a super close focus, we had to stop by and see exactly how these lenses see the world. If you love how vintage cinema lenses look then you might want to take a look at the PanaSpeeds too.



Panavision


Panavision showed off several lens sets giving Expo attendees the unique opportunity to preview upcoming, innovative glass options: