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Aujourd’hui — 11 août 2020Vos flux RSS

Future DJ Gear Concepts: Traktor Kontrol S6

Par : DJ Glitch

Next up in our Future DJ Gear series is a Traktor a Kontrol S6 controller. The Traktor Kontrol S4 Mk3 is a fantastic controller that provided serious competition with other, similar-sized controllers such as Pioneer DJ’s DDJ-SX3 and Denon DJ’s MC7000. Its haptic feedback, magnetically-tensioned, motorized jog wheels were a fantastic new feature that provide […]

The post Future DJ Gear Concepts: Traktor Kontrol S6 appeared first on DJ TechTools.

JAM capsule : mapping à la grande halle de la Villette à Paris

Par : LightPress
Lancé en juin 2020, JAM capsule est un dispositif scénographique monumental de forme oblongue. Il croise les talents pour collaborer sur une thématique.

Hier — 10 août 2020Vos flux RSS

It’s Official: NAMM 2021 is Cancelled.

Par : Dan White
NAMM 2021 Cancelled

We’ve long expected that the COVID-19 situation here in the United States would continue to lead to cancellations of industry events. Today, the NAMM Show officially announced that they’re cancelling the 2021 NAMM show: “Given the current realities of the COVID-19 pandemic and the health and safety of NAMM members as our first priority, it […]

The post It’s Official: NAMM 2021 is Cancelled. appeared first on DJ TechTools.

Est-ce que macOS supporte l’USB 3.2 Gen.2 2×2 à 20 Gb/s ?

En testant un SSD pour Canard PC Hardware, je me suis posé une question : est-ce que macOS supporte l’USB 3.2 à 20 Gb/s ? La réponse est visiblement non, en tout cas avec la carte testée.

Petit résumé, parce ce n’est pas toujours évident. L’USB 3.0 original a été renommé en USB 3.1 Gen.1 puis en USB 3.2 Gen.1, avec un débit maximal de 5 Gb/s. le codage est en 8b10b (8 bits utiles, 10 bits transmis), ce qui donne un débit réel théorique de 500 Mo/s. Ensuite, il y a la norme à 10 Gb/s, nommée USB 3.1 Gen.2 puis USB 3.1 Gen.2. Elle utilise un codage 128b130b, donc avec moins de pertes : ~1,2 Go/s au maximum. Les deux normes peuvent utiliser la prise USB-A ou la prise USB-C, mais on trouve plutôt la norme d’origine en USB-A et la seconde en USB-C.

Plus récemment, une troisième version a été lancée : l’USB 3.2 Gen.2 2×2. Elle permet un débit de l’ordre de 20 Gb/s (~2,4 Go/s) en utilisant toutes les broches de l’USB-C (elle n’existe pas en USB-A). Actuellement, il existe quelques SSD externes qui utilisent cette norme, et quelques cartes PCI-Express, avec la puce ASM3242. J’ai utilisé une carte Sunix USB2321C, qui vaut environ 65 €. Elle se branche en PCI-Express 4x et propose une prise USB-C compatible. Comme SSD, un FireCuda Gaming de chez Seagate, c’est un SSD externe en USB-C rapide, capable d’atteindre 2 Go/s environ avec cette interface. Sur un Mac classique, il est limité à environ 1 Go/s, ce qui reste honorable.

Plus de 2 Go/s sous Windows

Dans un PC, le SSD atteint vraiment ~2 Go/s en lecture et en écriture, ce qui est plutôt élevé. Il est un peu cher (vers 300 € en 1 To) mais rapide, donc. Et dans un Mac ? Faute de Mac Pro, j’ai branché la carte en Thunderbolt 3 dans un boîtier externe. La bonne nouvelle, c’est que la carte fonctionne : elle accepte les périphériques. La mauvaise, c’est que le mode 2×2 ne semble pas implémenté dans macOS. Avec le SSD Seagate en question, impossible de monter le volume : il est vu comme un périphérique USB 2.0 et n’apparaît pas. Avec un autre SSD externe (Crucial X8), compatible uniquement 10 Gb/s, pas de soucis : il monte et fonctionne. Je n’ai pas trouvé de solution : le SSD en « 2×2 » ne fonctionne pas sur la carte. En l’état, la carte fonctionne donc avec les périphériques jusqu’à 10 Gb/s, et c’est tout.

La carte et un SSD capable de travailler en 2×2


macOS ne voit que de l’USB 2.0

Je suppose que quand Intel proposera le mode 20 Gb/s, macOS prendra en charge la norme, ça devrait arriver avant la fin de la transition. Et je n’ai pas encore pu tester avec Big Sur.

Six HUGE Features Coming to Blender 2.9

Blender 2.9 is due to release around the 26th of this month. I've been testing the alpha release of 2.9 for some time now, so here is my rundown of the hottest new features.  Decoded youtube cha...

Freevox distribue RME

Par : admin

En plein redéploiement dans ses nouveaux locaux de Montevrain qui abriteront tout CSI Audiovisuel, Freevox ajoute une remarquable cerise sur le gâteau via le retour au bercail au 1er septembre de RME, la marque indispensable en audio numérique, et d'Alva. Lire la suite

L’article Freevox distribue RME est apparu en premier sur SoundLightUp..

La Pippin « Retroquest » rootée

Il y a un moment, j’avais parlé de la Pippin « classic ». Non, pas mon poisson d’avril, la Retroquest. Il s’agit d’une console rétro sortie au Japon (et vendue bien trop cher) qui reprend bizarrement le design de la Pippin.

Keith Kaisershot en a un, il l’a ouverte, et on découvre donc un SoC ARM basique (l’Amlogic S905X, courant dans les boîtiers TV) avec un peu de stockage des émulateurs installés. Elle tourne sous RetroArch (en japonais) et c’est visiblement assez trivial d’ajouter des jeux et même des émulateurs en plus. Une vidéo montre d’ailleurs un déballage et quelque essais.

Mais Keith, en ouvrant la console, a vu qu’il y avait une interface UART, il a donc soudé les câbles nécessaires et le Linux est accessible via la console. Son but est évidemment d’installer l’OS de son choix, avec au moins la possibilité d’installer n’importe quel logiciel.

En haut à gauche, les traces de l’UART

Du coup, comme ça fait un moment que je lorgne sur la console au Japon (vendue bien trop cher, aux alentours de 200 $), j’en ai finalement commandé une sur Aliexpress (vers 100 $). Donc vous aurez un test un jour, le temps qu’elle arrive.

The Maxon 3D & Motion Design Show Next Wednesday Aug 12th!

  Join us for our next online event for The Maxon 3D and Motion Design Show (formerly C4DL...

NDI Virtual Input and FFMPEG/FFplay issues

Par : DWAM
Hi !

I'd like to use Newtek NDI Virtual Input to feed FFMPEG for live encoding to other protocols but I cannot get it to run smoothly and it results in choppy or slomo video, rtbufsize errors, framedrops and cracking audio.

Here's my context :
- Windows 10 64 Bits
- FFMPEG from Zeranoe (latest stable build 4.3.1)
- NDI feeds come from vMix or OBS or NDI Connect and they all play fine everywhere except with FFMPEG (I have fine results with NDI Tools, other vMix/OBS/VLC or Zoom/Skype/WebRTC, etc... they're all working perfectly)

Here's my commandline for FFplay

> ffplay -f dshow -rtbufsize 512M -i video="NewTek NDI Video":audio="Ligne (NewTek NDI Audio)"

> the console returns "real-time buffer [NewTek NDI Video] [video input] too full or near too full (62% of size: 512000000 [rtbufsize parameter])! frame dropped!" and the playback is not good at all

I have also tried with option "-fflags nobuffer" or with a larger (insane?) values for buffer size (-rtbufsize 1024M/2048M). Also tried to specify more options (which help sometimes) like "-vcodec rawvideo" or "-video_size 1920x1080 -framerate 25" but nothing works... Even the FFPROBE utility which only analyses the input reports rtbufsize errors!

Obviously it does the same with FFMPEG so any further conversion (to SRT in my use case) is terribly bad too.

I have a lot of scripts dealing with DSHOW devices in FFMPEG, it's not always easy, but this time, I feel completely stuck. Am I missing something? Did someone managed to get NDI Virtual Input work when used as a DSHOW device in FFMPEG?

Any help appreciated! Thanks
Guillaume, aka DWAM

Dynacord présente la MXE5 : matrice audio hautes performances

Dynacord introduit une nouvelle matrice audio numérique, la MXE5, premier modèle d’une gamme de matrices MXE. Elle dispose de fonctions de routage et de mixage, avec 12 entrées analogiques micro/ligne, 8 sorties niveau ligne et 24 canaux audio Dante. Lire la suite

L’article Dynacord présente la MXE5 : matrice audio hautes performances est apparu en premier sur SoundLightUp..

La télécommande Nike+ pour iPod (et iPhone)

Quand Nike a sorti son capteur pour les iPod nano (adapté ensuite aux iPhone), la marque a aussi proposé un bracelet qui faisait office de télécommande : le Nike Amp+.

Le bracelet intègre une télécommande pour iPod, qui ressemble un peu aux commandes de l’iPod shuffle, et quelques LED rouges, pour notamment donner l’heure. Il est recouverte de silicone et est assez inconfortable. J’ai un poignet fin, et la partie principale est un peu large, donc ce n’est pas ajustable facilement. Il existe visiblement plusieurs versions du bracelet, notamment au niveau de la fixation. Le mien a simplement deux clous (comme certains bracelets Apple Watch), mais une autre version a une fixation plus proche de certains bracelets en métal, comme le modèle testé à l’époque par iLounge.

Bracelet, iPod, capteur


On ne voit pas bien vu la couleur, mais il y a une télécommande


Un double clou pour la fixation


Il donne l’heure

Le bracelet sert de montre, avec un affichage LED, mais aussi de télécommande pour un iPod nano. Attention, c’est un accessoire lié au kit Nike + iPod, il faut donc le récepteur à brancher sur le connecteur 30 broches de l’iPod nano pour que ça fonctionne, sauf si vous avez un modèle de 6e ou 7e génération. Le bracelet se détecte assez facilement, il suffit de presser une touche dans les menus, tant que l’iPad nano est à jour. La télécommande fonctionne en permanence avec l’iPod nano, ce qui n’est pas le cas de l’iPhone, je vais vous expliquer. A noter que ça fonctionne avec mon iPod nano de 4e génération, mais pas avec celui de 2e génération : il n’affiche pas le menu pour jumeler la télécommande. Je ne sais pas si c’est un bug ou une incompatibilité.



J’ai aussi testé avec un iPhone. Apple a en effet intégré le support Nike+ (et donc la télécommande) dans iOS et dans les iPhone et iPod touch. Il faut un modèle 3GS au minimum, et un 5S au maximum (ou certains iPod touch). Une fois le capteur détecté, le menu apparaît, tout comme la possibilité de jumeler la télécommande. Mais il y a un (gros) défaut : la télécommande ne fonctionne que dans l’application Nike. Il est impossible d’utiliser la télécommande dans un usage classique, comme l’équivalent d’une Apple Watch. En pratique, c’est donc assez inutile : vous ne pouvez utiliser la télécommande qu’en allant faire du sport.


Les options




La télécommande marche uniquement dans l’application Nike+

Enfin, le bracelet – contrairement au capteur – a l’avantage d’avoir une batterie amovible. Par contre, ce n’est pas le format le plus pratique : c’est du CR1632, donc assez petit. J’ai une collection de batteries à la maison, mais je n’avais évidemment pas cette version là.

La batterie peut se changer

Pour l’époque, c’était donc un produit plutôt bien intégré, assez pratique et complet. Bien évidemment, les montres connectées (Apple Watch en tête) remplacent bien le bracelet en 2020, mais pour l’époque, c’était plutôt pas mal. Le seul défaut était peut-être le prix : 80 $ le bracelet, avec l’obligation d’avoir un capteur Nike+ à 30 $.

A noter, enfin, que j’ai utilisé mon adaptateur série pour regarder ce que la télécommande envoie. Comme le capteur, elle n’a pas besoin d’être jumelée pour être écoutée, mais elle ne fonctionne évidemment qu’une fois jumelée. Après, je n’ai pas regardé la structure des trames, mais ça doit juste correspondre au bouton pressé.

Instagram Reels, Finally a TikTok Competitor?

Instagram has sashayed into the scrollable video space with Reels. Could this be the final nail in the coffin for TikTok?

The Large-Format, Wide-Angle Cinematography of Wally Pfister

Let’s break down the high-concept, blockbuster cinematography of Academy Award winner Wally Pfister. To talk about acclaimed cinematographer Wally Pfister is to talk about his long-running creative ...

Hitman 3 sera jouable en VR, et le reste de la trilogie suivra

Par : Sitraka R
hitman 3 jouable en VR sur PSVR

Sony vient d’annoncer que le très attendu Hitman 3 sera entièrement jouable en VR sur le casque de la marque japonaise, à savoir la PSVR. Et ce n’est pas tout.

L’annonce a été faite durant l’événement State of Play de la firme. Bien évidemment, on parle ici de la franchise Hitman où l’on joue l’agent 47, un tueur d’élite chargé d’éliminer diverses personnalités dans un monde qui offre une grande liberté d’action.

Pour l’occasion, Sony a publié une petite bande-annonce nous révélant comment on pourra prochainement réellement entrer dans la peau du personnage. Comme vous pouvez le voir dans la vidéo ci-dessous, on y découvre l’assassin en train d’essayer de tuer une de ses cibles. Le tout filmé à la première personne, le joueur faisant littéralement face à la cible.

Hitman 3, mais aussi l’ensemble de la franchise en VR

Mais en plus du troisième volet, il semblerait également que les autres titres de la saga pourront aussi s’expérimenter en réalité virtuelle. Pour rappel, après la sortie du second volet, les joueurs pouvaient rejouer l’ensemble du premier jeu via des mises à jour.

D’après le site UploadVR, Hitman 3 retiendra cette tradition. Ainsi, on devrait pouvoir s’aventurer dans chaque niveau des jeux précédents. Et comme le futur jeu sera en VR, ce sera donc l’occasion de redécouvrir ses prédécesseurs également en VR.

  • 99,99 €
  • 15,00 €
  • Khoreo: An audiovisual project with Unity and Roland MC-101...



    Khoreo: An audiovisual project with Unity and Roland MC-101 groovebox. BRDG published the full-length video on YouTube. https://www.youtube.com/watch?v=P6Dy3iWpNMc Also, I uploaded the Unity and MC-101 project files to GitHub. https://github.com/keijiro/Khoreo Enjoy.

    Nouveau VIO L1610, extrême puissance et qualité en 3 voies

    Par : admin

    Les italiens de dBTechnologies lancent VIO L1610, un line array compact à 3 voies actives équipé de deux woofers 10” et d'un moteur coaxial MF / LF entièrement néodyme, offrant 141 dB SPL Max avec des performances audio de premier ordre et d'une grande musicalité. Lire la suite

    L’article Nouveau VIO L1610, extrême puissance et qualité en 3 voies est apparu en premier sur SoundLightUp..

    ATX2AT Smart Converter : l’adaptateur pour alimenter vos vieux Mac

    Mon ancien collègue (et rédacteur en chef) de Canard PC Hardware, Samuel Demeulemeester, est un fou d’électronique, et il fabrique des trucs. Et parfois, des trucs intéressants, comme l’ATX2AT Smart Converter. Et malgré son nom, il fonctionne avec de vieux Mac.

    Avant de commencer, il faut être clair : j’ai acheté l’adaptateur sur Kickstarter, comme n’importe qui. Samuel m’a juste fourni un câble pour alimenter un vieux Mac (un LC III), avec en plus une petite surprise : il s’était trompé dans le brochage. Donc je vais dire du bien de son adaptateur… parce que c’est un bon produit.

    A la base, l’adaptateur a été pensé pour les vieux PC : il permet d’utiliser une alimentation moderne (ATX) avec un appareil qui demande de l’AT. Et surtout, il fait bien ça. Premièrement, il fournit une tension de – 5 V. Pas mal vieux ordinateurs (et surtout quelques vieilles cartes ISA) nécessitent en effet cette tension négative pour fonctionner, et c’est d’ailleurs le cas sur certains Mac. Deuxièmement, il permet de gérer correctement la demande en énergie : les ordinateurs modernes utilisent essentiellement du 12 V, les anciens du 5 V. L’adaptateur va limiter (et monitorer) ce qui passe pour éviter de voir de la fumée sortir de l’appareil. Il est programmable, il offre un petit écran qui affiche les informations, et il est possible de choisir les limites pour chaque tension. Enfin, il protège votre alimentation (et le matériel) des accidents éventuels. Il vaut ~50 € directement chez l’auteur.

    La carte avec l’adaptateur Mac


    Les câbles AT et Mac

    Maintenant, parlons de mon cas particulier. Je l’ai acheté pour mes vieux Mac, notamment un Macintosh LC III dont l’alimentation est parfois capricieuse. Plus généralement, c’est assez courant sur ce modèle de se retrouver avec une alimentation qui claque (littéralement, elle font une sorte de tac tac tac) et qui nécessite des réparations. Et au lieu de la réparer ou de trouver un bloc d’occasion pour un usage occasionnel, passer par l’adaptateur et une alimentation ATX a du sens. Ce n’est pas forcément intéressant pour un usage standard : les alimentations ATX sont souvent volumineuses et le prix monte vite, mais pour des tests ponctuels, c’est très efficace. Et au pire, il reste possible d’installer l’adaptateur et une alimentation « Pico ATX » (des modèles très compacts) directement dans le boîtier, vu la consommation assez faible de ces modèles.

    L’alimentation d’origine

    Le Macintosh LC III (comme tous les LC) a un bloc assez basique, et l’ordinateur s’allume uniquement avec un bouton physique, pas par le clavier. J’avoue que je ne sais pas comment l’adaptateur fonctionne avec les modèles qui s’allument au clavier et nécessitent une tension permanente (même si elle est faible) sur le 5 V. Pour le Macintosh LC, le brochage est simple : deux fils pour la masse, un pour le + 5 V, un pour le + 12 V et un pour le – 5 V. Samuel m’avait fait un câble (en inversant le + 5 et le – 5 par erreur), donc pas de soucis. Au passage, le brochage est inscrit sur le PCB de la carte mère, donc ce n’est pas trop compliqué.

    Par défaut, l’adaptateur limite à 4 A pour le 5 V (20 W) et 0,5 A pour le 12 V (6 W). J’ai donc vérifié sur l’alimentation d’origine et réglé l’adaptateur sur les bonnes valeurs. Elle fournit 3,75 A sur le 5 V (c’est OK) et 0,75 A sur le 12 V. Pour tout dire, par défaut, l’adaptateur arrête le Mac en indiquant qu’il y a un problème sur le 12 V, au démarrage, il demande bien donc plus que 0,5 A. Une fois réglé sur 1,5 A, pas de soucis. Les limites hautes sont 8 A en 5 V et 4,75 A en 12 V, donc c’est assez large pour les vieux appareils. Plus largement, le connecteur en sortie de l’adaptateur fournit la msse, le + 5 V, le – 5 V, le + 12 V et le – 12 V, donc c’est adaptable assez facilement à n’importe quel vieil ordinateur qui se base sur ces tensions.

    Les valeurs de l’alimentation d’origine

    Lors de mes tests, je n’ai pas eu de soucis : j’ai alimenté le Mac avec une vieille alimentation ATX, fait des benchs, etc. Tout fonctionne bien, et une fois réglé sur les bonnes valeurs en sortie, c’est stable. En dehors de la sécurité, l’adaptateur permet surtout d’utiliser des alimentations ATX qui sont souvent silencieuses (surtout sur des charges faibles) et bien plus efficaces que les alimentations de l’époque.

    Après un certain temps (réglable), l’adaptateur coupe l’écran


    Ca fonctionne bien

    Donc si vous travaillez souvent avec de vieux ordinateurs, l’ATX2AT Smart Converter a sa place dans votre boîte à outils, aux côtés de l’émulateur de disquettes et de l’adaptateur pour remplacer un HDD par de la mémoire flash.

    Enfin, il y a aussi une application Windows pour effectuer les réglages facilement, mais je ne l’ai pas encore testée.

    Ciel nocturne de la 30ème Nuits des étoiles 2020

    Préparez vos transats et éloignez-vous des éclairages. 30ème Nuits des étoiles, les 7, 8 et 9 août 2020. Conseils de l'AFA pour observer le ciel nocturne.

    Header des Nuits des Etoiles 2020 © Plantu

    To Green Screen Or Not To Green Screen?

    Green screen can be handy for situations where you’re not able to shoot talent in a particular location.

    Have you ever shot green screen? I have. A lot. Hundreds of different projects over the years. First of all, let’s get this out of the way, “green screen” has become a catch-all term that describes a process of shooting a subject against a colored backdrop that will electronically be replaced, usually through a postproduction process called compositing or keying, with another background. I’ve shot blue screen, red screen and white screen for luminance keying, but the color green is the most commonly used, so the process has come to be known as such. However, that term is a bit like Kleenex being used in place of tissue or “Coke or Pepsi” being used in place of soft drink.

    This is my Westcott foldable 4×6-foot green screen set up for a shoot at the Fox lot with the showrunner of “The Simpsons.”

    The Colors Of The Compositing Rainbow

    Why would you want to use green or blue or red or any other color to key a subject over? Green screen is the most popular because it tends to work well with people’s skin tones since most people aren’t green unless they’re seasick or nauseated. Blue screen is more commonly used for scenes where there may be foliage or green wardrobe. Back in the days of film, blue screen tended to work better when film composites were brought into the compositing workflow pipeline. Why would you ever shoot red screen? I’ve shot red screen when shooting tropical plants that had a ton of green and blue in their natural coloring, but they had little to no red, so using a red backdrop allowed for easier keying.

    There are also camera-related technical reasons why one might choose a particular color to key over. In RGB color space with most cameras, blue tends to have more noise than the green or red channels, so in that process, amplifying the blue channel can result in an increase in noise in the image. In the end, choosing the right color backdrop should be a collaboration between the cinematographer and the compositor based on what’s being shot and where, what’s being keyed, the colors of all of the objects in the scene that are shot live and several other factors.

    Green screen of the rapper/actor Common
    Green screen of the rapper/actor Common. We shot Common’s sequences with green screen because he couldn’t appear at the location where we were shooting the remainder of this section of the film. With higher-profile talent, if you want them to appear in your production, you have to often be flexible and come to them.

    Green Screen Gets A Bad Rap

    If we go back 10 or 20 years in production, shooting green/blue screen used to be much more difficult than it is in 2020. You had to really light any green or blue screen perfectly, making sure the lighting was even all of the way across the screen and at the right contrast ratio on the talent and subject versus the green/blue screen. You also had to make sure that there were no wrinkles or bunching on the physical screen itself. Fifteen years ago, keying software was good, but it wasn’t nearly as good as it is today, so generally, you just had to be much more careful about all of the details.

    Your screen had to be lit nearly perfectly, and you had to mitigate the green or blue spill onto your talent from the green or blue screen itself, which required enough room on your set to physically separate the talent from the backdrop to cut down on the spill or eliminate it. Shooting and keying things like eyeglasses, where you could see the background through the edges and corners of the glasses, keying wispy blonde hair, cigarette smoke or fog effects were very difficult to pull off well. For these reasons, a good amount of shooters would end up with lousy keys with ragged edges, green edges, aliasing and other artifacts.

    Cameras were often 8-bit recording in 4:2:0 color space, which meant that it was difficult to push a key or clean up a key because the bit space and color space were truncated compared to 10-bit 4:2:2. At the time, there was a huge price gap between low dollar SLRs and high dollar broadcast or digital cinema cameras that had 10-bit 4:2:2 recording capability. Today, there are fewer 8-bit 4:2:0 cameras on the market, and even low dollar cameras can record 10-bit 4:2:2 footage or even 10 or 12-bit RAW, making the recording much more robust for keying. Also, shooting at a higher resolution like 4K UHD for a 1080 project allows for more detail and increases the perceived color and detail resolution when downsampling a higher resolution image. There are so many factors in today’s cameras that allow for easier and better quality keys.

    Bruce Miller
    Bruce Miller is the showrunner for “The Handmaid’s Tale,” which shoots in Canada. We weren’t able to shoot Bruce’s interview on set, so we used green screen to shoot him in his LA production office, then composited him into background plates that were shot on set in Canada.

    Why Shoot Green Screen?

    The decision to shoot or not shoot green screen is an important one. I’ve shot a lot of green interviews where when speaking with the producer or director, the logical question is, “What will the background be?” Most of the time, the answer is, “We don’t know yet.” Not knowing what the background will be presents several challenges. What colors should the talent wear so they work with the color palette in the background? Which angle should they be shot from? Straight to camera or at an angle? What size should they be in the frame? How should they be lit?

    That last point, in particular, has stung me in the past. If I’m lighting and shooting a green screen interview or host segment and I’m not told what the background will be and what the overall scene will look like, how can I know how to light the scene? The default is soft, frontal, flat light. If the background that the person will be composited into is lit in the same way, great—it should match. But what if the scene is high contrast with highly directional late afternoon light? In that case, the person that we shot with the flat, soft, even lighting will always look artificial and pasted into the scene because the lighting between the foreground and background doesn’t match in the least. The exception to this rule is when shooting talent that will be composited against graphics. Then, at least the graphics can be created to match the lighting of the person.   

    Some reasons I’ve been told why producers want to shoot green screen:

    • Placing talent into an environment that doesn’t exist in reality (virtual sets, outer space story, etc.).
    • Placing talent into an environment that isn’t accessible because of travel costs.
    • When shooting talent in multiple locations that look and feel diverse, green screen can allow a unified and repeatable setting.
    • We want to place graphics, animation or stylized elements into a virtual background.
    • Bad weather in a location we want to shoot in, we can shoot clean plates later.
    • Political strife/war/factors where it would be too risky to bring crew and talent.
    • We want to place talent into archival footage shot in the past.
    Actor Lauren Graham
    I was going for photorealism with this shot of actor Lauren Graham on the set of her show “Gilmore Girls.” She was photographed in a loft in Hollywood, while the shot of the set was from 15 years ago at Warner Bros Studios in Burbank.

    Photorealism

    One of the best uses of green screen is for photorealistic composites. This is where great care is taken by the production to insert the green screen talent into a background in a way that’s seamless, realistic and carefully planned and executed. The results when this approach is taken can be breathtakingly realistic; you’d swear that the talent is in the location in real life. This can be accomplished with interviews, presentations, narrative, music videos—really in any format. In my experience, this is the most difficult green screen to pull off, but when you do, it’s the most gratifying too because the shot doesn’t scream “Green screen composite!” when viewed by the audience. It looks natural and doesn’t call attention to itself.

    The reason why few productions try to tackle photorealistic compositing is that it takes a lot more planning, technique, skill and resources. You work backward in this process, shooting or gathering the background plates before shooting the talent. Then when you shoot the talent on set, you live composite the talent in front the of background so that the director, DP, gaffer, props, wardrobe and every other department can see the finished composite—at least a rough version of it. This way, all of the parameters—camera to subject distance, angles used, lens selection, focal length, exposure—can all be tweaked to perfection to make sure that the green screenshot matches the background perfectly.

    This is even more important in shots where the background plate shot moves and the shot of the talent has to move accordingly. If you can sync the movement between the two elements perfectly as you shoot the talent shots, it really helps to sell the illusion. You are then getting into shot perspective matching, parallax correction and ensuring that the angles are in perfect sync. In my work, photorealism is always the goal when shooting green screen. It’s rarely realized because most of the projects I shoot on simply lack the budget and resources to do so. But on those rare occasions when I get to do this, it’s always a lot of fun and very gratifying when you nail it.

    Comic Lisa Alvarado
    This is comic Lisa Alvarado from a documentary that I shot. Does the shot feel different than other shots you’ve seen that are composites? Look at her hair, the wisps on the edge of her frame. Those can be difficult to get a perfect key on in composites, but not impossible. This shot is NOT a green screen composite—can you tell the difference?

    The Alternatives

    To me, as a DP, the alternative to green screen is always real locations or high-quality sets. Shooting the real-deal talent in real physical locations, well lit and nicely composed is always the ultimate. As DPs, directors and videographers, I’d always encourage you to push your clients and projects toward shooting talent in real locations whenever possible. Green screen can be an incredibly useful tool, but it can also be a compromise and a logistical and post-production challenge.

    If you do have to shoot green screen, your best practice should also always be to push for pre-production time to shoot tests and, whenever possible, if the background plates are real locations, push to shoot those plates well before you shoot talent. Record your camera used, raster size, codec, frame rate, camera to subject distance, lens used, focal length, ƒ-stop and exactly where your lighting sources were positioned in frame. The more data you have from your background plate shoot, the more you can apply that data to replicate the exact same lighting and perspective on your talent so that whoever does the composites finds that they have two perfectly matching puzzle pieces.

    The post To Green Screen Or Not To Green Screen? appeared first on HD Video Pro.

    Future Tree, une structure en béton imprimée en 3D qui rappelle la nature

    L’utilisation du béton dans l’impression 3D est en train de révolutionner l’industrie de la construction. Des maisons aux passerelles pour piétons, la fabrication additive offre une grande liberté de conception qui dépasse les limites de l’imaginable. Grâce à sa rapidité…

    Cover-futuretree

    Artist Profile: Tomasz Opasinski

    Tomasz Opasinski has become an exemplar for creative cinematic graphics and poster design. Over a 20+ year career he has contributed to over 560 entertainment brand campaigns for theatrical, streaming...

    Chaos Group releases V-Ray 5 for Maya

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    Sigma Announces 85mm F1.4 DG DN Prime Portrait Lens

    Sigma’s new 85mm F1.4 DG DN prime lens

    Earlier today, Sigma announced its latest prime lens for its Art series of lenses: The new Sigma 85mm F1.4 DG DN prime lens is a portrait prime lens designed for both L-Mount and E-Mount mirrorless-camera systems.

    Sigma emphasized that the new prime will not only have very high optical quality, but it will be a lightweight lens as well, weighing in at around 22 oz. or about 1.4 lbs. Sigma also said its stepping motor has been optimized for use with both “phase detection AF and contrast AF,” providing a “smooth shooting experience only possible with a mirrorless camera, such as face/eye detection AF.”

    Sigma’s new 85mm F1.4 DG DN prime lens

     

    The Sigma 85mm F1.4 DG DN lens comes with on-board controls, including a focus-mode switch, AFL button and lock switch.

    Other key specifications include :

    • An optical-lens design of 15 elements in 11 groups (with 5 SLDs and 1 aspherical lens);
    • On-board controls, such as a focus-mode switch, AFL button, a de-clickable aperture control (for the option of operating the aperture smoothly) and a lock switch;
    • 11 rounded diaphragm blades;
    • A minimum focusing distance of 33.5 inches;
    • And a dust- and splash-proof construction.

    The new lens will ship later this month and be available for $1,199.

    For more information, see the press release below:

    Sigma’s new 85mm F1.4 DG DN prime lens on a Sony a-series full-frame mirrorless camera
    Sigma’s new 85mm F1.4 DG DN prime lens

    [[ press release ]]

    SIGMA 85mm F1.4 DG DN Art – Redefining the Classic Lens

    1. The record-high performance worthy of the name of 85mm F1.4 | Art
    2. Lightweight & compact – A new perception of F1.4
    3. A full range of functionalities and excellent build quality

    Mark a new chapter of the Art line F1.4 in the mirrorless age.

    Large-diameter, unparalleled optical performance, compact and lightweight, and high-speed AF all in your hand.

    The 85mm F1.4 DG DN | Art combines a clear and delicate rendering performance, which is requisite for portrait photography, with beautiful, rich bokeh effects only possible with lenses such as a large-diameter F1.4, at a level that will satisfy both professional and advanced amateur photographers. The focal length of 85mm and significant bokeh effect at F1.4 brightness allow the users’ subjects to stand out in a complementary fashion, which is one of the essences of taking portrait photography, so users can enjoy it to the fullest.

    In addition to the fast and consistent AF response, the mirrorless-exclusive design of the 85mm F1.4 DG DN | Art has realized a lightweight and compact lens body that defies convention. And its small body is packed with a range of functionalities, including a dust- and splash-proof structure, supported by an excellent build quality.

    The 85mm F1.4 DG DN | Art is SIGMA’s new “ultimate portrait lens” for the mirrorless age. And with it, SIGMA proposes a whole new world of possibilities provided by this “85mm F1.4 lens for everyday use,” thanks to the unprecedented level of portability, free from size- or weight-related limitations.

    Key features

    1. The record-high performance worthy of the name of 85mm F1.4 | Art

    85mm F1.4 is a specification almost synonymous with a portrait lens. With the Art line lenses, SIGMA pursues the highest optical performance possible and has devoted the latest optical design technologies, as well as the production technologies of the Aizu factory, SIGMA’s only production site, to the development of these lenses. The result is a detailed image critical for portrait photography that is achieved at a level that will satisfy both professional and advanced amateur photographers.

    In addition to five SLD (Special Low Dispersion) elements and one aspherical lens, the 85mm F1.4 DG DN | Art has incorporated the latest high refractive index glass, which works to thoroughly correct aberrations that cannot be handled by the correction functionality on the camera side. With a particular emphasis given to the correction of axial chromatic aberration, users will enjoy sharp images with no color bleeding, all the way up to the maximum aperture of F1.4.

    The high resolving power that covers the entire image from the center to the edges ensures sharpness of the area in focus, and coupled with the significant bokeh effect produced by the F-value of 1.4 brings out the users’ subject in an evocative way.

    The numerous rounds of ray-trace simulation, as well as repeated real-world testing, have given the 85mm F1.4 DG DN | Art its ability to minimize ghosting, ensuring clear, sharp images even when shooting in backlit conditions.

    With the ability to shoot from the maximum aperture of F1.4 without worrying about image quality, users can focus on the camera operations to realize their artistic expressions, such as the adjustment of exposure and depth of field. This new lens indeed delivers a level of optical performance truly worthy of the name of 85mm F1.4 Art.

    1. Lightweight & compact – A new perception of F1.4

    The 85mm F1.4 DG DN | Art weighs 630g/ 22.2oz., with a filter size of 77mm and a body length of 94.1mm/ 3.7in.*. Designed exclusively for mirrorless cameras, it has a “large lens diameter and superb optical performance” and “a lightweight and compact body,” a combination which has long been difficult to achieve.

    The AF motor system employs a stepping motor which is optimized for both phase detection AF and contrast AF. Not only does this provide a smooth shooting experience only possible with a mirrorless camera, such as face/eye detection AF, but it has also made the lens body itself much smaller, as the focus lens has been made small to better suit a stepping motor.

    Furthermore, by making the most of the in-camera aberration correction functionalities, SIGMA was able to concentrate on the correction of aberration that could be handled by the optical system alone, which further contributed to making the lens smaller in size.

    With such a lightweight and small body, users can now take out a large-diameter 85mm F1.4 lens for an everyday use such as taking snapshots. The 85mm F1.4 DG DN | Art invites users to enjoy photography in an unconventional way.

    * For L-mount

    1. A full range of functionalities and an excellent build quality

    This compact lens is packed with a range of functionalities that will satisfy both professional and advanced amateur photographers.

    The 85mm F1.4 DG DN | Art has newly introduced an “Iris ring lock switch.” This prevents from unintended movement of the iris ring during shooting, allowing users to devote their attention to the creation of their image. The “Focus Mode Switch” on the lens body and the “AFL button*” that allows various functions to be assigned from a camera body will also assist users’ shooting.

    In addition to the dust- and splash-proof structure, the lens uses materials such as aluminum and TSC (Thermally Stable Composite) where they are best suited, achieving a level of build quality that is worthy of the Art line. In addition to the durability of the body, the lens pursues quality in terms of how users “feel” as well, such as the smooth motion in which each ring or switch works, and the precise hand feeling. The 85mm F1.4 DG DN | Art helps ensure users a smooth shooting experience in every condition.

    *Limited to compatible cameras.  Also, the functions depend on the camera.

    Additional features

    • Lens construction: 15 elements in 11 groups, with 5 SLDs and 1 aspherical lens
    • Compatible with high-speed autofocus
    • Compatible with lens-based optical correction (*Only on camera models that support this functionality. Scope of correction varies depending on)
    • Iris ring
    • Iris ring click switch
    • Iris ring lock switch (*When turned ON at the position A, the iris ring is locked at A. When turned ON at a position other than A, it is locked within the range between the maximum to minimum apertures and will not engage at the position A.)
    • AFL button
    • Focus Mode Switch
    • Dust-and splash-proof
    • Hood with lock
    • Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
    • Designed to minimize flare and ghosting
    • Every single lens undergoes SIGMA’s proprietary MTF measuring system “A1”
    • 11-blade rounded diaphragm
    • High-precision, durable brass bayonet mount
    • “Made in Japan” craftsmanship

    To learn more about SIGMA’s craftsmanship, please visit SIGMA website at

    https://www.sigma-global.com/en/lenses/

     

     

     

     

     

     

    The post Sigma Announces 85mm F1.4 DG DN Prime Portrait Lens appeared first on HD Video Pro.

    Scan converter freezes after 7th PC running it

    Par : avmw
    Hi - We are trying to do an 8 computer setup using NDI and going into vmix or wirecast. We are good to go on 7 connections but once we turn on scan converter on the 8th pc, that one freezes. We have tried it on various PC and have found it happens on the 8th PC no matter what order we connect the PCs.

    is there a standard setting we are missing? Do we need a 10g switch? We have a gig switch in line now.

    Any suggestions? Is there a limit to how many computers are using the scan converter option?

    New Documentary Will Focus On Former White House Photographer Pete Souza

    Poster for the upcoming documentary film on Photographer Pete Souza, “The Way I See It.”

    It’s hard to believe that we have less than 90 days to go before the start of the 2020 US Presidential Election between President Donald Trump and the Democratic hopeful, Former Vice President Joe Biden. At this point, Biden may be leading in the polls, but anything can still happen. But a new film trailer released this week for a documentary film (by Focus Features) that will appear in movie theatres this September may certainly help Biden in his quest. That’s because the new documentary, “The Way I See It,” not only chronicles the work of photojournalist and photographer, Pete Souza, during his eight years with two different Presidents—Ronald Reagan (1981-1989) and Barack Obama (2009-2017)—as White House photographer, but also because it highlights Souza’s current role as a vehement critic of President Trump. (Souza was the official chief White House photographer under President Obama but had a more junior staff role during his eight years with President Reagan.)

     

    Right from the get go, the trailer is provocative: “I know what happens in the oval office, and that’s what scares me,” are the first words you hear Souza say in this trailer for “The Way I See It,” which has been directed and produced by Dawn Porter. But just what exactly has scared Souza for the past three or so years? For starters, President Trump’s behavior as the 45th US President, and just how much he has differed in that role, in Souza’s opinion, with both President Obama and President Reagan.

    For example, just a little over midway through the trailer (around the 1:30 mark) you hear Souza’s voice describing the election of President Obama and what that meant for the African American community, as powerful images shot by Souza are shown on screen. He says, “I thought, who is this man? How does he deal with crisis? Leadership, character, and empathy.” Then, the trailer cuts to Souza speaking on screen at a podium, and you hear him say, “Don’t you wish you had that now?,” referring to President Trump.

    Screen shot from the trailer for the upcoming documentary film on Photographer Pete Souza, “The Way I See It.”

    It’s intriguing to see Souza’s current role as political critic, seen by many on his Instagram feed, and how in some ways it harkens back to his photojournalism roots.

    But that’s quite a different role than being a White House photographer, which is to cover the day-to-day activities and goings-on of the Commander in Chief and is more a combination of being documentary photographer as well as a commercial or public-relations type of photographer, instead of being a photojournalist. After all, if you’re a photographer employed by the sitting US President, you’re not going to be shooting images that take pot shots at his or her agenda.  

    However, that’s not to say that White House photographers haven’t captured important moments in history. They certainly have: For example, a webpage from the White House website, during President Clinton’s second term, lists the following as examples of photos captured by White House photographers: President Lyndon Johnson signing the Civil Rights Act of 1964; President Richard Nixon’s final wave to his staff as he boarded Marine One after resigning as President; President Jimmy Carter signing the Camp David Peace Accords; President Ronald Reagan shaking hands with Mikhail Gorbachev; President George Bush meeting with American troops during Desert Storm; and President Clinton encouraging the famous handshake between the late Prime Minister Yitzhak Rabin and Yasser Arafat.

    One of the more photojournalistic-like images captured by a White House photographer was this one, now on Getty Images, by Barbara Kinney, which depicts five towering figures in the world of 1990s Middle East politics: (from left to right) Yitzhak Rabin, Hosni Mubarak, King Hussein, President Clinton and Yasser Arafat—who had stopped to adjust their ties prior to the signing of a peace accord at the White House in .

    The President Clinton webpage goes on to describe the role of a White House photographer in the following way: “Whether photographing the President as he works in the Oval Office, enjoys quiet moments with his family, delivers a speech, or makes a crucial decision affecting our nation’s future, White House photographers have a front row seat to history in the making.”

    However, those images, even the charming one by Barbara Kinney, are quite different than say how Photojournalist Doug Mills of the New York Times covers a US President, which you can see here, in this story, “Our White House Photographer on Covering President Trump.” Mills might cover the same events, such as President Trump’s State of the Union address in 2019. But a White House photographer would never shoot a photo like the one Mills caught of Nancy Pelosi making a “gesture” of a clap towards President Trump, which some of the right have taken to be disrespectful, which is why a White House photographer would probably not shoot that type of image.

    You can find more on the role of a White House photographer on this Wikipedia page, which includes a list of the official photographers going back to President John F. Kennedy as well as some iconic images captured by those photographers. The Washingtonian also includes an intriguing article as well, and The New Yorker includes a short slide show of photos by White House photographers. Artsy has a story by Haley Weiss, which includes Souza’s spectacular photo of President Barack Obama bending over to let an African American boy, who was the son of a White House staff member, pat his head during a family visit to the Oval Office in 2009.

    For more on Pete Souza, check out our Digital Photo Pro interview on him and read about how he captured his famous photo of President Obama and Vice President Biden, along with members of the national security team, as they received an update on the mission against Osama bin Laden in the Situation Room of the White House, May 1, 2011. You can also read about Souza and other political activists in our story on photographer KK Ottesen, who photographed Souza and others, in a story we posted earlier this year on KK Ottesen’s book, “Activist: Portraits of Courage”. Plus, check out my story from 2019 on Chris Buck and how he captures US Presidential portraits.

     

     

     

     

     

     

     

     

     

    The post New Documentary Will Focus On Former White House Photographer Pete Souza appeared first on HD Video Pro.

    How Your Choice of Podcast Music Can Make or Break Your Success

    So, you’re ready to start a brand new podcast. You’ve got the idea, the team, you already recorded an episode. Now to the one key ingredient – ...

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