Canon’s EOS R5 full-frame mirrorless camera
In the past week, there were a number of important camera announcements, including a few from Canon, which included the development of what it calls its most advanced full-frame mirrorless camera, the EOS R5, as well as introducing the latest EOS Rebel, the T8i DSLR, and a new 24-105mm lens for its R full-frame system.
Here’s a synopsis of each announcement:
The development of a new Canon EOS R5 full-frame mirrorless camera is in the works. New features include:
In the same press release, Canon said it’s developing seven RF lenses and two RF-lens extenders, which are scheduled for release during 2020, including the RF 100-500mm F4.5-7.1 L IS USM, Extender RF 1.4x and Extender RF 2x.
This week, Canon also announced its latest entry-level Rebel DSLR, the Canon EOS Rebel T8i. Here’s a list of some of the most notable specs and features:
Canon also announced a new affordable RF 24-105mm lens, which is a compact lens that includes optical IS, but is only 3.5 inches in length and weighs 13.9 oz. Canon says the lens also has Movie Servo AF using STM (stepping-motor) technology, which provides benefits for both video and still shooting. It also has a minimum focus distance of O.43 feet. The new Canon EOS RF 24-105mm F4-7.1 IS STM lens will cost $399, although it will be included in Canon’s body-and-lens kits for various EOS R and RP cameras.
For more on each announcement, see the below press releases:
[[press release ]]
The Next Generation: Canon Announces The Development Of The Company’s Most Advanced Full-Frame Mirrorless Camera Ever – The EOS R5
The Company will Also Develop Seven RF Lenses and Two RF Lens Extenders in 2020
MELVILLE, NY, February 12, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc., is developing the highly anticipated Canon EOS R5 full- frame mirrorless camera. The camera will feature a newly designed CMOS sensor and new image processor, along with new state-of-the- art optical technologies the company has been able to cultivate through its long history of groundbreaking camera and digital imaging solutions development. In addition, Canon plans to release seven RF lenses and two RF lens extenders that are currently in development. These new photography tools will help to continue to strengthen the EOS R system and cement the RF mount as an industry leader.
“Today’s announcement comes as a direct result of the tireless effort of Canon engineers who have been tasked with developing the next generation of Canon EOS R camera and RF lenses to help elevate the popular system that was announced in 2018,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “In developing the new camera, Canon listened to extensive user-feedback from a variety of photographers. The outcome is a camera and lenses that will delight a variety of shooters and further helps to demonstrate Canon’s commitment to full-frame mirrorless cameras and lenses.”
The EOS R System was initially developed to provide engineers with the ability to design lenses that were thought to be impossible to create previously. The wide lens mount diameter, shorter back focus, and high-speed system for transmitting data between camera and lens have resulted in an imaging system that delivers higher image quality and greater ease-of-use than ever before.
The new full-frame mirrorless camera currently under development will fully leverage the advantages of the EOS R System, helping to produce a camera that features high-speed continuous shooting and 8K video recording. Furthermore, the camera will provide photographers with more efficient workflows thanks to improved transmission functionality, operability and reliability. These enhancements, along with many others, will help to further elevate and solidify the EOS Series concept of “Speed, Comfort and High- Image-Quality.”
Canon’s EOS R5, the first of the next generation of full-frame mirrorless cameras planned for EOS R System, will include a newly developed CMOS sensor. The new sensor will enable enhanced features such as high-speed continuous shooting up to approximately 20 frames-per-second (FPS) when using the silent shutter and up to approximately 12 FPS when using the mechanical shutter – A feature professional sports and wildlife photographers will find to be extremely impactful on their ability to capture fast-moving subjects. From a video perspective, the camera’s 8K video capture capability will prepare videographers for the future of movie-making- capturing 8K footage today allows for even higher-quality 4K productions in addition to the ability to extract high-resolution still images from the video footage. The EOS R5 will be the first Canon camera equipped with IBIS (In Body Image Stabilization) and when used in conjunction with the extremely effective in-lens stabilization (IS), will allow photographers to handhold the camera in light levels not previously imagined. Additionally, the camera will also feature dual-card slots and will support the automatic transfer of image files from the device to the Canon’s new cloud platform.
Alongside the EOS R5, Canon is also developing seven RF lenses and two RF lens extenders scheduled for release during 2020, including the RF 100-500mm F4.5-7.1 L IS USM, Extender RF 1.4x and Extender RF 2x.
[[press release ]]
Bring the Firsts, the Lasts and the In- Between Moments to Life: Capture Photos and Videos with the New EOS Rebel T8i Camera
New Camera Delivers Vertical Video and Advanced Control for Maximum Creative Output
MELVILLE, NY, February 12, 2020 – Whatever your family dynamic, there are certain moments with the ones you love that deserve to be remembered. In the spirit of capturing powerful moments that last a lifetime, Canon U.S.A., Inc., a leader in digital imaging solutions, unveiled today the Canon EOS Rebel T8i. The newest and highest-performing Rebel camera within the Canon lineup features the DIGIC 8 Image Processor, eye-detection in live view, 4K video, clean 4K HDMI outputˆ, and is the first EOS DSLR with vertical video1 all within a compact and lightweight body to bring photography and videos to life.
“Our commitment to high-quality and high-performing DSLR cameras is unwavering,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Visual storytelling is not one size fits all, and in order to encourage our current and future customers to explore their content creation journey and make it easier for people to explore the art of photography and the power of an image, it is imperative that the next EOS Rebel provide high-quality still imagery, high-speed shooting capabilities as well as top notch video functionality.”
The Greatness Within the EOS Rebel T8i
The compact and lightweight EOS Rebel T8i camera is ideal for documenting the early days on the soccer field and aspiring shutterbugs looking to go beyond the “Auto” feature. This camera includes:
Compatible with an extensive line of Canon EF and EF-S lenses, this model can capture vertical video and has multiple connectivity options using Bluetooth® and WiFi® technology, making it ideal for vlogging, uploading content to social media platforms, and web services or for day-to-day usage when capturing life’s most precious moments.
The EOS Rebel T8i camera body has an estimated retail price of $749.99 and the EOS Rebel T8i kit with EF-S 18-55mm F4-5.6 IS STM lens has an estimated retail price of $899.99.
[[press release ]]
Adding to your Lens Arsenal: Canon Introduces its New RF 24-105mm STM Standard Zoom Lens
New Compact, Lightweight Standard Zoom RF
Lens is Ideal for Users Looking to Add to their RF Lens Collection at an Affordable Price
MELVILLE, NY, February 12, 2020 – Whether it’s evoking an emotion, telling a story or reminiscing about a moment in time, visual creators of all levels know that a high quality, trusted lens is necessary to capture the essence and power of an image. Creating for the creators, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the introduction of its newest RF lens, the RF 24-105mm F4-7.1 IS STM standard zoom lens. The new compact and lightweight RF lens will be the perfect addition to a creator’s collection, delivering on quality output at an affordable price.
“Since the introduction of the EOS R system in late 2018, our goal has always been to develop full-frame mirrorless cameras and lenses to match every skill level of photographers, from entry-level to advanced professionals,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Having a firm grasp on the needs of our customers looking for an impressive compact, lightweight lens at an affordable price point, the RF 24-105mm lens is the quintessential lens to have in any creator’s camera bag.”
Cementing Canon’s vision for the EOS R line to become as widely popular as its celebrated lineup of EOS DSLR line, the new RF 24- 105mm F4-7.1 IS STM lens pairs quality output with an affordable price. The lens is compact enough to carry every day, at 3.5in (88.8mm) in length and weighing in at 13.9oz (395g) and has a long zoom range starting 24mm wide within compact and lightweight body. The new lens also possesses Optical Image Stabilization Technology, which helps steady camera shake up to five stops¹, reducing image blur. The lens also includes Movie Servo AF using STM (stepping- motor) technology that contributes to both fast auto focus for still images as well as smooth, quiet auto focus for video in conjunction with camera’s Dual Pixel CMOS AF on compatible Canon full-frame mirrorless cameras.
Additional noteworthy features of the RF 24-105mm STM standard zoom lens include: Control Ring for Direct Setting Changes 12-pin Communication System Maximum Magnification of 0.4x at 105mm Minimum focus distance of .13m (0.43ft) using Center Focus Macro
Availability and Pricing
The Canon EOS RF 24-105mm F4-7.1 IS STM lens has an estimated retail price of $399.99 for the lens only.* It will also be sold as a body- and-lens kit with the EOS R and RP cameras.
The post Canon Is Developing EOS R5 & Introduces EOS Rebel T8i appeared first on HD Video Pro.
There are so many lens choices possible in 2020. Not only lens brands and models, but different types of lenses for different functionality.
Let’s talk lenses. In 2020, we have many, many choices in lenses, especially depending on the camera you shoot with. Our main digital cinema cameras are the Canon C300 MKII and the Canon C200. Choosing the best lenses for our camera should be relatively easy and fairly simple, right? Somehow, the more I mull it over in my head, the fuzzier the right choices become.
Lenses are best chose for the types of shoots that you mostly do. I’m a terrible illustrator, but imagine if you will a triangle. One side of the triangle is labeled cost. One side of the triangle is labeled quality. The last side of the triangle is labeled function. This triangle is sort of like the famous “Triangle of Buying Choice” where the sides of the triangle are labeled “Speed, Quality, Cost” and, as the saying goes, pick any two. You really can’t have all three; you have to compromise in at least one area. My lens triangle is somewhat the same, except I don’t know if you can even have two of the three. At times, it feels like you can only have one choice.
Case in point, lenses for our digital cinema cameras. Let’s take a look at some of the choices we have in the famous Canon EF mount, probably the most popular camera mount available today for digital cinema and mirrorless cameras overall.
These could be Canon EF and EF S models, but there are many other types and focal lengths available, obviously from third-party manufacturers.
In the case of Canon, I’d term these lenses hybrids because they take aspects of still lenses, cine lenses and B4 broadcast 2/3” lenses and combine them into one lens suitable only for S35 sensors. These are the Canon CN E 18-80mm t/4.4 compact servo lens and the Canon 70-200 t/4.4 compact servo lens. These aren’t still lenses, but they aren’t proper cinema lenses with hard stops and long focus rotation like Canon’s CN E Primes have either. They’re designed for digital cinema cameras, though, and cover an S35 sensor frame but have a servo control for zooming that isn’t typically found integrated into the lens, it must be obtained from third-party zoom controllers with separate external motors and power supplies.
Most of us know what a cine lens is, but some of the common characteristics are that the lenses have hard stops, markings on both sides of the lens for operator and ACs to view and often the markings glow in the dark for operating in dim environments. Cine lenses have all manual operation and typically have a focus rotation that’s long, 200 to 300 degrees for smoother operation with follow focus units, often controlled by a focus puller. It’s interesting today that in this category, we have low-end cine lenses like the Rokinon Cine DS, cine converted still lenses that cost a few hundred dollars apiece, all of the way up to the top of the line cine lenses by Zeiss, Cooke, Leica, Angenieux and many other manufacturers that can cost tens or even hundreds of thousands of dollars.
If you’re a new digital cinema camera owner, or even a mirrorless or lower end digital camera owner, you have many, many choices for which lenses will function best for you in your shooting situations.
Any of the three categories above can be used in this situation. But as you work through it, a few truths become self-evident. For these types of shoots, the most important factors are often size and weight. A huge, heavy cine lens will limit a single camera operator more severely than a smaller, lighter weight lens. Shooting this type of coverage with prime lenses is definitely possible, but you may find yourself missing certain shots without a zoom lens. I’ve shot documentary coverage with zoom lenses when I’m running around literally documenting an event as it happens in real time, but also covering an event like this in very, very low light where a fast prime lens is superior to any zoom because primes are typically so much faster because they have more light-gathering capability. Nobody wants to shoot low light and have to crank the gain in their camera very high because of being saddled with a slow zoom lens.
Interviews can definitely be shot with any lens in any of these categories. Autofocus technology can be very valuable when shooting interviews, especially if you don’t have a camera assistant pulling focus for you. S35 and full frame sensors have a much shallower depth of field than the smaller size sensors we used to use in 2/3” broadcast cameras. Combine that relatively shallow depth of field with talent that rocks or moves back and forth in the frame, and if you’re shooting with manual focus, it can be easy to end up with slightly out of focus footage if you can’t track their slight forward and backward movements perfectly. Even if you have a large enough monitor to judge focus, which you may or may not, or a good EVF where you can definitely judge focus, it can be exhausting to follow focus continuously on your subject over a one- or two-hour-long interview.
As cameras have moved from SD to 1080 to 4K and now 6K and 8K over the past decade, it’s also becoming more difficult to actually see if something is in sharp focus on a 1080 display, which is what most EVFs and smaller monitors are capable of. There are no 7-inch 4K, 6K or 8K native displays, so what you see isn’t necessarily what you are getting. Footage that looks perfectly sharp on your small monitor or EVF, when played back on a larger screen, can often be slightly soft and out of focus. For this reason, I value autofocus and face/eye detection for interviews. Unfortunately, this limits you to still lenses or hybrid lenses. None of the digital cine lenses on the market at this time have autofocus, although we believe that AF for pro cine users is coming in the near future.
Depending on how often you shoot narrative, you may or may not typically work with camera assistants and focus pullers. If you do, it can be a pleasure to shoot with a good AC and or focus puller. AC/focus pullers need, want and prefer cine lenses with longer focus scales, markings on both sides of the lens, hard stops, etc. Focus pullers don’t like working with still or hybrid lenses because they simply aren’t set up correctly to work in the way that focus pullers are used to working. Still and hybrid lenses typically have focus rotations that are too short and the lenses lack hard stops, making repeatability in hitting focus marks impossible and the physical size of most still and hybrid lenses aren’t conducive to having a crew working on the camera.
Personally, I think that the latest developments in AF technology are becoming so good that soon we’ll see professional level autofocus systems for higher-end digital cinema cameras and PL mount lenses. As of today, though, that technology hasn’t quite yet arrived, so my prediction is that pro cine AF is something to look out for in the near future.
Lenses were all manual about 15 to 20 years ago other than a few consumer AF lenses. Even still photo lenses were made out of steel, aluminum and brass; the focusing controls were smooth and mechanically linked to the lens. Same with aperture controls to open or close the lens’s iris, they were mechanical. Sure, still lenses had clicks to differentiate ƒ-stops for still photographers while cine and pro video lenses had clickless aperture controls so that the lens’s iris could be subtly opened or closed during a shot without the exposure change having steps.
At some point, when better AF became the norm for still lenses, mechanical focusing evolved as focus by wire became the norm. What is focus by wire? For most AF lenses today, when you turn the focusing ring there’s a digital chip/mechanism in the lens that receives the focusing input from the focus ring rotating and turns it into a digital signal that’s fed to a small circuit board in the lens. The impulse triggers the focusing motors to move and focus the lens elements. The problem for us is, all of this analog to digital conversion input has a slight latency or delay, and the impulses are merely two way, as in the rotation impulse moves the focusing element forward or backward. So any fine feel that you had in focusing a mechanically focused lens is now gone. No repeatability, no mechanical feel. Manually focusing on today’s lenses ranges from impossible to merely terrible.
Same with aperture control. Lenses used to have the iris mechanically linked to the aperture wheel on the lens, so you turned the aperture ring and the iris closed or opened accordingly. Today, many still lenses don’t even have an aperture ring. They’re controlled electronically by a wheel on the camera body. For manual operation, still lenses have actually become much worse over the past decade or two. AF technology has become noticeably better but manually focusing has become pretty bad, making still lenses a poor choice when you want to control focus or smoothly ramp the aperture as your character moves from dark to light or vice versa.
We already own a dozen Canon EF and EF S still lenses. Some really great ones like the EF 70-200mm f/2.8 IS II, and some not so great ones like the EF S 17-55mm f/2.8 IS. The former is a pro-level telephoto zoom that’s ruggedly built and makes beautiful footage that looks as good as footage coming from cine lenses that cost 10 times more. On the latter, the build isn’t very good, the dust sealing is terrible, the AF is much slower and clunkier and, worst of all, because it’s only designed to cover the APSC 1.6X crop, vignettes pretty badly with the 1.5X crop S35 sensors in the two cameras we shoot with most.
Lately, I ‘ve been shooting interviews and some lifestyle b-roll footage with our three Canon still primes, the EF 28mm f/1.8, 50mm f/1.8 STM and EF 85mm f/1.8. All cover full-frame sensors, so there’s no vignetting on our S35 cameras, and all look good and match fairly well as far a color and lens coatings. The only downside of them is when we try to use them for manually focusing, creatively when shooting b-roll, their focusing is all focus by wire and the focusing rotations are ridiculously short, making manual focusing, even using Canon’s handy focus assist function, a nuisance.
I’ve shot with and reviewed the Canon CN E 18-80 and 70-200 t/4.4 compact servo hybrids here for HDVideoPro. They’re great lenses and are very useful for run and gun and documentary work. But for manually focusing, they have no hard stops and because they support AF and IS, are both focus by wire.
I like shooting with primes because they’re generally smaller, lighter and much faster than zoom lenses. For situations where we’re going to be shooting talent, functions, dance, tabletop, performance or narrative, primes make a lot of sense. Now the dilemma is, which primes to invest in? Stay tuned for more details in an upcoming blog post where we’ll delve into the many choices that are available for an EF mount cine prime.
The new Nikon D6 Full-Frame DSLR with Nikon’s NIKKOR 24-70mm lens
In the fall of 2019, Nikon introduced news about its upcoming D6 DSLR. But it made an announcement that was, kind of… an announcement of an announcement, which indicated they were working on producing a replacement for the Nikon D5, its long-time flagship DSLR. These news statements are often referred to as a development announcement, and happen when flagship products are about to be replaced or updated.
Canon, for instance, made such an announcement for the EOS-1D X Mark II. In short, it’s an attempt to generate some buzz—and let the camera industry and photography world know that at some future point, there will be an official announcement of the product mentioned by the camera brand in the development announcement.
So today, that’s what Nikon gave us: The official Nikon D6 announcement, which will be available this coming April for $6,499, as a body-only configuration.
Overall, it looks like a very robust, high-performing DSLR, although the news that the D6 has just a 20.8-megapixel FX-Format (full-frame) CMOS sensor—the same resolution as its predecessor, the D5—doesn’t really generate an aura of marketing buzz.
Still, the camera’s default ISO range is 100–102,400, and is expandable to 3,280,000. That’s certainly one spec that will entice many photographers from all genres. Another powerful facet of the new flagship is the D6’s autofocusing, which Nikon says is the most “powerful AF system in Nikon’s history,” with “unparalleled low-light performance, powerful agility, advanced 4K UHD multimedia capabilities” and a mechanical shutter frame rate boosted to a staggering 14 frames per second.
Nikon says some of the new improvements on the D6 include:
For more on the Nikon D6, go to nikonusa.com.
In addition to the D6, Nikon also announced two full-frame lenses for its NIKKOR Z mirrorless camera-lenses lineup: The NIKKOR Z 24-200mm f/4-6.3 VR versatile, lightweight zoom lens and an ultra-wide prime, the NIKKOR Z 20mm f/1.8 S.
Some of the notable features on the NIKKOR Z 24-200mm f/4-6.3 VR zoom include:
The NIKKOR Z 20mm f/1.8 S prime lens has the following capabilities:
The NIKKOR Z 24-200mm f/4-6.3 VR will be available April 2020 for $899, and the NIKKOR Z 20mm f/1.8 S will be available March 2020 for $1,049. For more on the two lenses, visit nikonusa.com
The post Nikon Announces D6 Arrives In April And Two Z-Series Mirrorless Lenses appeared first on HD Video Pro.
The new Olympus OM-D E-M1 Mark III with 12-40mm zoom lens
Earlier today, Olympus made the somewhat surprising decision to add a second, top-of-the-line, or flagship mirrorless camera to its line-up of Micro Four Thirds cameras: The new 20.4-megapixel OM-D E-M1 Mark III joins its larger, heavier MFT twin, the Olympus OM-D E-M1X, which was announced a little over a year ago. The E-M1 Mark III will be available beginning February 24, 2020.
In addition to the new flagship, Olympus also introduced a new zoom, the 12-45mm f/4 PRO lens, and a PEN-series mirrorless camera, the Olympus PEN E-PL10, which is the newest addition to its PEN Lite series of Micro Four Thirds camera, which are targeted at novices those looking to step up from smartphone photography or basic point-and-shoots.
It may be unique for a camera brand to offer two flagships. However, it’s a decision that could easily confuse potential buyers. For example, why would a photographer choose the E-M1 Mark III over the E-M1X? Here’s one reason: According to Olympus, if a photographer is looking for a camera-body that is more agile, then the E-M1 Mark III might be the better choice since it’s more portable. However, the E-M1X might be more attractive for photographers who shoot with long lenses. For most photographers, the size and weight of the E-M1 Mark III is much more in keeping with the compact, lightweight form factor many have come to expect from a MFT camera body. (Olympus seemed to purposely build in bulk to the E-M1X.)
The E-M1 Mark III shares a number of qualities with its larger brand sibling. One remarkable feature is its robust 5-Axis image stabilization with 7.5 shutter speed steps of compensation, which Olympus says is the “world’s most effective” IS. It’s also incredibly fast, with the ability to fire off 60 frames per second with AF locked (using the silent electronic shutter) or 18 fps for AF/AE-tracking sequential shooting (again, using the silent electronic shutter).
But both O-MD series cameras share a number of other features, including phase + contrast detection dual AF, a 121-point all cross-type On-chip Phase Detection AF sensor, the ability to shoot 4K video, function buttons, Live ND mode and a 50MP Handheld Hi-Res Shot mode, which lets you create a 50-megapixel, seamless composite of a scene from 16 images without using a tripod. It also has a feature found just on the E-M1 Mark III: Starry Sky AF mode, which is intended to make shooting photographs of stars much simpler and more effective.
The E-M1 Mark III has an excellent viewfinder, a 2.36M-dot LCD EVF, and a 3-inch swiveling touch LCD. It also comes with a variety of powerful 4K-resolution video modes (at 30, 25 and 24 fps) and with OM-log mode.
Like the E-M1X, the E-M1 Mark III is a rugged cameras—it even has an IPX1 rating! And both models come with built-in Wi-Fi, Bluetooth and GPS. However, one of the very few elements that the new E-M1 Mark III doesn’t share with the E-M1X are the any features relying on artificial intelligence, or AI-based shooting, such as Intelligent Subject Detection AF, which is only found on the E-M1X.
Because Olympus has continued to develop new lenses for its MTF-system cameras, it’s no surprise that today the company also introduced a new zoom, the M.Zuiko Digital ED 12-45mm F4.0 PRO lens.
The company says it’s a high-performance medium-range zoom—with a 35mm-film equivalent range of 24mm to 90mm, which means you can quickly zoom between wide-angle and telephoto shots in an instant. Olympus says it also features “supreme macro capabilities with a maximum magnification of 0.5x (35mm equivalent) across the entire zoom range.” It has a closest-focusing distance of 4.7 inches at the wide-angle end and a little over 9 inches at the telephoto end, which makes it quite a versatile lens.
The zoom has a lens design of 12 elements in 9 groups. Like many Olympus camera bodies, this lens is also dustproof, splashproof and freezeproof (to -10°C), and weighs just under 9 lbs. It’s compact and lightweight, which makes it great for bringing it on the road as a travel lens or for shooting events.
Olympus is targeting its new PEN E-PL10 MFT mirrorless camera at beginner photographers, who might be interested in stepping up the quality of their photos and video from what they can capture with a basic point-and-shoot digital camera or a smartphone.
This compact, lightweight camera includes a number of easy-to-use features, like a built-in pop-up flash, a wide array of expressive photography functions and art filters, in-body image stabilization (IBIS) and a 180-degree flip-down LCD screen, which Olympus says has “a step-by-step touch menu interface to guide the user as they capture beautiful photos in any situation.” It also is compatible with various interchangeable lenses and has built-in Wi-Fi and Bluetooth.
The Olympus OM-D E-M1 Mark III (black) will be available, beginning February 24, 2020, for $1,799 (body only). It will also be available in two kit configurations—for $2,499 with the M.Zuiko Digital ED 12-40mm F2.8 PRO lens and for $2,899 with the M.Zuiko Digital ED 12-100 F4.0 IS PRO lens. The Olympus M.Zuiko Digital 12-45mm F4.0 PRO lens (black), which comes bundled with the LH-61G lens hood, will be available April 7 for $649. The Olympus PEN E-PL10 is available now in three colors—shiro (or white), kuro ( or black) and mocha (or brown)—in a body-only configuration for $599 or bundled with the M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ kit lens for $699. Additionally, Olympus will sell two accessories for the OM-D E-M1 Mark III that will be available in April, 2020: A shock mount adapter (SM2), for $39 and an audio cable (KA33) for $14.
Stay tuned for my hands-on first-look review at using the new O-MD E-M1 Mark III in Costa Rica on a recent trip with Olympus.
For more information, see the press releases below or visit http://www.getolympus.com.
[[ press release ]]
OLYMPUS OM-D E-M1 MARK III INTERCHANGEABLE LENS CAMERA
Delivering Stunning Image Quality, Superior Mobility And Absolute Reliability
For Professional Photographers Everywhere
CENTER VALLEY, Pa., February 12, 2020 — Today Olympus debuts the OM-D E-M1 Mark III, scheduled to go on sale February 24, 2020. The Olympus OM-D E-M1 Mark III is a professional model built for superior mobility. This professional interchangeable lens camera conforms to the Micro Four Thirds® System standard. It comes equipped with a new image processing engine, TruePic IX, enabling features such as 50MP Handheld High-Res Shot. Combined with the high image quality of M.Zuiko® Digital lenses, this system fulfills the needs of professional photographers in any field, all in a compact, lightweight dustproof, splashproof, freezeproof magnesium alloy body for peace of mind when shooting in harsh environments.
This reliable, compact and lightweight body offers the world’s most effective 7.5 shutter speed steps of compensation. The OM-D E-M1 Mark III is also equipped with a 121-point all cross-type On-chip Phase Detection AF sensor for high-precision focusing. Starry Sky AF delivers revolutionary autofocus performance for astrophotography, and the Advanced Face / Eye Priority AF tracks and ensures the subject’s eye is continuously in focus, resulting in a crisp, clear portrait. This model is also equipped with versatile features that were popular on the Olympus OM-D E-M1X, such as 50MP Handheld High Res Shot, Live ND, Pro Capture mode, and handheld 4K video, thanks to its 5-axis In-Body Image Stabilization, designed to meet the demands of the professional photographer.
Compact and Lightweight with High Image Quality
By synchronizing the in-lens image stabilization of supported lenses with the in-body 5-axis image stabilization, this model achieves the world’s best 7.5 shutter speed steps of compensation with 5-axis sync IS. Powerful image stabilization enables shooting handheld in dark locations and during super-telephoto photography for outstanding freedom in various scenarios without the need for a tripod. In-body image stabilization ensures image stabilization with all attached lenses, up to 7.0 shutter speed steps of compensation performance.
With the new image processing engine, TruePic IX, combined with its 20.4 Megapixel Live MOS sensor, the world’s most effective 7.5 shutter speed steps of compensation, and high-resolution M.Zuiko Digital lenses deliver minimal noise even at high-sensitivity settings. This model boasts top-class image quality in the interchangeable lens camera class with minimal distortion to the edges of the shot. Improved AF algorithms and high resolution, high speed performance allow for features such as Handheld High Res Shot, Live ND, Starry Sky AF and improved face/eye priority AF.
50MP Handheld High Res Shot makes it possible to capture high-resolution images without the need for a tripod. This feature makes use of the minimal movement occurring between each of the 16 shots to generate a single 50 Megapixel high-resolution photo. This feature is particularly useful for capturing high-resolution shots in locations where it is impossible to use a tripod. Tripod High Res Shot is also available for recording ultra-high-resolution approximately 80 Megapixel equivalent JPEG images, great for suppressing movement in the merged shot, such as a rippling surface of water or leaves shaking in the wind.
Live ND, which is highly regarded on the OM-D E-M1X, is also included on this model, creating a slow shutter effect without the need for a physical ND filter. This feature virtually extends the exposure time and allows the capture of images with the appearance of a slow shutter speed by merging multiple exposures together. Users can select the effect level from ND2 (one step) to ND32 (5 steps), and view the slow shutter effects in the viewfinder before capturing, eliminating the need to change lenses or optical ND filters.
The OM-D E-M1 Mark III body is the foundation to meet photographers’ need for portability and reliability. Add Olympus M.Zuiko Digital PRO lenses for an unrivaled compact and lightweight system, maintaining the best balance of portability and image quality resulting in performance required and expected by professionals
The magnesium alloy body of the OM-D E-M1 Mark III features advanced weatherproof construction, resulting in dustproof, splashproof, and freezeproof performance. When paired with a dustproof and splashproof M.Zuiko Digital lens, users can enjoy shooting in the harshest condition without ever worrying about weather or location.
Avoid extra retouching due to dirt and dust on the sensor. The OM-D E-M1 Mark III is equipped with an industry-leading dust reduction system. The SSWF (Super Sonic Wave Filter) vibrates the image sensor at a frequency of 30,000 times per second to shake off dust and dirt. The new dust resistant coating recently introduced on the OM-D E-M1X is also used on this model, making it less likely for dust and dirt to stick to the image sensor, reducing spots in images by 90%.
The Lithium-ion Battery BLH-1 can be fully charged in as little as two hours when charged in the camera via a USB-C PD (Power Delivery) compatible charger of up to 100W.It is also possible to power the camera via a portable USB-C PD power bank or battery pack allowing the photographer to shoot for long durations, especially convenient for astrophotography or photographing in cold locations.
High Speed Sequential Shooting
This camera is equipped with 121-point all cross-type On-chip Phase Detection AF sensor for tracking subjects across a wide range quickly and accurately. AF information from recorded images is also used even during sequential shooting, more easily tracking subjects that move unpredictably. It offers 75% vertical coverage and 80% horizontal coverage of the screen for a wide focusing area. Paired with the advanced AF algorithm, this feature can continually focus on fast-moving subjects with a high degree of precision. Unlike DSLR cameras, there is no degradation in AF precision when using a fast lens. The OM-D E-M1 Mark III offers high-precision focusing that can sufficiently bring out the capabilities even of large-diameter lenses such as those with a maximum aperture of F1.2. AF/AE tracking is possible at maximum 18 fps high-speed sequential shooting while maintaining the full pixel count of 20.4Megapixels. The subject can also be checked in the viewfinder during high-speed sequential shooting for accurate tracking. Stunning 60 fps shooting performance captures split-second moments in high resolution that the human eye cannot detect utilizing AF/AE lock sequential shooting.
Pro Capture mode makes it possible to record scenes that are difficult to capture due to time lag in the subjects’ reactions or camera operation time lag. Recording begins upon the half shutter release, capturing up to 35 frames retroactively from the point of the full shutter release. Because there is no blackout during shooting, it is possible to keep an eye on subject movement while pressing the shutter button. RAW shooting is also supported. Pro Capture makes it possible to record once-in-a-lifetime shots that you might otherwise miss due to the time lag between people’s reaction and camera operating time lag.
Accuracy Autofocus System
Various Creative Features
Live Composite is included with the OM-D E-M1 Mark III. This feature makes it possible to check exposure status in Live View in real time. Live Composite also supports up to six hours of shooting. With B mode added to the shooting mode dial, Live Composite, Live Bulb, and Live Time are now easier to access and configure. Record photos in focus all the way from the foreground to background. Focus Stacking automatically creates a composite in-body from up to 15 frames. Focus Bracketing allows the photographer to shoot up to 999 images at different focus points to composite later using the software of their choice. Silent Mode turns off the mechanical shutter and all electronic sounds. Perfect for shooting in areas where shutter sounds are inappropriate, such as concert halls. The OM-D E-M1 Mark III is equipped with dual card slots, allowing the user to record JEPG and RAW separately, backup, automatically switching, etc. Slot # 1 is UHS-II/ UHS-I compatible and Slot # 2 is UHS-I compatible. In-body Fisheye Compensation allows the user to remove the distortion created by a fisheye lens providing more wide-angle creative options. Keystone Compensation applies trapezoidal compensation and perspective enhancement simultaneously, providing the functionality of a tilt/shift lens. Anti-Flicker Shooting (mechanical shutter only) detects the flicker of alternating light sources and reduces the effect by only shooting at peak brightness, reducing exposure variation. Flicker Scan (electronic shutter only) minimizes the effects of flickering occur under LED lighting
Electronic stabilization combined with in-body 5-axis stabilization delivers powerful image stabilization during video recording. OM-D Movie makes handheld 4K/C4K shooting possible due to a powerful image stabilization mode specifically designed for video recording (M-IS1). This offers three levels of performance to allow handheld 4K and Cinema 4K (C4K) high resolution shooting.
Software and Smartphone Applications
The OI.Share® dedicated iOS and Android app can be used to connect to the camera via Wi-Fi®, import shooting data to a smartphone, and to use the smartphone for remote camera operation and more convenient shooting and image organization. OI.Share can be used to update the camera firmware and backup and restore camera settings for the OM-D E-M1 Mark III.
Olympus Capture camera control software for computers meets the demands of studio photographers. Recorded images can be imported via Wi-Fi without using a USB connection, providing powerful support the workflow of studio shooting. It supports high-speed 5 GHz band communication.
Olympus Workspace image editing software can handle professional tasks such as RAW processing and image editing, along with offering freedom over screen layout, etc. Connect a computer to the OM-D E-M1 Mark III via USB to enable high-speed RAW processing on Olympus Workspace using the new image processing engine TruePic IX. Clarity and Dehaze editing filters are also included for a greater range of expression in astrophotography, etc. By using Olympus Workspace Version 1.3, being released at the same time as the OM-D E-M1 Mark III, easily replace the audio files of the recorded video to High res sound recorded by using Slate Tone on the LS-P4 / LS-100 while recording video.
Separately Available Accessories
The Power Battery Holder HLD-9 features a dustproof, splashproof, freezeproof design that delivers the same controls whether held vertically or horizontally. Attach the HLD-9 when shooting scenes with frequent changes between vertical and horizontal positions, or when you need to capture a lot of shots, or remove it for greater mobility. When using one Lithium-ion Battery BLH-1 in the camera and one in the HLD-9, together, up to 840 shots8 can be recorded.
Shock Mount Adapter SM2 is an adapter designed for absorbing camera noise while the LS-P4 is attached to the camera hot shoe. It prevents vibration and operational noise from the camera, making video shooting with higher quality audio possible.
Audio Cable KA335 is a high quality cable designed for connecting the camera and recorder. An L-shaped plug and curled cord provides easy handling when connected to the OM-D E-M1 Mark III.
Pricing and Availability
The Olympus OM-D E-M1 Mark III (black) will be available beginning February 24, 2020. The camera body only will have a suggested retail price of $1,799.99 USD and $2,399.99 CAD. The camera body bundled with the M.Zuiko Digital ED 12-40mm F2.8 PRO Lens will have a suggested retail price of $2,499.99 USD and $3,299.99 CAD, and the camera body bundled with the M.Zuiko Digital ED 12-100 F4.0 IS PRO Lens will have a suggested retail price of $2,899.99 USD and $3,799.99 CAD. The shock mount adapter SM2 will have a suggested retail price of $39.99 USD and $51.99 CAD, and the audio cable KA335 will have a suggested retail price of $14.99 USD and $19.99 CAD. These accessories will be available beginning April, 2020.
[[ press release ]]
THE ULTIMATE COMPACT, LIGHTWEIGHT, HIGH-RESOLUTION M.ZUIKO® PRO LENS
M.Zuiko Digital ED 12-45mm F4.0 PRO (35mm equivalent: 24-90)
CENTER VALLEY, Pa., February 12, 2020 —Olympus is pleased to announce the M.Zuiko Digital ED 12-45mm F4.0 PRO lens, scheduled for availability April 7, 2020. This high-performance medium range zoom PRO lens conforms to the Micro Four Thirds® System standard and features superb optical performance at all focal lengths, while being the world’s most compact, lightweight model. The M.Zuiko Digital ED 12-45mm F4.0 joins the M.Zuiko PRO category of lenses, possessing dustproof, splashproof and freezeproof (-10°C) performance that delivers excellent image quality and peace of mind even when shooting in the most severe environments. This lens delivers superb resolution to the edge of the frame across the entire zoom range, making the most of the appealing aspects of the Micro Four Thirds System standard. It features supreme macro capabilities with a maximum magnification of 0.5x (35mm equivalent) across the entire zoom range, making it an anytime, anywhere, all-around lens. When paired with the Olympus OM-D® E-M5 Mark III, this lens delivers high resolution and amazing portability to conveniently carry in a small bag.
The M.Zuiko Digital ED 12-45mm F4.0 PRO lens is the world’s most compact, lightweight medium range zoom PRO lens with a fixed aperture value covering a focal length from wide angle 24mm to telephoto 90mm (35mm equivalent). It consists of nearly 190 precision machined components all mounted in a dense configuration, resulting in a size of 63.4 mm./2.5 in. (max. diameter) x 70 mm/2.76 in. (overall length), and a weight of approximately 254 g/8.96 oz. This small and lightweight lens delivers high-speed, precise autofocus for capturing any subject. Its dustproof and splashproof construction contains sealing in nine places to keep out dust and rain, providing peace of mind when shooting in active situations.
Effective placement of aspherical lenses and ZERO (Zuiko Extra-low Reflection Optical) Coating provide clear depictive performance, drastically reduce aberrations, ghosts, and flare for sharp, high-definition image quality. Suppressing loss of light at the edges of images makes it possible to obtain bright, clear depictive performance up to the very edges. Because the aperture value is fixed across the entire focal length, it is easy to control the exposure when zooming and when recording video.
Enjoy macro shooting with a maximum magnification of 0.5x (35mm equivalent) across the entire zoom range. The closest focusing distance is 12 cm at the wide-angle end, and 23 cm at the telephoto end, delivering a wide range of macro shooting effects, including wide-angle macro shots that emphasize a sense of perspective by capturing vast backgrounds, and telephoto macro shots for more significant background defocusing effects. Diverse macro effects are possible, such as Focus Stacking, which generates a single image on the camera with a large depth-of-field in focus from the foreground to the background.
Pair the new M.Zuiko 12-45mm F4.0 PRO lens with the recently announced Olympus OM-D E-M5 Mark III to create the ultimate travel combination. As Olympus’ smallest weathersealed combination to date, at just 670 g/23.6 oz., you are able to travel with ease and shoot on-the-go, no matter the environment. Enjoy a bright constant aperture of F4.0, along with a myriad of pro features brought to you in the OM-D E-M5 Mark III. Lighten up with this ultimate travel combo and change both your photography and lifestyle forever.
Pricing and Availability
The Olympus M.Zuiko Digital 12-45mm F4.0 PRO lens (black) comes bundled with the LH-61G lens hood, specifically designed to protect the lens and reduce unwanted light entering the lens in backlit situations. The lens will be available April 7, 2020. The lens will have a suggested retail price of $649.99 USD and $849.99 CAD.
[[ press release ]]
TRANSFORM YOUR PHOTOGRAPHY WHILE EMBRACING CREATIVITY
WITH THE OLYMPUS PEN® E-PL10
A Compact and Sophisticated Interchangeable Lens Camera That You Can Take Everywhere
CENTER VALLEY, Pa., February 12, 2020 — Today Olympus America Inc. is pleased to introduce the newest addition to its PEN Lite series of Micro Four Thirds® System standard interchangeable lens cameras to our region, the Olympus PEN E-PL10. Drawing from the classic style of the 1963 PEN-F, the E-PL10 features an attractive clean aesthetic, thoughtful design, packed with a TruePic VIII Image Processor, built-in pop-up flash, and a wide array of expressive photography functions. The compact, lightweight body is equipped with in-body Image Stabilization and a 180-degree flip-down LCD screen with step-by-step touch menu interface to guide the user as they capture beautiful photos in any situation.
The Olympus PEN E-PL10 delivers blur-free high image quality with a simple touch operation. It is packed with features that expand creative expressions, such as Selfie, Art Filters for impressive, artistic finishes, and offers compatibility with various interchangeable lenses. By using the built-in Wi-Fi® or Bluetooth® in conjunction with the Olympus Image Share (OI.Share®) smartphone app, the camera easily connects to a smartphone to transfer images and share them on social media. Tutorial videos are also available to learn photography techniques using OI.Share, making it the perfect interchangeable lens camera for the beginner photographer. The PEN E-PL10 packs versatile features in a simple, sophisticated, compact design, available in three trendy colors that you can take everywhere.
Stylish, Premium Finished Design with Hidden Flash
The E-PL10 is available in shiro白 (white), kuro 黒 (black), and 茶 (mocha). Each are designed with premium materials and offer chic finishes, including leather grain, brushed aluminum, a grip to make it easy to hold, large mode dial, and built-in hidden flash, turning this camera into a fashion accessory. When paired with the M.Zuiko® Digital ED 14-42mm F3.5-5.6 EZ wide-angle zoom lens, it is highly portable, and lighter than a 16 oz. bottle of water.
Intuitive Guides with Simple Touchscreen
Never get frustrated with your camera again. The Olympus PEN E-PL10 removes the guesswork from your photography with four primary assist options on the mode dial that cater to users based on skill level: Auto, Scene (SCN), Advanced Photo (AP) and Art Filters (ART). For carefree photography, Auto Mode precisely detects the scene, lighting, subject and camera motion and automatically selects the optimal settings. Auto Mode ensures reduced blur for clear, sharp photos by detecting camera shake and moving subjects, then adjusting its settings accordingly. For additional control or hard to capture shots, Scene Modes allow the user to quickly customize the camera’s settings directly from the touch screen. Double-tap to choose from one of the following six categories: People, Motion, Indoors, Nightscapes, Scenery or Close-ups. Follow the on-screen prompts to capture challenging shots, like a candle-lit birthday cake or a running pet with a blurred motion background. The Shortcut button directly jumps to the primary settings in each photography mode. It provides an efficient navigation to the settings you need without having to fumble through cumbersome menus or instruction manuals.
180-Degree Flip Touchscreen with Automatic Selfie Mode
The PEN E-PL10’s unique flip touch screen makes photography and learning how to capture a great photo easier. Simply touch the subject shown on the LCD monitor to simultaneously focus and activate the shutter (Touch AF Shutter). When the monitor is flipped down, it automatically switches the camera to Selfie mode for easy and beautifully exposed selfies in all conditions, day or night. You can also select e-Portrait for brighter, smoother skin, or switch to movie recording with a simple touch operation. With Touch AF high-speed autofocus, the camera instantly focuses and captures with a simple touch of the screen.
Next Level Photography Features and Customizable Art Filters
The PEN E-PL10 uses a 16-Megapixel image sensor, paired with Olympus’ dual-core TruePic VIII Image Processor to deliver outstanding quality in every image. Advanced Photo (AP) mode provides functions that generally require advanced photography techniques, but is simple to operate. Anyone can capture a multi-exposure photo by simply overlapping two images in Multi Exposure, and capture light trails of stars or catch crisp trails of automobile headlights and taillights without the risk of overexposure, using Live Composite. Silent Mode, which mutes shutter and operation sounds, is now possible in P, A, S and M modes as well as AP mode. Art Filters make it easy to create distinctive photography in-camera, no post-editing required. With 16 unique Art Filter options, you can capture creative photos simply by scrolling and tapping on the screen. Use the new Fine Tune option to adjust the level of Art Filter effects while checking the results on the screen to create the photo exactly how you like. High Speed Sequential Shooting of up to 8.6 frames-per-second in Single AF Mode, or up to 4.8 frames-per-second in Continuous AF Mode, ensure that the shot is never missed.
Handheld Shake-Free Still and Smooth 4K Video
This model is equipped with 3-Axis in-body Image Stabilization, allowing the user to capture blur-free photos handheld without the need for a tripod, even in situations where camera shake can cause blur nighttime photography, dim indoor situations, while shooting video or when using a telephoto or macro lens). The PEN-E-PL10 captures smooth UHD 4K 30p video for ultra-high-resolution capture, no stabilizing gear needed. In-Movie Capture allows the user to capture an 8MP image from a 4K video.
Easy Wireless Sharing with Built-in Bluetooth and Wi-Fi
Use the built-in Wi-Fi and Bluetooth with the free Olympus Image Share (OI.Share) app to easily connect the camera and smartphone to import images and wirelessly share with friends and followers. By using the Share Order function, selected photos or videos on the camera will be automatically transferred to your smartphone once the camera is turned off. Convenient remote control of the PEN E-PL10 allows the user to control the camera settings and compose images all from a smart device, perfect for when the user wants to be in the picture. OI.Share also provides a camera how-to guide, containing tutorial videos of photography techniques and a digital guidebook packed with other useful photo tips.
Versatile Interchangeable Lenses
A versatile lineup of compact, lightweight, high-performance interchangeable lenses are available, including bright, single-focal-length lenses, as well as macro lenses, to deliver beautiful defocusing effects. Dramatically expand the possibilities of photographic expression with the perfect lens.
Separately Available Accessories
Genuine Leather Body Jacket (CS-45B), Genuine Leather Shoulder Strap (CSS-S109LL II), and Genuine Leather Lens Cover (LC-60.5GL). These genuine leather accessories are designed to protect the camera and enhance its design.
Pricing and Availability
The Olympus PEN E-PL10 is available now in shiro白 (white), kuro 黒 (black), and mocha 茶 (brown) to easily to match with any style. The camera body only will have a suggested retail price of $599.99 USD and $779.99 CAD. The camera body bundled with the M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ Lens, camera case, lens cloth and SD memory card will have a suggested retail price of $699.99 USD
 Image size is 8160×6120 pixels.
 When 5-axis sync IS used. Lens used: M.Zuiko Digital ED 12-100mm F4.0 IS PRO. At a focal distance of f=100mm (35mm equivalent: f=200mm), halfway release image stabilization: Off, frame rate: high speed. Conforms to CIPA standards, when corrected on 2 axes (Yaw and Pitch). Current as of February 18, 2020.
 M.Zuiko Digital ED 12-100mm F4.0 IS PRO, M.Zuiko Digital ED 300mm F4.0 IS PRO (As of February 18, 2020)
 Lens used: M.Zuiko Digital ED 12-40mm F2.8 PRO. At a focal distance of f=40mm (35mm equivalent: f=80mm), conforms to CIPA standards, when corrected on 2 axes (Yaw and Pitch)
7 Under Olympus test conditions.
8 CIPA testing standard:
 Launch offers may apply.
 35mm equivalent: 24-90mm
 As of February 12, 2020. World’s most compact, lightweight medium range zoom PRO lens with a fixed aperture value.
 When combined with a dustproof and splashproof OM-D series body.
 Supported cameras: OM-D E-M1 Mark III. A firmware update is required for the following camera models: OM-D E-M1X, OM-D E-M1 Mark II, OM-D E-M5 Mark III
 As of February 12, 2020. Camera body sold separately
 The camera must be set to AUTO in order to select e-Portrait on the screen in Selfie mode.
 Only available in Pop Art I and Soft Focus.
 Up to 3.5 shutter speed steps. M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ lens at a focal distance of f=42mm (35mm equivalent: f=84mm), conforms to CIPA standards, when corrected on 2 axes (yaw and pitch)
 When the smartphone OS version is Android 6.0 or later, images are not transferred automatically when the smartphone display is in sleep mode (when the smartphone screen is off). Make sure the display is active. On iOS devices, Olympus Image Share (OI.Share) must be launched first.
The post Olympus Adds Second Mirrorless Flagship Camera: OM-D E-M1 Mark III appeared first on HD Video Pro.
CES always offers a mind-blowing array of screens on display. Also mind-blowing is the hype that goes with them. This year’s exhibition in Las Vegas was no different.
I never walk away from CES with a definite idea of what the best display is. It’s really not a place to compare, as nothing is side by side or showing the same material. What I do get from it is a sense of where manufacturers think things are going.
TV makers were holding on to what was cool last year. LG had their roll-up screens. The entrance to their booth once again showcased their ability to curve screens. Like last year, it drew crowds of people trying to capture the display on their non-curved smartphones.
Samsung attracted attention again with “The Wall,” their MicroLED display. In 2020, the display was even bigger, measuring out at 292 inches. New this year was a model in 8K but at 150 inches.
While Samsung and LG competed to attract the most crowds at their booths, they also vied to define 8K resolution in displays. Continuing a battle started in October, LG claims that their sets are true 8K because of how they measure resolution.
I listened to both sides of the argument. While it’s an interesting conundrum, I won’t feel bad if it doesn’t get resolved for a while. Why? Because I feel we first need to get to a place where 4K is as simple to do as HD has become. I don’t think we’re there yet.
I have to ask how much finishing that’s done is truly 4K. For effects work, is it all done in 4K? Why are streaming services charging extra for 4K? Once we get to a place where 4K isn’t special, then maybe there’s a place for 8K displays. And when we get there, will 8K be different enough?
I saw a lot of 8K on the show floor that was time-lapse footage. That always sends a subliminal message to me that capturing 8K in real-time isn’t easy, either from a practical standpoint (the gear/talent may not be available), or it’s too expensive, or both.
On the other hand, it’s relatively easy to set up a DSLR that can capture 8K (or more) resolution one frame per second, rather than 24, 30 or 60 frames a second. And that capture process hasn’t really changed since HD times.
That’s not to say the time-lapse footage looks bad because it usually doesn’t. But I rarely see any time-lapse footage on 4K televisions at CES. Using time-lapse also hides the elephant in the room (in my opinion) with 8K: frame rate and camera movement. But that’s for another time. Still, display manufacturers have to have a big splash at CES, so 8K lives.
The Canon EOS Cinema C200 Digital Camcorder with a good amount of accessories on board.
Digital Cinema Camera manufacturers spend a lot of time and effort crafting the designs of the cameras that we buy and use. The ergonomics, layout, design workflow and usability are a significant part of the camera design budget. Yet how many times have you bought a digital cinema camera or even a mirrorless/DSLR camera and NOT accessorized it?
For me, I rarely shoot with any camera without third party accessories. Here’s why. It’s all about purpose and deployment. Case in point, mirrorless cameras are designed and executed as still cameras that also happen to shoot pretty good video as well. For those of us who buy them mainly to shoot video, we aren’t using the cameras for their primary purpose. To make a mirrorless camera more appealing for video shooting takes accessories. Sometimes a lot of them. To deploy a mirrorless camera on a gimbal, handheld, off the shoulder or mounted to a tripod, there’s a huge array of accessories available that allow the camera to perform better in each situation.
Let’s take a look at what I use as my main A camera, the Canon EOS Cinema C200. The C200 is great for clients who want to shoot RAW (yes, they do exist, we have at least a few of them), clients who care about shooting 4K60p and for clients who like a relatively small footprint in the camera used while still retaining an extremely high-quality level with Cinema RAW Light recording. For broadcast clients who care more about a mid-range codec than RAW or 4K60p, we shoot the C300 MKII or the FS7 MKII. For accessory purposes, the two Canons are basically similar, the FS7, a bit different but a lot of our various camera accessories are also adaptable to the Sony.
Let’s start at the bottom of the camera. While you can attach a tripod plate directly to any camera, pro users often utilize a baseplate. The camera baseplate can offer a variety of additional functionality to the camera. Here are just a few reasons we use a baseplate: we’re often required to shoulder mount the camera for long-term handheld shooting. Small digital cinema cameras are rarely very shoulder mount friendly unless you attach them to a baseplate designed for shoulder-mounted shooting. The baseplate we chose is the Zacuto VCT Pro. There are many others from SmallRig, Tilta, Wooden Camera, Arri and others, but we chose the VCT Pro for some specific reasons, primarily because it mounts to the ever-popular Sony VCT14 tripod plate, the same model we have been using since we started in the business with Betacams and other larger Sony broadcast-type cameras like the F900. The VCT Pro baseplate also has a sliding adjustment that lets us customize the center of gravity balance point of the camera/lens/accessory package mounted on it.
The VCT Pro also allows the use of 15mm rods, two sets, one in the front (useful for mounting handles, follow focus or FIZ controls, lens supports and other accessories) and one set in the rear (useful for attaching outboard recorders, battery plates and wireless video transmitters). The gel-padded cells on the bottom of the VCT Pro are fairly soft and comfortable, allowing you to shoot shoulder-mounted longer without pain. Lastly, the Zacuto VCT Pro is fairly universal, allowing us to use it with almost any camera we own or rent. Few things in our business are usable with lots of different cameras, so it seemed to be a good idea when we bought it.
Moving up to the top of the camera, we bought a Zacuto C200 Top Plate and Recoil Handle. Why do you need or want a top plate and/or handle? It varies from user to user and camera to camera, but for us, we wanted to specifically mount the accompanying Zacuto Recoil handle so that we would have a place to mount the C200’s touchscreen farther forward that the stock handle allowed.
The top plate also gives us a variety of ¼” 20 and 3/8” mounting options should we need to mount other accessories to the top of the camera. The top plate is rock solid and allows for more configuration options.
What about rods? There are two basic flavors of rods for digital cinema cameras, 15mm and 19mm. 15mm is definitely the most popular, but 19mm is popular on large, heavy-duty builds more commonly used in features and episodic work, the 19mm rods are more rigid and can support more weight without flexing. We use 15mm rods on the front of the VCT Pro for lens supports for longer, heavier lenses and the occasional follow focus. We also mount a Wooden Camera dual Arri Rosette mount for handles when operating shoulder-mounted. We occasionally use shorter 15mm rods on the rear of the camera to support a V-Mount battery plate or sometimes an Atomos recorder.
When operating shoulder-mounted, most cameras have the grip handle placed too high and too far back on the body to be useful. We have two Tilta skeleton camera grip extension arms that we use on the C200, usually only one on the C300 MKII. The Sony FS7 comes with its own grip arm extension, but there are third-party accessory arms from Shape that allow single-handed adjustment of length, unlike the stock Sony unit, which requires two hands to adjust.
Moving away from shoulder mounting, cages are extremely popular for mirrorless and DSLRs as well as for small cameras like Blackmagic Pocket 4K and 6K cameras. These smaller-bodied cameras tend to be more fragile than their larger digital cinema cousins, so placing a metal cage around the camera body gives you more points to mount accessories like monitors, handles, lights and microphones as well as offering protection against impacts against the camera body. A mirrorless or DSLR type camera can be mounted and usually left in a cage permanently unless you need to configure your camera in a way where the cage adds too much bulk or weight.
So far, we’ve covered a bit about why we accessorize our cameras in various ways that have mostly been about physical dimensions and functionality for shooting. Two areas we haven’t yet covered are audio and time code accessories. Neither our C200 or our Fujifilm X-T3 offer time code inputs so we purchased three of the Tentacle Sync E, a Bluetooth time code generator system that allows us to sync up to three audio sources with each other wirelessly. The C300 MKII has time code inputs so it can easily be hard wired to a pro sound recorder, but we even use our Tentacle Sync E with the C300 MKII because going wireless for timecode sync is always easier than running long BNC cables all over the floor.
Other audio accessories that are popular for all types of cameras are onboard shotgun microphones. There are a lot of different models on the market, but the Røde line seems to be one of the most popular with mirrorless/DSLR/phone users. We use an Audio Technica AT-875r on our C200, C300 MKII and FS7 as a camera mic for scratch audio, but we use a Røde Video Micro on our Fujifilm X-T3 because it’s smaller, lighter and outputs a 3.5mm signal versus an XLR output like the pro mics have to better match the Fujifilm X-T3s 3.5mm microphone input.
Other popular camera audio accessories are audio interfaces like the Panasonic DMW-XLR1 XLR Microphone Adapter, a popular addition to the Panasonic DCGH5 and DC-GH5S mirrorless cameras that allows pro-phantom-powered microphones to be used with a consumer/prosumer mirrorless camera. I wish all mirrorless camera manufacturers offered a similar adapter.
At the end of the day, stock mirrorless/DSLR and digital cinema cameras have to appeal to a wide audience of users who use them in mind-bogglingly diverse ways. I never cease to be amazed at how many people hang their cameras from drones, take them underwater, mount them on motion control sliders, jib arms, shoot handheld or on a gimbal or Steadicam-like devices. Many users need these accessories that allow them to use their cameras in so many different ways. We live in a time when there’s a wealth of aftermarket manufacturers, from budget to high end to fill our every need for rigging, mounting and shooting, we’re truly spoiled for choice.
At CES, I walk the acres of exhibit floors looking at all the new technology. There isn’t a great deal that applies to my job as a video editor, but certainly, displays and various capture devices do. Also, as someone who has been involved in the tech industry for most of my life, I relish the opportunity to learn where technology is going.
As I view the exhibits, in the back of my mind I try to envision how the technology I see might apply to my suite. But since most of the exhibits are geared to consumers, that brings up the whole issue of using consumer gear in my world.
When I talked about the fact that HDMI was never designed to be used in a professional production environment, it made me think about gear I use that some wouldn’t call professional. (I’ll skip the argument on what’s professional and what’s not. I can leave that for the endless comment sections produced when Final Cut Pro X was introduced.)
Of course, I use HDMI, usually to show my clients edits on a consumer TV in the endless quest to answer the question, “Is it going to look like that at home?” Is HDMI my preference? No, but there aren’t any sets that have BNC connectors.
Do I really care? Am I being a BNC snob? Not at all. I’m fine using consumer gear to get the job done. But, at the same time, I keep in mind that I’m using something that might not have the same performance as professional gear.
So, as I was walking the show floor, I came across Hyundai Technology. And no, there were no cars there. Although its origins came from the same company, Hyundai Technology creates various consumer devices. The one that caught my eye was an external SSD.
Small and portable, with models from 250 GB to 2 TB, the read and write speed was specified at 450 MB/s and 400 MB/s respectively. It’s packaged with both USB-A and USB-C cables. This was a device that I could use when I needed to transfer files!
I often have clients in my suite who want to give me source material. The usual method of handing me a USB stick becomes problematic because files are getting larger and larger and most (not all) USB sticks are slow. So we wait to transfer files from their computer to the stick and then from the stick to my edit array. It certainly doesn’t take hours, but it can definitely dash the momentum during a session.
Another thought I had when I was learning about the SSD is that while it’s small, it’s large enough that it won’t get lost. And by “lost” I mean that it won’t be accidentally taken by the client. It won’t be in a pile of USB sticks or get mixed in with any client sticks.
The Hyundai SSD will be another piece of gear marketed to consumers that can have a place in my workflow. It might not compare in some performance aspects with another “professional” SSD: it might not be screaming fast or survive being dropped from a two-story building or being run over by a dump truck, but that’s fine. I’ll take that into account in how I use it.
That’s the tradeoff of using consumer gear in a professional environment —emphasis on “trade.” It’s like the trade-off between a warehouse-style store and a full-service store. The warehouse store might not look as nice and it might take you longer to find someone to help you, but you pay less at check-out.
As long as you remember where you’re shopping, you shouldn’t be disappointed that it might take you longer to find what you need. Likewise, as long as you remember what your gear was originally designed for, you shouldn’t be disappointed in its performance.
“Sergio Mendes: In the Key of Joy,” a documentary that I shot in 2017 and 2018 just had its premiere at the Santa Barbara International Film Festival.
It finally happened. Director John Scheinfeld’s feature documentary about the life of Brazilian composer and musical legend Sérgio Mendes, “Sérgio Mendes: In The Key of Joy” that I served as the director of photography on all through 2017 and into 2018 is finished and had its world premiere at the Santa Barbara International Film Festival a couple of weeks ago. It’s been quite a while since I’ve seen my work projected in a theater with an audience, and if you haven’t had the privilege to experience it, it’s something special to feel their reaction as they watch the story you helped to tell.
During production, there were dozens of shoots here in Los Angeles, at Sérgio’s home and at multiple recording studios. In 2017, we journeyed to Brazil with Sérgio and his wife Gracinha to shoot Sérgio at his birthplace, at the first club he ever played at professionally and at various locations all around his home town of Niteroi, across the bay from Rio. We also shot studio sessions with various musicians in Rio and a song session with Soccer legend Pelé in Sao Paolo. In 2017, I flew with director John Scheinfeld and producer Dave Harding to Rio where I had my first exposure to working with Brazilian crews. My crew there was so professional, helpful and a lot of fun to work with. Visually, Brazil is a wonderful tapestry of tropical beauty mixed with the European and Portuguese influence; I’ve rarely shot in a more beautiful, spectacular location.
While there, we shot Sérgio and various scenic b-roll all around Rio and Niteroi, but the highlight of the shoot for me was the day we spent in a small recording studio in the hills of Rio, almost directly in the shadow of the iconic Christ the Redeemer statue. For the session, Sérgio assembled a small jazz ensemble of bass, drums and a three-piece horn section. With Sérgio at the keyboard, the group played original jazz tunes that Sergio had written as a young composer when he was just coming onto the music scene in Brazil. These jazz tunes were written well before Sergio found worldwide acclaim for his global hit, Mas Que Nada with Brasil ’66. No vocals, no lyrics—just pure, unadulterated jazz. It was a challenging shoot, trying to light the small studio to resemble a jazz club, but the musical experience was incredible as a fan, and I kept practically pinching myself that I was getting to hear this music as I shot that nobody else had heard played for more than 60 years. It was a magical experience for a jazz fan.
As the days of the shoot wore on, we traveled with Sérgio all around Rio, shooting b-roll of the beautiful resort and beach areas. One of the most spectacular shoots was documenting the sunset over Dois Irmãos (Two Brothers), two iconic mountains that tower over Ipanema Beach. We filmed the scene from a rock outcropping on the east side of the beach. In Rio, watching the sunset is an activity all its own, and we were joined by hundreds of people on the rocks as we filmed the sun descending behind the mountains. Everyone on the beach cheered and applauded as the sun disappeared behind the two mountains, the scene punctuated by vendors selling fruit and drinks to the assembled crowd, it was quite a unique experience. Where else have you filmed where the sunset is its own star with an adoring audience?
Another epic shoot in Brazil, both logistically and emotionally, was filming Sérgio aboard the ferry from Rio to his hometown of Niteroi across the bay. Sérgio was born during World War II in 1941, so riding the same ferry that he rode as a teen, then a young man to travel from his home in Niteroi to Rio where he played his first gigs as a professional musician and composer was quite emotional. Compounding that was filming on the top deck of a 200-foot long ferry over the bay. The winds were very high, making the shoot a challenge with sound and with trying to not have the flags and reflectors I was using to light Sérgio blow away. My Brazilian grip and gaffer were on it, but everyone in the crew pitched in to keep any of our grip gear from going airborne into the ocean as we crossed the bay.
Our director, John and our producer Dave Harding decided that we would shoot all of our interviews using a green screen. As a cinematographer, for me, shooting interviews on a green screen isn’t always the most creative endeavor as you rarely get to choose and light the background plates. That function, at least in documentaries, is often decided later, in post, long after you’ve shot the interviews. Green screen is often a “cart before the horse” situation in that you don’t know what the backgrounds will be, so how do you decide to light the talent in the green-screen shot? What will the lighting on the backgrounds look like? Which direction will the light come from for a given shot? Color and textures?
Since we were shooting in multiple countries and locations, as a producer, I understood the decision to shoot green screen; it made sense. We shot some interviews in various recording studios, several more interview sessions in Sérgio’s home and in many different locations in Brazil. But I was a bit wary that the interviews I had shot probably wouldn’t match very well with the backgrounds. More on this later.
We were able to shoot interviews with an amazing array of talent. Quincy Jones, Harrison Ford, Herb Alpert, Lani Hall, John Legend, will.i.am, Common, Brazilian musician Carlinhos Brown, Gracinha, Sérgio’s wife and all of Sérgio’s family, numerous Brazilian TV executives, journalists and musicians all make appearances in the film. The list went on and on. We developed a loose signature look for the interviews, even though they were all shot green screen. Our producer, Dave Harding, was a former gaffer, so it was nice to have a producer who understood lighting and could confer with me to help push the look to what John’s vision for the film was.
I utilized a soft key source, usually using a LitePanels Gemini 2×1 shone through a 4x or 6x silk and then, rather than utilizing another soft or hard source as a fill source opposite the talent as one might normally do, I’d place another smaller instrument like an Aputure Lightstorm LS-1S LED panel through a 42-inch diffusion disc on the same side as the key source but lower and at less intensity. This would give me some extra power to light talent, whose skin tones raged from Caucasian and fairly pale to fairly dark skin, in a relatively even light level. I would sometimes use a solid or Duvetyn on a C-stand on the fill side of the talent’s face to knock down the wrap from the two soft sources, allowing us to get some shadow and “mood” on the talent, but not too much as the tone of the film was to be upbeat, lighthearted and joyous.
For the women and some of the male interview subjects, I’d finish off the look using a small hair/rim light. For women, even though hair lights are a bit out of style lately, it gave a nice flattering glow to their hair, but I kept the level to a minimum, trying to not make it too apparent. Most importantly, the hair/rim light would nicely separate Sérgio’s iconic hats that he always wears. It was kind of wonderful; Sérgio seemed to wear a different hat in almost every interview in the film. I wanted to make sure that the hats were clearly highlighted as part of Sérgio’s look, and I think we succeeded.
Later, in 2018, I received a call that we were going to actually have sets built and shoot them as the background plates for the green screen interviews. We also shot a large selection of individual elements that would also be integrated into various notion graphics in the film. It’s rare, as a documentary DP, to have the opportunity to also shoot the background plates for your green screen interviews so that was an interesting experience for me and our Los Angeles crew. Our Gaffer, Mark Napier, even came up with a really effective way to add movement to our shadows on the backgrounds using a rotating Mason jar as well as a woven Bamboo basket. The patterns and lettering from the glass broke up the light and lent a nice, organic quality to the movement, along with the Bamboo basket, kind of like the sun shining through moving tree branches without being as literal as using a “Branch-o-loris,” shining a light through an actual tree branch on the C-stand. The backgrounds came out nice and are used to great effect throughout the film.
Director John Scheinfeld’s cut of the film comes in at about 100 minutes and played its opening night at the Santa Barbara Film Festival to a sold-out house. The audience gave the film, John and Sérgio—both who were in attendance—a standing ovation. John and Sérgio gave a Q&A after the screening, which was then followed by a set with Sérgio and his touring band. I was lucky enough to be in the audience that night and received a nice shout out from John about the photography of the film and the challenges we encountered shooting it.
At the screening, I reflected back on how lucky I was to use my cinematography to help tell the story of a musical legend. In a way, Sérgio Mendes has musical accomplishments that are commensurate with artists like the Beatles (Sérgio and band opened their set at the screening with a Brazilian flavored cover of the Beatles’ “Fool on the Hill,” a big hit for Sérgio in 1968), his music built a huge global audience for Bossa Nova and he’s still touring all over the world, collaborating and composing with younger musicians and producers like will.i.am (producer of The Black Eyed Peas with whom he re-recorded in 2006 an updated version of his breakthrough hit, Mas Que Nada), John Legend and Common as well as numerous other musicians and collaborators who appear on his latest album that’s just being released as I write this.
As John related during the Q&A session at the screening, the film is John’s positive, feel-good antidote to the darker political and social times that are so prevalent in 2020. As Sérgio’s story evolves in the film, he faced some incredibly dark times with political persecution during the military coup in Brazil as a young man, which was the main reason he came to New York in the 1960s. But he never let the darkness he experienced color his optimistic outlook on life; he found joy and happiness through the serendipity of life, which is a timeless and relevant message for us all.
The post Documentary Serendipity—Sérgio Mendes: In The Key of Joy appeared first on HD Video Pro.
Wunmi Mosaku and Sope Dirisu appear in “His House,” directed by Remi Weekes, an official selection of the Midnight program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Aidan Monaghan.
“My House” pulsates with claustrophobic unease, a horror film that disturbed audiences with powerful effect. It’s a remarkable and surreal entry from first-time director Remi Weekes, reveling in terrifying moments and a disturbing storyline that was screened as part of Sundance’s Midnight program.
In this video clip, first-time director describes how he created such a claustrophobic horror film:
The film tells the story of a refugee couple escaping war-torn Sudan, only to find themselves in an even more dire situation as refugees housed in the sanctuary of the UK.
Saved after a small boat packed full of people capsizes in rough waters, the couple arrives in England, heartbroken over the death of their young daughter, who drowned during the rescue. Sope Dirisu and Wunmi Mosaku play husband and wife with pinpoint accuracy, a relationship becoming increasingly strained while attempting to integrate into a society that simply does not want them around, or just does not care.
Housed in a raggedy interior that is nightmarishly dirty—mysterious holes in its walls, endless streams of roaches and lights that never turn on—the couple quickly becomes aware of cirrational and incomprehensible phenomena that surround them in their less-than-humble abode.
A threatening atmosphere builds from the outset, not only inside the derelict house but outside too: As Sope tells her caseworker, she survived in Sudan by wearing the scars of two warring tribes, alive by trying to not belong anywhere at all. The cultural divide is further underlined when she approaches three black school kids, struggling to get directions from them as they mock her thick African accent.
Her husband is equally at odds, shopping for clothes in a store surrounded by images of pristine Caucasian models. Their horrors are everywhere, both subtle and extreme, and there seems to be no escape. Their growing unease soon escalates with the appearance of dreamy, grotesque and bizarre creatures peeking out from broken walls, and shuffling past from dark, creepy corners. Surreal horror plays large, with dreaminess, grotesqueness, bizarreness and fantastical all around, a home with cosmic supernatural spirits at play.
“My House” is a disturbing film that highlights the plight of refugees within a horror-laden storyline, one that questions where we belong, what we call home, and how we identify who we are. Weekes does an admirable job balancing the surreal genre elements of horror with the very real trauma of migration.
The post Sundance 2020: “His House” Offers No Refuge From Horror appeared first on HD Video Pro.
A still from “The Nest,” which premiered this year at Sundance
In 2011, Sean Durkin won the dramatic directing award for his directorial debut “Martha Marcy May Marlene,” tapping into the terror of a cult lingering on in the mind of an escaped victim. With his new movie “The Nest,” Durkin returns this year to Sundance with a social critique of life in the early 80s in England. The film follows the story of charismatic entrepreneur, Rory (Jude Law), who relocates his family to England (from America) with dreams of profiting from the booming commodities market in London. His wife, Allison (Carrie Coon) struggles to adapt, and the promise of a lucrative new life in jolly old England soon begins to fade into oblivion.
Before the move, Rory seems to have it all: a successful broker nestled in a quiet retreat on the outskirts of New York, replete with a beautiful wife and two darling kids. But after he moves to England, he’s driven by an ambition to do and make more. So, Rory sniffs out a business opportunity in London and then quickly relocates his family to Surrey, housed in a beautiful old mansion with the promise of a new beginning.
Unsettled and bemused, Allison adapts to life in England as Rory spins his deals. But unwelcome truths begin to surface, and we soon learn that the family has already moved four times in the past 10 years as Rory chases one deal after another, apparently with little or no success. He then dreams of running a 24-hour trading firm in London, but it’s yet another lofty ideal with no basis in reality.
Law is deliciously slick as Rory, lighting up the screen as a selfish, manipulative commodities broker. He’s all smoke and mirrors, and, let’s face it, no one plays desperation quite like Law. He’s charismatic, but he’s really a fool who is deeply out of touch with reality.
Coon is even better, in top form as the tension grows. She plays a housewife who has sacrificed her career to watch a man pursue his own lofty dreams. Eventually, she eyes Rory with increasing resentment, all sneers and subtle glances as he sinks deeper into debt and despair. In the end, she has a slow realization that their marriage is held together by nothing but lofty expectations. It’s a heartbreaking storyline to watch, one where she recognizes that her picture-perfect family is a mere construct.
The film has great visuals and sound: It’s set to an hypnotic and absorbing score by Arcade Fire’s Richard Reed Perry. And Mátyás Erély, from “Son of Saul,” works his magic as cinematographer
“The Nest” is an elegant and precisely constructed tale, a slow if fascinating burn that slowly picks away at the perfection.
The post Sundance 2020: “The Nest” Premieres At The Festival appeared first on HD Video Pro.
Director David Lowery, at “The Movie That Blew My Mind” session, a recurring festival panel at the 2020 Sundance Film Festival. © 2020 Sundance Institute | photo by Maya Dehlin.
During one of “The Movie That Blew My Mind” sessions, in which a filmmaker is asked to share a movie that was hugely formative in his or her development, David Lowery chose to discuss the film ”George Washington,” by David Gordon Green. During the session, Lowery says it truly opened his eyes to the immense power of independent film. See what else he has to say about this film and more in this video clip:
David Lowery amazed audiences at Sundance back in 2017 with ”A Ghost Story”, a supernatural drama that he wrote and directed starring Casey Affleck and Rooney Mara. Released by A24 after its premiere in Park City, Affleck plays a man who becomes a ghost and remains in the house he shares with his wife (Mara).
Meanwhile, ”George Washington” is a touching portrait of young kids in a depressed rural town. Tragedy strikes when a member of the group dies while playing in an abandoned amusement park. As a result, they have to come to grips with a hard world of choices and consequences. The film is narrated by one of the children, and follows their struggles to balance their own ambitions and relationships against a tragic lie. ”George Washington” marked David Gordon Green’s feature film debut as a screenwriter, director and producer.
The post Sundance 2020: David Lowery On Inspiring Filmmakers appeared first on HD Video Pro.
Sunita Mani and John Reynolds appear in “Save Yourselves!” by Alex Fischer and Eleanor Wilson, an official selection of the U.S. Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Matt Clegg.
To get a sense of what it means to make a zany film like “Save Yourselves!,” check out the following video clip, which features segments of a Q&A with the writers and directors of the Rom-Com, Eleanor Wilson and Alex Huston Fischer:
Now, for a brief overview of the film, which was an official selection of the U.S. Dramatic Competition: The movie is more or less an ode to our tech-obsessed culture, a zany rom-com survivalist tale that follows Jack (John Reynolds) and Su (Sunita Mani), a hip Brooklyn couple hooked on technology and unable to unplug from their devices. Fearing their tech addiction is beginning to impact their relationship, the cute pair seize the chance to leave town and stay at an isolated cabin deep in the woods. It’s time to get off the grid and sidestep those Instagram likes—at least for a week.
But their blissful retreat is soon interrupted when Su sneaks a glance at her iPhone, quickly discovering that the planet is under attack. With no life skills to speak of, the couple embarks on a journey to return to civilization…or what’s left of it.
Along the way they discover a baby left behind in a car, making this worst-case scenario an even bitterer pill to swallow.
The aliens featured are probably the cutest beasts seen on screen since those adorable fluffy tribbles populated the Enterprise on “Star Trek”—except these furry little brats (or “Poofs” as Su calls them) lash out with long tentacles to take out unsuspecting victims in one fail swoop.
This is a movie affectionately satirizing modern life and love, but what makes the ride so much fun is watching the chemistry between Reynolds and Mania throughout the adventure, playing a clueless Millennial couple to perfection. Writer-directors Eleanor Wilson and Alex Huston Fischer hit the mark, crafting a hilarious tale that makes us think about putting down our iPhones and going out to live a little.
The post Sundance 2020: The Perils Of Getting Off The Grid In “Save Yourselves!” appeared first on HD Video Pro.
Julia Garner appears in “The Assistant” by Director Kitty Green, an official selection of the Spotlight program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute.
Kitty Green’s “The Assistant” plays in the Spotlight category and presents us with the unenviable experience of working on the inside of a prestigious New York film office under the ownership of a famous, but abusive mega-producer.
The film begins at the break of dawn and follows Jane (played by actress Julia Garner), a relatively new assistant working relentlessly throughout a seemingly endless day. Jane arrives at work before everyone else, busy performing mundane tasks while simultaneously cleaning up after her movie-mogul boss—printing reports, making coffee and retrieving lost jewelry left behind…next to a “casting couch.”
As the day stretches on, Jane is increasingly belittled by her cohorts, all taking glee in insulting her in subtle and sinister ways while simultaneously cowering under their tyrannical, world-class abuser of a boss. It’s a disturbing and unsettling experience, heightened by the fact that we never get to see who we can only assume is a Weinstein clone, constantly berating and abusing his staff in a peculiarly permissive culture.
“The Assistant” brings into focus how such a monster like Weinstein could exist, revealing a complicit culture that turns a blind eye. This is a place where everyone knows who they are working for, selfish enablers embracing an “open secret” while protecting themselves, workers with no room for empathy or concern.
One of the most disturbing scenes follows Jane as she tiptoes off to see the company’s HR officer, wonderfully played by actor Matthew Macfayden, after she is concerned for the well being of a young, innocent girl that her boss has lodged in a nearby hotel. Jane feels that she has to speak out, but the HR manager is perplexed. Why is she discussing this? What is her goal?
As he tells her, in no uncertain terms, there are over four hundred CVs vying for her position, all eager to take that entry-level job. And, to boot, her indirect evidence of abuse can never be proved. Perhaps she is jealous of this girl? When he asks her if he should file her complaint, Jane quietly withdraws and slips back to her desk, protecting her own position rather than speak out. As a result, Jane’s indifference echoes those of her fellow workers, all trapped inside a system protecting a predator.
All in all, “The Assistant” may not offer anything new to the #metoo conversation, but Garner’s understated but powerful performance highlights how talented she is, using mere glances and gestures to convey the growing angst within. The film offers an unsettling ride, but it’s one that’s worth viewing.
The post Sundance 2020: The Ignored Angst Of “The Assistant” appeared first on HD Video Pro.
Andy Samberg and Cristin Milioti appear in “Palm Springs,” a satirical film by Max Barbakow and an official selection of the U.S. Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Chris Willard.
By all accounts, it’s been a slow Sundance Film Festival this year. According to some, even foot traffic has been down.
However, interest was very high around the acquisition sale this year of “Palm Springs,” a satirical film directed by Max Barbakow and starring Adam Samberg as lead. It turned out to be the biggest purchase in the history of the festival…although by just a very small amount: 69 cents, to be exact.
The full price of the acquisition? $17,500,000.69.
The news about the purchase of the movie—a sale brokered by UTA Independent Film Group—was announced following a joint statement from Hulu and Neon.
It wasn’t the only deal that’s been getting buzz. There were other deals as well:
Director Tom McCarthy being interviewed by Tabitha Jackson, documentary film program director at Sundance
In this Sundance Film Festival panel, titled “The Movie That Blew My Mind,” we join hosts John Cooper (festival director) and Tabitha Jackson (documentary film program director) at this special event interviewing Director Tom McCarthy, who is best known for directing and writing “The Station Agent,” “The Visitor” and “Spotlight,” for which he won the Academy Award for Best Original Screenplay and was nominated for Best Director.
See our short video of McCarthy discussing why “Repo Man” remains an inspiration that shaped his creative sensibilities and what cinema means to him:
The post Sundance 2020: Tom McCarthy And The Importance Of Film And Cinema appeared first on HD Video Pro.
Simon Wakelin, who has been roaming the many screening rooms all week at Sundance, captured this informative video at the Zeiss Open House with Topher Osborn, who discussed many of the creative choices he, Director Justin Simien and others on the creative team made in creating “Bad Hair,” a satirical psychological thriller set in Los Angeles in the late 1980s.You can play this YouTube video below:
He answered a variety of questions in this Q&A, including why they shot on Super 16, what was their lighting style, why he likes shooting handheld and why the director opts for using wide-angle lenses. Dave Grove, SVP of Global Feature Sales for EFilm, was also there, with Osborn, at the Zeiss Open House.
The post Sundance 2020: Director Of Photography Topher Osborn Talks About Creative Choices In “Bad Hair” appeared first on HD Video Pro.
Andrea Riseborough appears in “Possessor,” by Brandon Cronenberg, an official selection of the World Cinema Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Karim Hussain.
Brandon Cronenberg may be virtually unknown to mainstream moviegoers, but connoisseurs of the horror genre are in for a disturbingly delicious treat with “Possessor,” a no-holds-barred psychological slasher film that questions both our humanity and the predator within.
While Italian horror genius Dario Argento is rightfully dubbed the “Master of the Thrill,” Cronenberg’s second feature offers something far more powerful and lurid, a more violent ride than even the great Argento could never muster. In fact, here is a film that may be brave enough to reinvent the horror genre, showcasing a singular vision that shines brightly through a splattering of blood and gore.
This may sound all too familiar. After all, Brandon is the son of body-horror genre king David Cronenberg. But here he separates himself admirably from his father’s renowned body of work.
Bold and spirited, “Possessor” is the story of Tasya Vos (Andrea Riseborough), a contract killer capable of implanting her consciousness into others. After taking out victims, she escapes from her host by forcing them to commit suicide: clean and easy, it’s the perfect crime.
Renowned for her prowess and skills, Vos is recruited regularly, but the process has its drawbacks. Every time she returns to her body, she must reset and recalibrate to remember exactly who she is. Somehow aware that she is losing her grip on reality, Vos tries to connect with her estranged husband and child, but even here she rehearses her reactions to appear normal.
Vos becomes increasingly violent on her missions, using more blunt force and savagery than is necessary to kill her prey. She eventually spins out of control after inhabiting the body and mind of Colin (Christopher Abbott), a man about to marry into a wealthy family, suffering a physical and mental breakdown that leaves her stuck inside her host. Meanwhile, Colin fights to regain his consciousness, while Vos wrestles to get free.
“Possessor” strikes an effective balance between intellectuality and brutality, using extreme gore to underline its narrative. As a result, “Possessor” makes an impressive statement, one in which audiences will be equally appalled and amazed. Either way, the film wins. As Argento once said: “I like when people are disgusted because it means you’ve made an impression on them. A deep impression…”
The post Sundance 2020: Did “Possessor” Director And Cinematographer Reinvent The Genre Of Horror? appeared first on HD Video Pro.
In “The 40-Year-Old Version,” Director Radha Blank writes, directs and delivers a powerful onscreen performance in her debut feature film. She discusses it this year at Sundance. This presentation also features DP Eric Branco. Both Blank and Branco discuss a number of production issues, including why the film was shot on black-and-white film,
Here’s our video of the two of them as they sat down at the Zeiss Open House to discuss the visual language in “The 40-Year-Old Version:”
Here’s a quick synopsis of the film, which appears on the Sundance website: Radha, a promising playwright in the past, is struggling at 40. After facing nonstop rejections, being single and stigmatized, she teaches a group of teens and becomes creatively involved in her long lost love for her rap-passion. Simultaneously, her play gets going, and she has to back out of her dreams of recording a rap demo in the past. The unsettling tension for quieting herself down for career success proves to be yet another struggle.
The post Sundance 2020: Exploring The Visual Language Of “The 40-Year-Old Version” appeared first on HD Video Pro.
From the powerful and emotional Q&A with the filmmakers and the women featured in the documentary film, “On The Record,” including Drew Dixon (center with microphone).
The #MeToo movement continues to light up Sundance with “On The Record,” a searing documentary that centers on Drew Dixon, a young music executive from Def Jam Records and Arista who recounts how she was allegedly raped by music-mogul Russell Simmons. Below, see part of the powerful Q&A with the filmmakers and the women featured in the film:
The film begins in 2017 after Dixon comes forward to tell her story to The New York Times, right as the #MeToo movement begins to grow. It also chronicles other women’s allegations of assault, rape and sexual harassment at the hands of Simmons, all describing an attack in the same way as Dixon. In fact, each woman uses chillingly similar language in their allegations: Simmons coaxing victims into his home, suddenly appearing naked wearing nothing but a condom, then pinning each woman down before raping them.
The film is featured in the Documentary Premieres section of Sundance this year and provides historical and cultural context for viewers, analyzing how black women in the music industry have long been marginalized as sexual objects, especially in the heyday of Def Jam Records, one of the most successful music companies to have ever existed. The documentary reveals how it’s a stance that sadly tries to validate and justify the misogyny and rape of black women at any cost. Directed by Kirby Dick and Amy Ziering, “On The Record” received widespread attention after Oprah Winfrey withdrew from the project as executive producer, just weeks before Sundance began, citing the film was just not ready to be shown. But Ziering took the time to thank the Sundance Film Festival for, “standing strong and never blinking,” clearly emotional as the lights went down.
As the credits rolled, the film received a standing ovation, followed by a powerful Q&A with the filmmakers and the women featured in the film.
Patricia Arquette was in attendance, saluting each woman on stage, expressing how she was “so proud” of them all.
One fact underlined in the film is that Simmons has been charged with raping and assaulting numerous women from as far back as 1988 up through to 2014. Simmons has since fled the United States to live in Bali—one of the few countries in the world with a no extradition treaty with the United States.
The post Sundance 2020: “On The Record” Documents Rape & Abuse In The Record Industry appeared first on HD Video Pro.
A still of Rebecca Hall, in “The Night House,” by David Bruckner, an official selection of the Midnight program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Elisha Christian.
“The Night House,” a superb horror flick by Director David Bruckner, delivers a nerve-racking experience, a spine-tingler that’s attracting buzz this year, with theatrical buyers at the front of the line. Check out our video of Director David Bruckner, who joins cast members Rebecca Hall, Stacy Martin and Evan Jonigkeit, screenwriters Ben Collins and Luke Piotrowski, and producer Keith Levine for a frank discussion about the film:
Here’s a summary of “Night House:” It’s the story of Beth (Rebecca Hall), a widow, who begins to uncover disturbing secrets about her recently deceased husband, Owen (Evan Jonigkeit), after rummaging through his belongings in the dead of night while boozing alone in their stunning lakeshore dwelling.
Wrestling with both denial and acceptance, Hall proves to be an engaging lead, who continues to one step closer to the next sonic scare. As one jolt leads to another, you can’t help but be drawn into the haunting storyline, with a stellar performance from Hall, the highlight of the film.
Bruckner helms a loud, creepy feature that premiered in the Midnight section of the festival, a gem full of genuine scares and spooky jumps that glide majestically above the usual schlock seen in the horror genre today…
In fact, the “Night House” may well be the best horror film to screen at Sundance since “Hereditary” shocked audiences back in 2018. (Bring earplugs, plus a valium or two to survive the onslaught.)
The post Sundance 2020: Video Of The Cast of “The Night House” appeared first on HD Video Pro.
Dominic Cooke, director of “Ironbark,” a selection of the Premieres program at the 2020 Sundance Film Festival.
Dominic Cooke’s Cold War drama, “Ironbark,” which had its world premiere screening this weekend at Sundance, injects life into a seemingly routine spy thriller via a mix of compelling performances, elegant cinematography and deft direction. And apparently Lionsgate and Roadside Attractions for North America agrees, because already purchased the film.
The movie is based on a true story and stars stalwart actor Benedict Cumberbatch, perfectly cast as a British businessman who is unwittingly recruited into one of the greatest international conflicts in history, the Cuban Missile Crisis, a confrontation considered to be the closest the world has ever come to escalating into a full-scale nuclear war.
Cumberbatch nails the role of Greville Wynne, a classy businessman with a pep in his step, who knows how to close a deal. Hired by MI5 and the CIA to garner crucial information from behind the Iron Curtain, Wynne forms an unlikely bond with military intelligence colonel Oleg Penkovsky (wonderfully played by Merab Ninidze). Penkovsky is a Soviet officer with a heart of gold, desperate to ease escalating tensions between Russia and the White House, willing to share secrets if the knowledge is used for the good of mankind.
Along the way, Wynne and Penkovsky forge a brotherly bond that helps avert nuclear disaster, working together to smuggle documents to the west and provide crucial intelligence that defuses the mounting crisis. As their situation grows ever more intense, the KGB begins to suspect something is up, looking into the pair’s constant travel back and forth between the British Isles and Russia, culminating with the Cuban Missile Crisis.
While Cumberbatch wasn’t in attendance for the screening—he is currently on set in New Zealand with director Jane Campion on “The Power of the Dog”—he took the time to send a video message to audience members inside a packed Eccles Theater, expressing his regret for not being at Sundance.
This didn’t dampen spirits, however. The theater was packed with an audience eager to watch an old-school spy thriller—a veritable “dad movie” genre, which is rarely screened at Sundance.
In part, the allure is due to an incredible fact: Two men saved the world from annihilation. And that’s part of what gives this thriller a warm glow, of sorts, especially in light of various current global crises, which seem almost impossible to overcome.
The post Sundance 2020: “Ironbark” Premieres At The Film Festival appeared first on HD Video Pro.
Here’s a quick synopsis for the film, “Bloody Nose, Empty Pockets,” from a press release for the film: “In the shadows of the bright lights of Las Vegas, it’s last call for a beloved dive bar known as the ‘Roaring 20s.’ That’s the premise, at least. The reality is as unreal as the world the regulars are escaping from. ‘Bloody Nose, Empty Pockets’ is a mosaic of disparate lives, teetering between dignity and debauchery, reckoning with the past as they face an uncertain future, and singing as their ship goes down.”
Here’s a video we shot of filmmakers Bill and Turner Ross discussing their unusual film, which the press releases states, is “their beguiling approach to nonfiction storytelling,” which makes for “a foggy memory of experience lost in empty shot glasses and puffs of smoke:”
The post Sundance 2020: Video of Filmmakers Bill & Turner Ross At The Premiere Of “Bloody Nose, Empty Pockets” appeared first on HD Video Pro.
Actors Yaani King Mondschein, Elle Lorraine and Lena Waithe star in “Bad Hair,” a new film by Director Justin Simien, an official selection of the Midnight program at the 2020 Sundance Film Festival.
It’s director Justin Simien’s first time back at Sundance since his first film, “White People,” screened six years ago. For the new film, “Bad Hair,” Simien produces a rich, layered horror film for the Midnight section, mixing classic horror-genre smarts with wry comedy and black cultural insight.
The film is set in 1989 Los Angeles, where actor Anna Blosdo plays Ellie Lorraine, who, as a child, suffered a traumatic event and burned her scalp using a mild relaxer perm.
Now, working on a music-video TV show, monikered “Culture,” Ellie fights her way to the top after her new boss, Zora (Vanessa Williams), arrives, an ex-supermodel looking to revamp the show. Needing a fresh look, Elle visits a mystical hairdresser (Laverne Cox), who lays in an incredibly stunning weave.
Back at “Culture” with her broad shouldered cohorts listening to hilarious 90s-inspired hip hop music, Ellie quickly discovers that her new weave possesses deadly powers, attacking and tangling up its victims to suck them dry of their blood and nourish those long, tender locks.
When asked what drove him to create the amusing, tongue-in-cheek feature, Simien explains that he made “Bad Hair” with a lot of love and obsession, and saying that popular culture doesn’t always reflect actual black experiences. “I adore the psycho-thriller genre, everything from ‘Carrie’ to ‘Psycho,’ from ‘Body Double’ to ‘Wicker Man,’” he explains.
“These films,” Simien continues, “were from filmmakers who poured a lot of disparate obsessions into a genre that they could go and play with. I felt a lot of freedom making this film, using the absurdities of everyday life as a platform—one that pits us against each other, a system that honors black culture and conditions us to want things that look powerful, but things that are actually tools of oppression. But, most of all, I wanted to create something new, something that’s never been seen in a movie theater before.”
Making a movie is always a group project, whether the credits at the end of the film include just a handful of names or a cast of thousands…or tens of thousands. In this digital age, it means you’ll have a team, or more likely, many teams that need access to footage, music, still images as well as all the many other documents and files. But access can get messy, and dangerous, since files can be accessed then lost or overwritten. Or teams can create copies that can confuse everyone.
Teams need access and to be in sync, but they also must collaborate efficiently and securely
That’s my guess on why Adobe chose to unveil Productions, a new feature set in its Premiere Pro software, during this year’s Sundance Film Festival. Chances are nearly every cinematographer, content creator, editor, DP and director at this year’s festival has dealt with the dark side of a digital products. Namely, chaos.
Adobe says that the Productions feature set, which will soon be included in Premiere Pro, was designed to help production teams “work more collaboratively and manage projects more efficiently…whether you’re working on your own or collaborating with a team. ” In fact, Adobe says Productions was designed “with input from top Hollywood filmmakers and editorial teams, including those behind ‘Terminator: Dark Fate,’ ‘Dolemite is My Name,’ and David Fincher’s upcoming film ‘MANK.’” It’s Adobe’s way, the company says, to ensure that the feature set will meet the real-world needs of today’s filmmakers
Here are some of the key aspects of the new feature set:
Adobe also says that it means that “multiple editors can work on different projects in the same production using shared local storage.” That’s because all projects in a production “share the same settings, including scratch disks, GPU renderer, capture and ingest settings. This provides the advantage of shared preview render files: a sequence rendered by one editor is available for all others on that project, ensuring smooth playback and time-savings for the whole team.” It also allows you to see who’s working on what so you and your team can track your progress.
Additionally, Adobe says Productions gives you control of your content. “Your projects and assets can live entirely on your local storage. Nothing is on the cloud unless you put it there. If needed, you can do all your work without an internet connection.”
We’ll be sure to review how well this feature lives up to this launch when it’s included in Premiere Pro—although we don’t yet know exactly when that will be since Adobe simply stated that the feature is “coming soon.”
The post Sundance 2020: Adobe Announces Productions, A New Feature Set For Premiere Pro appeared first on HD Video Pro.
A still from “Taylor Swift: Miss Americana” by Lana Wilson, an official selection of the Documentary Premieres program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute.
There’s a moment in the documentary “Taylor Swift: Miss Americana” where you see the pop music star sitting on her couch, draped in comfy, baggy clothes. She’s on the phone with her publicist, hearing for the first time that her well-received album “Reputation” has not been nominated for a Grammy.
Swift pauses momentarily to ponder the news. Then, she states that it’s ok. She’ll just go ahead and make a better record.
The moment reflects two central themes in the film: self-criticality and self-worth, qualities closely linked in this artist’s life and career. For example, the film depicts Swift as an artist who needs to continually re-evaluate her process in order to create new and, more importantly, meaningful work. It’s how she believes she can become a true artist of worth.
Directed by Lana Wilson, “Taylor Swift: Miss Americana” begins as a quasi-retrospective, covering Swift’s stratospheric career trajectory as an American singer-songwriter princess, a girl that became a national sensation at 14 and as the youngest artist ever signed by the Sony/ATV Music publishing house. With the voice of a siren and a verse to match, the film shows how Swift went on to push the boundaries of artistic expression.
Yet Swift is also seen as being wary of her fame. For instance, she knows it’s abnormal to have thousands of adoring fans around every corner and is fully aware of the machinations that have made her a poster-sized star. In one revealing scene, Swift is seen walking past fans and into her limo, where she candidly admits to past struggles with an eating disorder, an illness brought on by the constant scrutiny of her image in the media.
The film also depicts some of the trying moments of Swift’s career: The infamous Kanye debacle at the Grammy Awards and the social media #TaylorSwiftIsOverParty pushback are covered, which are events that forced Swift into hiding for a year.
However, during this period of self-imposed exile, the film reveals how she began to shape—or reshape—her work with even more power and meaning. For instance, there are glimpses of her collaborative process with producers including Louis Bell and Jack Antonoff, which are some of the best scenes in the film.
What makes this part so intriguing is how it connects both the personal and the professional sides of the artist: It shows Swift wrestling with the verse and mood of a song…and then, in the process, you see her successfully deconstructing an entire belief system from her past—one in which worthiness was based on applause and adulation. Instead, we see Swift reset her stance and find power in herself as an artist, writing enigmatic lyrics that still spark numerous theories with fans seeking to decipher her prose–a veritable Da Vinci code sewn deep within each verse.
There are also scenes of political worth that help advance Swift’s image as a force for good, looking to influence voters during the 2018 Democratic midterms and keep legislation protecting women from domestic violence and stalking. The latter is an understandable stance, especially when we hear that a stalker recently broke into her house and was found sleeping in her bed.
Overall, “Miss Americana” plays as a formative experience, a revealing portrait of a musical megastar who finally finds her inner voice, no longer fulfilled by simply achieving widespread approval (which is neither simple nor easy to achieve). In the end, the film reveals an artist, now approaching 30, who’s not as interested in giving in to the pressure to become the person that everybody else wants her to be.
The post Sundance 2020: Insightful Portrait Of A Music Icon In “Taylor Swift: Miss Americana” appeared first on HD Video Pro.
We were able to catch mega pop-music star, Taylor Swift, as she arrived at this year’s Sundance Film Festival to see the premiere of the film “Miss Americana,” a documentary about the pop star. Check out our video of her meeting and greeting her devoted fans at the festival:
The post Sundance 2020: Video Of Taylor Swift Arriving At The “Miss Americana” Premiere appeared first on HD Video Pro.
Aya Cash and Josh Ruben appear in “Scare Me,” by Josh Ruben, an official selection of the Midnight program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Brendan Banks
The movie “Scare Me” is a clever hybrid: It’s a metafictional horror-comedy that rides the line between being a classic ‘80s slasher movie and a smart, storytelling drama. It’s propelled by strong comedic performances, and it premieres in the Midnight section this week. In fact, it’s also the debut feature from writer-director Josh Ruben, and is a wry horror-comedy about the pleasures and perils of storytelling.
Here’s how it starts off: Ruben plays Fred, a frustrated copywriter checking into a winter cabin. While jogging in the woods, he bumps into Fanny (Aya Cash), a successful, smug young horror writer, who immediately fuels his insecurities. As a storm begins to brew, the pair trade spooky tales in his cabin, talk fueled by the tensions between them. As a result, Fred quickly realizes his ultimate fear: Fanny is the better storyteller.
Editor Patrick Lawrence came on board the project as editor after watching a teaser released by Ruben, a short to raise money for post-production. “I’d never seen anything like it,” Lawrence says. “You rarely get the opportunity to see something presented to you before you begin editing.”
The sizzle features a scene where Ruben’s character is sitting at a dining room table eating dinner when he breaks from eating and stares at an ominous-looking cellar door: “All of a sudden you hear a loud sound, and seemingly something is about to break in through the door from the cellar,“ Lawrence continues. “But then, at the last moment, the camera spins around to reveal that Josh is making the scary sounds with his mouth. I loved that! It was a very unique film to cut and I’ve never really done anything like it before.”
Lawrence slated four months of edit time with Ruben, working together with similar tastes and references in the edit room before wrapping in July of last year.
There was, however, one scene that received multiple notes from test audiences and, as a result, became re-cut. “The film is structured to take place throughout the night and so there are no breaks in the momentum,” Lawrence explains. “We’re jumping from story to story, but this one scene, in particular, was just not hitting right. It was originally an 11-minute long scene, so there was no way to cut it out and still maintain the pace of the narrative. We finally cut it down to about 90 seconds and made it work.” For this film, Lawrence used Adobe Premiere Pro software to edit the feature.
Lawrence goes on to explain that great coverage from production was key to finding the right cut. “The shoot was planned very well,” he explains. “Josh understood that we could go multiple ways with so many scenes due to the amount of footage. He wanted me to go with the flow and do what I felt was right. After that, we put the director’s cut together in about three weeks. Great editing options come from great coverage, and solid performances.”
Speaking of performances, they also needed to be matched in the edit: “The film is not improv-heavy, but as the actors went deeper into their stories and become more confident they’d try out new things and bring different emotions. I had to be hyper-aware of each performance to be sure the beats matched.”
While some editors like to cut with music, Lawrence prefers to edit using his own internal rhythm.
“I’m a drummer, [and have been one since] I was 12 years old. So, I credit my rhythm and pacing to that,” he says. “Once I believe the flow is there, I’ll talk with the director to get an idea of what they’re looking for. I don’t try to get too deeply involved in the music, but once I get the pacing down, when the work has a certain BPM to it, I can bring in any type of song and map it out on the timeline. For ‘Scare Me’ we pulled from a lot of classic 80’s movies like ‘Poltergeist’ for heavy horror moments,” Lawrence continues. “We were trying to get that ‘80s aesthetic.”
Discussing the art of editing, Lawrence feels that it is, at times, invisible—but an essential ingredient to underline the story at hand. “I once interviewed with somebody who boldly stated that editors shouldn’t receive Oscars,” he reveals. “That showed me how very little he understood about filmmaking.
“Our job isn’t just about looking invisible,” Lawrence says. “It’s about making performances shine, making the directors look good. It all comes together if it’s done right. I like my editing to be a little invisible, to be honest. I do tend to play things out a little longer, and if you’re bouncing between genres, you might have a little bit more padding on the cuts on a drama than, say, a fast-paced rom-com. [But] it never gets boring…”
The post Sundance 2020: Editing A Horror Movie Like “Scare Me” Can Cut Both Ways appeared first on HD Video Pro.
Editor Jeff Gilbert, ACE working at the edit bay in Adobe Premiere Pro on the documentary, “Boys State”
With the Sundance Film Festival 2020 opening today, we decided to take a closer look at the “Boys State” screening in the U.S. Documentary Competition, a work that promises to be a political, coming-of-age film examining the well being of the American democracy. The documentary covers an unusual trial: The gathering of a thousand 17-year-old boys in Texas who band together to build a representative government from the ground up. Produced and directed by Jesse Moss and Amanda McBaine, “Boy’s State” hones in on the story of four boys of diverse background as they attempt to establish a governor.
I talked with Connor Hall, assistant film editor, who, along with Film Editor Jeff Gilbert, ACE, commenced work on the project just over a year ago. Hall talked about the role of being a film editor: “The challenge became finding the central storyline and telling it in a succinct narrative,” Hall says.
“The vastness of the story needed to be overcome,” says Hall, “Having an election and a lot of legislative material added different contextual levels to the film, which was great. But we also needed to reveal the characters of these boys. As a result, the process became sharpening and defining the right turning points in the story to get to know these boys, and to have a better understanding of their political motivations.”
Hall believes an extended editing period helped capture this. “Everyone put their heads together and decided to slow down the editing process to tease out the best footage,” he explains.
“Although the film covers a campaign election, and one that drives the central storyline forward, we still felt that there needed to be more,” says Hall. “We all wanted to make a film that spoke to larger themes. There are scenes and moments in there that don’t necessarily drive the main plot forward, but they are meaningful in a larger way. It was finding the balance between scenes revealing elevated discussions of policy, and those revealing character. During the edit, we took the time to find out where every little bit belongs…”
The film was shot in just seven days, with cinematographers Thorsten Thielow and Wolfgang Hel using Canon EOS C300 Mark II and ARRI AMIRA equipment. Matching these formats was not an issue in post. “The AMIRA was used for all of the interviews, so it came in a different resolution compared to the C300, but technically it all worked out seamlessly,” Hall says.
Audio played a key role in this movies as well.
“Music is an important part of the process, and it’s the same with sound design,” Hall explains, saying that “Boy’s State” was cut with temp music offline. “I like to build up the environment as much as I can, then when we go to the mix, it’s a matter of sweetening and enhancing, and composers get a sense of tone and pace, and something to help them find their own voice in the work.”
Discussing the notion that editing is an invisible art, one that is not necessarily “seen” by the audience engrossed in any given film, Hall feels that: “You can’t have a successful movie without good editing…but, to your point, it’s tricky to pin down exactly what makes editing good. But you sure know when it’s not. I definitely struggle at times to articulate exactly what’s good or bad.”
When I questioned Hall about knowing when a scene or sequence is finished, he says that there is much to consider. “I think you know a scene is working well when it is serving the overall story, and not just serving itself,” he says. “There are always the ‘babies’ you have to kill which, in isolation, are great scenes… but they just don’t drive the story forward. A lot of it is about instinct, about taste and trust. It’s a collaborative art: It’s when everyone agrees.”
Hall says that the directors provided the right leadership for the project.
“Jesse and Amanda’s curiosity led the way during the whole editing process,” says Hall, on working alongside the director/producer team. “Our tastes aligned well, and we had a solid cut ready for Sundance this year, so it really paid off…. They always find interesting characters in worlds that are very specific. There is meaning and resonance to this film in particular. They brought me into a world that I didn’t know, or wouldn’t necessarily ever know, a film that reveals the microcosm of youth within the larger political climate of America today.”
The post Sundance 2020: The Importance Of Editing In “Boys State” appeared first on HD Video Pro.
The X-T200 mirrorless camera, XC35mm prime lens and GF45-100mmF4 R LM OIS WR zoom lens
Today, Fujifilm introduced several new products, including the X-T200 mirrorless camera, the XC35mm prime lens and the GF45-100mmF4 R LM OIS WR lens for Fujifilm’s GFX cameras. The company also provided additional information on two new lenses in its family of GF lenses for its medium-format system.
The new lightweight and compact X-T200 mirrorless camera features a newly designed EVF, quick face detection AF and a new sensor and processor combination that can shoot 24.2-megapixel stills and record 4K UHD video at 30 frames per second. Fujifilm says that the new camera body uses “copper wiring for optimal performance, and an intuitive user interface that provides professional quality with the ease and familiarity of a Smartphone.” It also said it can “process data 3.5 times faster than the X-T100,” its predecessor.
Other features on the X-T200 include:
The X-T200 will be available in late February 2020 in two configurations: A body-only configuration for $699 and a kit configuration with the XC15-45mm F3.5-5.6 OIS PZ lens for $799. Fujifilm will also be offering a new prime lens, the XC35mm F2 lens for $199.
Fujifilm’s new FUJINON GF45-100mm F4 R LM OIS WR zoom lens has a 35mm equivalent focal length range of 36mm-79mm zoom range with an f/4 maximum aperture throughout the zoom. The company also says it has a rugged construction and features high-performance optics, plus 5-axis image stabilization, one super ED lens element, and, according to the company, a near-silent, high-speed autofocus motor
Other features include:
The camera company says the GF45-100mm F4 R LM OIS WR lens will be available in late February 2020 for $2,299.
Fujifilm also announced today that its expanding its series of GF Lenses, which are designed exclusively for the GFX Mirrorless Camera System. The new lenses are optimized for Fujifilm’s large format (43.8mm x 32.9mm) image sensor, which is an imaging surface approximately 1.7 times the size of 35mm full-frame sensors.
The two new primes are:
For more information, please visit https://fujifilm-x.com/en-us/products/cameras/x-t200/ or see the press releases below.
[[ press release ]]
Valhalla, New York – January 23, 2020 – FUJIFILM North America Corporation is pleased to announce FUJIFILM Corporation’s launch of its “FUJIFILM X-T200” (hereinafter “X-T200”) mirrorless digital camera.
The X-T200 provides content creators of all levels with a new, light-weight and compact mirrorless camera body that features a newly designed EVF, quick face detection AF, and a new sensor and processor combination that can create 24.2MP stills at 8 FPS and record 4K UHD video at 30fps.
An ideal camera for creative individuals who want to make high-quality imagery anywhere, the X-T200’s HDR functions for still and video make this easier in high- contrast environments. It can also record Full-HD 120p video, making it a great tool to use for scenes needing super slow motion. Additionally, the new Digital Gimbal Function can now be used to smoothly record video in-camera by mitigating camera shake through new gyro sensors in the camera body. This enhances image quality even further beyond what normal Smartphones can provide comparatively.
X-T200 combines innovation, design, and technology to provide image makers of all levels with a complete solution to unlock limitless creative possibilities. Weighing 13.05oz (370g), X-T200 is about 2.82oz (80g) lighter than its predecessor (the X-T100) and is equipped with a new vari-angle touch-screen, a high-speed APS-C 24.2 Megapixel CMOS sensor which uses copper wiring for optimal performance, and an intuitive user interface that provides professional quality with the ease and familiarity of a Smartphone. Able to process data 3.5 times faster than the X-T100, rolling shutter is reduced with the X-T200, while AF performance in the X-T200 is dramatically enhanced through the use of phase detection autofocus pixels across the sensor.
The X-T200 is equipped with a vari-angle 3.5-inch, 16:9 Aspect Ratio widescreen LCD touch- screen that can be opened and closed between 0 to 180 degrees and rotated between – 90 to +180 degrees. It also provides an intuitive and responsive control over the camera’s features and functionality and can be used to adjust a variety of settings, like brightness, background blur, film simulation effects, and image aspect ratios.
The use of on-sensor phase detection pixels across the sensor and a new AF algorithm means focus can be achieved quickly and in a variety of conditions. The updated Face/Eye Detection AF makes focusing on individuals or groups of people quick and easy. This is even possible when the camera’s LCD monitor is flipped out and you want to take a selfie. Automated functions, like Main Subject Recognition, allow the camera to be set to recognize and track a main subject within the frame. These features, combined with a burst mode of 8fps, allow you to see, frame, and make images of those important moments with those important people.
Fujifilm’s history in color science has given it world renowned status among image- makers across the world. With over 85 years of experience in the industry, Fujifilm has been responsible for some of the most iconic photographic films in history and this exceptional knowledge has been poured into the 11 digital film simulation modes installed into X-T200. Images made with these film simulations carry the look and feel of the actual films that inspired them, which are a great building block to sparking creativity in image- making. In addition, 20 advanced filters, which includes the new, “Clear Filter”, give even more creative possibilities to image-makers as they seek to express themselves artistically.
The new Electronic Stabilization and HDR Video modes, along with the X-T200’s basic internal editing functions, helps X-T200 do more than just produce beautiful 4K Video– it ensures that videos are stable, crisp, and properly trimmed so they can be easily shared with family and friends. A gyro sensor sits at the heart of the new Electronic Stabilization Mode and assists in reducing the effects of camera shake when recording video footage. The new HDR Video function makes recording footage in high contrast situations much easier and more practical, while its in-camera video editing functions allow for clips to be trimmed and right-sized before they are shared. This means creators can share the perfect section of a super-slow motion clip or the best part of their 4K footage right from the camera to their Smartphone without ever needing to open a computer!
X-T200 will be available as a standalone body and as a kit with the XC15-45mmF3.5-5.6 OIS PZ Lens in three colors (Silver, Dark Silver, and Champagne).
For those interested in expanding their X-T200 tool kit, the new FUJINON XC35mmF2 lens gives an equivalent to 52mm field of view on 35mm format. Weighing just 130g and measuring 46.5mm in length, this new prime lens has nine elements, including two aspherical lens elements in six groups, which work to produce sharp and crisp images with creamy bokeh. AF operation is quick and near silent thanks to the use of an internal focus system and a stepping motor, which is used to drive the focusing elements quickly and accurately.
The X-T200 is expected to be available for sale in late February 2020 at manufacturer’s suggested retail pricing as follows:
-X-T200 camera body only: $699.95 USD ($899.99 CAD)
-X-T200 kit including camera body and XC15-45mm45mmF3.5-5.6 OIS PZ lens: $799.95 ($1,049.99 CAD)
-XC35mmF2 lens: $199 USD For more information, please visit https://fujifilm-x.com/en-us/products/cameras/x-t200/
[[ press release ]]
Valhalla, New York – January 23, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of the standard zoom “FUJINON Lens GF45-100 F4 R LM OIS WR” (hereinafter “GF45-100mmF4 R LM OIS WR”) in late February 2020.
This new lens joins the current family of interchangeable GF Lenses, designed for the GFX large format*1 Camera System and covers some of the most frequently used focal lengths by photographers. The GF45-100mmF4 R LM OIS WR lens has an equivalent focal length range of 36mm and 79mm on a smaller 35mm format system, a maximum aperture of F4 and is a natural fit with two other GF Zoom Lenses–the GF32-64mmF4 R LM WR and the GF100-200mmF5.6 R LM OIS WR. Together, these three lenses provide photographers with a broad range of focal lengths, accommodating a wide range of shooting styles and enabling them to become incredibly versatile and creative.
Combining rugged construction with high-performance optics, GF45-100mmF4 R LM OIS WR is an incredibly versatile lens that is perfect for capturing nature, landscapes, or portraits. Featuring powerful 5-axis image stabilization, one super ED lens element, and a near-silent, high-speed autofocus motor, this is the perfect tool for creating images in challenging and unpredictable situations. Its dust- and weather-resistant construction allows the lens to operate in temperatures down to 14 degrees Fahrenheit/-10 degrees Celsius and its high-resolution performance and wonderfully smooth bokeh will capture the atmosphere of any scene or subject.
Astonishing image-resolving power and wide tonal reproduction
The GF45-100mmF4 R LM OIS WR lens consists of 16 elements in 12 groups, including three aspherical elements, one Super ED element and one ED element to effectively control spherical aberration, field curvature and chromatic aberration. This minimizes the negative effects of various forms of aberration, such as luminance shift and color bleeding, to deliver astonishing image sharpness.
Compact and lightweight large format standard zoom
Weighing 2.2lb (1,005g), measuring 5.69in (144.5mm) long, and having a diameter of 3.66in (93mm), the lens is extremely portable and compact despite being a 2.2x zoom for a large format camera system.
Hi Fast, quiet and highly-accurate AF
The use of an Internal Focusing system has minimized the size and weight of the focusing group, which is driven by a linear motor to achieve fast, quiet and highly accurate AF.
Powerful image stabilization
The lens is equipped with five stop image stabilization (CIPA guidelines), allowing photographers to make the most of the high-resolution sensors found in GFX System cameras, especially when making images hand-held.
Highly robust design that withstands various shooting conditions
The lens has 11 seals for dust and weather resistance to allow for peace of mind in tough environments, allowing for operation at temperatures down to 14 degrees Fahrenheit/ -10 degrees Celsius.
The GF45-100mmF4 R LM OIS WR lens will be available in late February 2020, at a manufacturer’s suggested retail price of $2,299.95 USD and $2,999.99 CAD. For more information, please visit https://fujifilm-x.com/en-us/products/lenses/gf45-100mmf4-r-lm- ois-wr/.
[[ press release ]]
Valhalla, New York – January 23, 2020 – FUJIFILM Corporation has unveiled the latest plans to add to its Family of GF Lenses, designed exclusively for the GFX Mirrorless Camera System; which is equipped with Fujifilm’s large format (43.8mm x 32.9mm) image sensor, an imaging surface approximately 1.7 times the size of 35mm full-frame sensors*1.
Bringing the eventual total to 13 lenses, this expanded GF lens lineup will accommodate even broader shooting categories and diverse shooting styles.
More about the two lenses recently added to the GF lens development roadmap:
FUJINON GF30mmF3.5 R WR: An impressive, wide-angle, prime lens. This wide angle 30mm lens is an equivalent 24mm focal length in the 35mm film format and is a perfect solution for landscape photography. This lens will be a slim, compact, and lightweight lens offering incredible resolving power for high-resolution imaging sensors.
FUJINON GF80mmF1.7 R WR: A unique, wide-aperture, standard lens. A standard 80mm lens with an equivalent focal length of 63mm in the 35mm film format, which is incredibly suitable for portraiture and making images in low-light conditions. This will be the lens with the widest aperture among GF lenses and be an incredible solution for portrait photographers who want beautiful, creamy bokeh with their GFX System Cameras.
This compact and lightweight lens will have a wider angle of view than the highly popular GF100mmF2 R LM WR and deliver the same level of incredible image quality.
*1 – Image sensors measuring 36mm×24mm
Ricoh’s new HD PENTAX-D FA 70-210mm F4 ED SDM WR telephoto zoom lens
Today, Ricoh announced that it’s adding a new telephoto zoom to its product line: The HD PENTAX-D FA 70-210mm F4 ED SDM WR zoom lens. It’s designed for cameras with a Pentax K-mount and features “a compact, lightweight body with weather-resistant construction for great portability in a variety of outdoor applications.”
Yet despite its long reach, with a 70-210mm zoom for full-frame Pentax DSLRs or 107-322mm on Pentax APS-C DSLRs, it’s still a compact and lightweight lens, which is important if you’re doing a lot of traveling and need to carry your gear with you. It also has a nine-blade, round-shaped diaphragm, a constant f/4 maximum aperture throughout the zoom range and a weather-resistant construction.
The lens has an optical construction of 20 elements in 14 groups, and include multi-layer HD coatings, which assist in providing edge-to- edge sharpness and minimizing flare and ghost images in backlit situations. It also has a minimum focusing distance a little over 3 feet and comes with a two-step focus-range limiter.
Ricoh says the new HD PENTAX-D FA 70-210mm F4 ED SDM WR telephoto zoom lens will be available in mid-February for $1099. Learn more about the telephoto zoom on B&H.
For more information, see the press release below.
[[ press release ]]
New HD PENTAX-D FA 70-210mmF4ED SDM WR provides great portability in a variety of applications, from nature and scenic photography to active fieldwork
PARSIPPANY, NJ, January 22, 2020 －Ricoh Imaging Americas Corporation today announced the HD PENTAX-D FA 70-210mmF4ED SDM WR zoom lens for use with PENTAX K-mount digital SLR cameras. This high-performance telephoto zoom lens features a compact, lightweight body with weather-resistant construction for great portability in a variety of outdoor applications.
Featuring a highly portable design, this high-performance zoom lens covers the image circle of 35mm full-frame digital SLRs, and provides a focal length range of 70mm to 210mm ideal for handheld outdoor photography. A constant f/4 maximum aperture ensures consistent brightness throughout the zoom range and enables increased control over depth of field for selective focus effects. When used with an APS-C-format camera, its focal length range is extended to the equivalent of 107mm to 322mm in the 35mm format. The new lens has a minimum focusing distance of 0.95 meters and a maximum magnification of 0.32 times, providing greater macro coverage than previous models. It also features a Quick-Shift Focus System that enables an instant shift to manual-focus operation after locking a subject in focus during autofocus operation.
This lens is ideal for active field photography in a wide range of outdoor applications including scenic photography, landscape shooting with a beautiful bokeh effect in the fore- and background, close-up photography of animals and plants, and sports and wildlife photography where its outstanding portability really comes in handy.
A high-grade, multi-layer high-definition (HD) coating has been applied to the optical elements of the lens, enabling the capture of high-contrast images with edge-to-edge sharpness and minimizing flare and ghost images. A super-protective (SP) coating, highly repellent to water, grease and dirt, has also been applied to the lens’ front surface, making it easy to wipe off stains or fingerprints.
The HD PENTAX-D FA 70-210mmF4ED SDM WR will be available for sale on February 15, 2020, at www.us.ricoh-imaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $1099.95.
The post Ricoh Adds New Telephoto Zoom For Full-Frame DSLRs appeared first on HD Video Pro.