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MONTREAL – July 13, 2020 – The next version of Grass Valley’s award-winning editing solution, EDIUS X, will be released in September 2020. Prior to release, the expert EDIUS teams from Grass Valley and EDIUS.NET are highlighting its top features and enhanced capabilities in three online events. The first session, presenting the new core of ...
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KENT, UK – 13 JULY 2020: Densitron, the global leader in innovative Human Machine Interaction (HMI) and display technology, has announced a new long-term collaboration with Hertfordshire-based consultancy Hawk Media Partnership. The new partnership will see the two companies actively seek joint projects in the broadcast and media environments that can fully utilise Densitron’s innovative technologies and ...
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Grand spectacle d'été, "Pause", cathédrale de Strasbourg - Tableau 3, éveil paysage © Bigfamily event - lnlo
Adam Hall Group présente deux petits accessoires indispensables à l’éradication du Virus Covid-19 : le pied pour distributeur de gel Hydro alcoolique Gravity et le ruban adhésif de distanciation sociale AH Accessories. Lire la suite →
L’article Adam Hall. Des accessoires contre le Covid-19 est apparu en premier sur SoundLightUp..
Broadcast Solutions UK are pleased to announce the appointment of JP Delport as Managing Director. Broadcast Solutions UK is a subsidiary of Broadcast Solutions, one of Europe’s biggest System Integrators, headquartered in Germany. Having joined the UK company at the beginning of 2020 as Sales Director, JP Delport will now take the helm as Managing ...
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Las Vegas, NV, July 8, 2020 — Before the Covid pandemic, when a new TV station transmission chain came online it was common for engineering management from the corporate office and key suppliers to travel to the launch site to ensure that all went well. With today’s travel restrictions, the series of Sinclair ATSC 3.0 ...
The post Sinclair Broadcast Lights Up ATSC 3.0 stations with remote technology. After Covid 19, is this the new normal? appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Get your edit wrapped faster with these FCPX keyboard shortcut customizations. Since turning to FCPX, I have grown to absolutely love using keyboard shortcuts. Each new one ...
Crystal Vision has introduced a unique new way to do broadcast graphics. Rather than using video sources for the key and fill signals like traditional linear keyers, the M-WEBKEY web page keyer can key a web page on to an IP or SDI video stream – using the power of HTML5, CSS3, JavaScript, AJAX, XML ...
The post Crystal Vision reduces the cost of creating video graphics with M-WEBKEY appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Ubitech Formation poursuit sur sa lancée en ajoutant à son catalogue trois nouvelles formations. Deux pour les professionnels du son et une en lumière. Lire la suite →
L’article Ubitech ajoute trois nouvelles formations à son catalogue est apparu en premier sur SoundLightUp..
Tokyo, Japan - Panasonic Corporation and Panasonic Production Engineering Co., Ltd. (collectively, "Panasonic"), in association with JR East Group, launch a mobility service trial using Panasonic's robotic mobility device - an electric wheelchair with autonomous tracking...
Osaka, Japan - On July 9, 2020, Panasonic Corporation announced development of technique to visualize lithium-ion dynamics in all-solid-state batteries on a nanometer scale in real time, in collaboration with Japan Fine Ceramics Center (JFCC) and Institute of Materials a...
The Atomos Ninja V, Shogun 7 and Sumo19 HDR monitor recorders will record 4kp59.94 10-bit 422 Apple ProRes or Avid DNx video from the new Canon EOS R5 and EOS R6 full-frame mirrorless cameras. Both cameras offer exciting features for video creators and Atomos are delighted to support 4K and HD video recording from the ...
The post Atomos records 4K 10-bit 422 ProRes or DNx from the Canon EOS R5 and EOS R6 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Zixi, the industry leader for enabling dependable, live broadcast-quality video over any-IP, and architect of the award-winning Software-Defined Video Platform (SDVP), today announced the integration of Zixi into Harmonic’s cloud-based VOS®360 Live Streaming Platform, the company’s fully managed offering for delivering and monetizing live streaming services with exceptional quality from source to screen. A worldwide ...
The post Zixi and Harmonic Partner for Cloud-Based Video Delivery appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
MOUNTAIN VIEW, CA — JULY 8, 2020 — TVU Networks, the market and technology leader in cloud and IP-based live video solutions, expanded its TVU Sports group with the addition of Greg Doggett as Director of Sports and Entertainment during a critical time when interest and demand for TVU’s remote video solutions are rapidly growing ...
The post Broadcast Media Veteran Greg Doggett Joins TVU Networks in Sports and Entertainment Sales Capacity appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
No matter what your subject matter is, if you’re behind the camera, the search for visual authenticity is one of the hottest topics for 2020.
What does “visual authenticity” mean to a film or video maker? In 2020, the term can mean many things. But, in short, visual authenticity is a catchall term that reflects the looks filmmakers and videographers are striving to create to make their work stand out, look contemporary and current, and, most significantly, bring a deeper level of meaning to their stories.
The following is a list of five trends visual storytellers are using right now in their quest for visual authenticity.
The first is very interesting since it’s really a retro trend of sorts, technologically speaking: Many filmmakers have gone back to shooting film.
One reason it’s intriguing is that most digital cinema cameras today, with a few exceptions, have settings that attempt to emulate film, with film-like image knee and gamma curve response in how the image is presented; they are capable of shooting digital video in 23.98 and 24.0 frames per second, which are standard frame rates for film cameras.
Here’s another example. The most highly coveted digital cinema cameras for the past several years have been ARRI’s digital cinema cameras, which use ARRI’s ALEV III CMOS sensor technology. Most would agree the footage captured on these cameras most closely resembles film, almost more than any other sensor technology on the market.
So, if you are seeking visual authenticity, shooting film removes all doubt about your attempt to present a more “authentic image” to tell your story. Of course, actually shooting film (instead of digital, even on an ARRI camera) is more involved. It’s also more limiting, technically speaking, and can be more expensive than if you shoot digitally. But for some award-winning filmmakers, it’s important. In fact, at the Academy Awards this past year, five of the 10 films nominated for both Best Picture and Cinematography were shot (or partially shot) on 35mm film.
So although digital technology moves forward with massive technological advancements, the gold standard for visual authenticity seems to be either in shooting film or utilizing digital cinema cameras that best emulate film.
Shooting an anamorphic film began as a technique (in the 1950s) for capturing and projecting a wider aspect ratio on 35mm film. Today, cinematographers covet the unique characteristics anamorphic lenses bring to moving images. For instance, anamorphic images are presented in an ultra-wide rectangular aspect ratio and feature long horizontal lens flares and oval background out-of-focus elements. Regular (spherical) lenses project a circular image onto the camera sensor or film, while anamorphic lenses project an oval-shaped image into the sensor or film stock. These lenses also squeeze more horizontal information from a given scene onto the image recorded. The resulting footage must then be stretched horizontally in postproduction or with an anamorphic lens fitted to the video or film projector.
Anamorphic lenses also typically have a 2X squeeze—meaning that the lens captures twice the amount of horizontal information as a spherical lens. So, when they’re stretched, a 2X anamorphic lens used with a standard S35 image sensor or film frame results in a 2.39:1 aspect ratio. The ratio is often referred to as CinemaScope, a format that first appeared in mid-to-late 1950s.
With digital, the ratios are a bit different: When shooting with a typical digital sensor, a 2X anamorphic lens produces a super-wide 3.55:1 ratio and, with a 1.5x anamorphic lens, will produce an aspect ratio of 2.66:1. To produce a traditional Cinemascope ratio with a 16:9 sensor, you need a 1.33x or 1.35x anamorphic lens.
But is it still popular? According to many of the cinema camera forums I comb through, it certainly seems to be. For instance, one of the first questions that pops up on camera forums with the introduction of a new digital cinema camera is often, “Does it support anamorphic?” (What this means is does the camera have the capability to digitally squeeze the image for recording and de-squeeze the image for monitoring?)
The trend is a throwback to wide-screen spectacles like “Lawrence of Arabia,” which were shot and exhibited in widescreen formats. For others, it’s the generation of filmmakers like J.J. Abrams and Quentin Tarantino whose embrace of anamorphic shooting has served as inspiration to fuel their anamorphic obsession.
But if most content is consumed on 4-inch phone screens and filmmakers even can buy inexpensive anamorphic lenses for phones, one might question the relevancy of how visually authentic anamorphic films can be. Of course, it really depends on the filmmaker’s audience and subject matter, and how the project will be seen.
It’s a fine line between a deliberate filmmaking technique intended for theatrical projection and an anamorphic style that becomes more of a cheap “effect.” For instance, does viewing content on a 4-inch phone screen with heavy letterboxing for an ultra-widescreen look lend more visual authenticity or less? It’s a question that every artist should consider before committing to anamorphic.
The most straightforward way to explore lens character is to think about what digital cinema and video lenses were in the past and what they have evolved to today. In the past, lenses used in filmmaking and television were categorized, generally by budget. You had fully manual lenses used in filmmaking with manual focus, iris and zoom controls. These lenses were mounted on film cameras and typically adjusted and focused by a camera assistant or, in the case of documentary and 16mm filmmaking, more often the camera operator used the lens controls themselves.
With television cameras, the lenses were generally B4-mount servo-zoom lenses, where the camera operator would usually control at least the focus and focal range, with the iris control often relegated to an engineer who controlled this remotely, using a CCU (camera control unit). None of these paradigms have shifted radically in higher-end production, but what has shifted in the evolution of lenses is the quality of the lenses and images they reproduce. With the advent and popularity of first HD video, then 4K and currently 6K to 8K and eventually 12K to 16K digital video, lens manufacturers have had to up their game considerably as far as technical specifications and reducing lens defects.
Some of the most common defects in lenses have traditionally been:
Chromatic Aberration: This refers to the failure of a lens to focus all colors to the same point and is caused by dispersion: The refractive index of the lens elements varies with the wavelength of light. The refractive index of most transparent materials decreases with increasing wavelength. Since the focal length of a lens depends on the refractive index, this variation in refractive index affects focusing. Chromatic aberration manifests itself as “fringes” of color along boundaries that separate dark and bright parts of the image.
Spherical Aberration: This aberration occurs because a spherical lens refracts light that enters near the edge more than light that enters near the center. A point of light seen through a spherical aberration will have a fairly large halo effect, and the effect is seen in the center as well as the edges of the image. As a result, the image cannot be focused to a sharp point.
Coma: This complex aberration affects only light rays from a point that passes through the lens at an angle. With coma, the rays don’t refocus to a point; they flare out from the point. This makes points of light look like a comet with a blurred tail, hence the name.
Distortion: Images that deviate from rectilinear are considered distorted. Distortion doesn’t necessarily affect sharpness, but it can affect how straight lines appear in an image. The two most common types of distortion are barrel and pincushion distortion, both of which look like you would imagine them from their names.
Flare: This defect manifests itself in two ways: as visible artifacts and as a haze across the image. The haze makes the image look “washed out” by reducing contrast and color saturation (adding light to dark image regions and adding white to saturated regions, reducing their saturation). Visible artifacts, usually in the shape of the lens iris, are formed when light follows a pathway through the lens that contains one or more reflections from the lens surfaces. Flare is typically exacerbated by very bright light sources.
While this is by no means an exhaustive list of lens defects, it represents the most common ones the casual user will notice. But lens designers and manufacturers have upped their game in the past couple of decades, producing still lenses and television lenses that all look better than they ever have, with fewer and less-severe optical defects. While these defects are still common, the amount of defects visible in newly designed lenses has slowly and steadily decreased. Plus, significant amounts of new optics on the market are praised for having a “neutral” look and feel because these lenses have reduced or masked their optical defects well.
However, some filmmakers actually want these defects! For some users, neutral-looking lenses appear visually “boring and characterless.” So, for those filmmakers seeking visual authenticity, they’ve embraced lens defects and applied the term “lens character” to older lenses that are rife with optical defects, or even modern lenses that have purposefully included what used to be considered lens defects in their new, modern designs. The common refrain is that modern lenses appear “too sterile, too neutral.” Rental houses and lens specialists have embraced the demand for these imperfections and regularly offer old, obscure and specialist lenses that they have rebuilt and rejuvenated for the rental market and for sale.
But lens character remains controversial for some and a norm for others.
So, finally, we have a relatively “new” trend that isn’t a renaissance or retro trend.
The emergence of LED lighting has coincided with the democratization of cameras. As new types of LED lighting (LED tubes, flexible LED mats, single-source LED spot and Fresnel instruments) have become commonplace, the search for visual authenticity seems to have also had a hand in how these new tools are being deployed. And one reason LEDs have been so popular is the modern digital cameras are much more sensitive than in the past.
What’s interesting is that DPs and gaffers are using LEDs much more subtly in how they design their lighting. New RGBWW LED instruments offer presets that emulate every lighting gel available, which can be applied to the scene in interesting and innovative ways. Light emulation modes with these lights easily reproduce flashing emergency vehicle lighting, lightning, TV flicker, campfire flicker and many other modes, including color cycling, as well. The newer generation of LED lighting, when paired with more light-sensitive sensors in cameras, allows more latitude and dynamic range in the image.
Consequently, hair and hard-rim lights appear to be less popular since they call attention to themselves in many situations. They also tend to make a scene look “lighted,” and it seems more content creators want to achieve a more naturalistic, low-key look. And it’s a trend that’s at this point a widespread style, appearing in projects from small-budget wedding videos all of the way up to large-scale Hollywood features.
This last trend—which is really two technology trends grouped together—is definitely a non-retro trend, since RAW video and log video rely on the very latest digital video technology.
When it comes to shooting RAW video, the best way to think of shooting in this format is to think of it as the digital equivalent of a film negative. Shooting RAW is generally accepted as the “best” quality format, but it has stringent requirements. For example, RAW requires processing, and it shifts much of the processing of the image from the camera to the computer in working with the footage. In other words, a RAW file must undergo significant digital “development” before it’s visually usable. This provides unprecedented flexibility in post, as you may convert or tweak the footage to fit any color space or other image fidelity specifications, but it can be a lot of work to produce.
The other trend is shooting log video: One of the reasons log recording has become so prevalent is that it is often associated with the idea of better image quality. In short, recording using a log picture profile preserves more of the image’s dynamic range and tonality by redistributing the digital exposure value representations over the entire value set using a preset logarithmic function.
And that’s the reason I grouped RAW and log together—The goal in both is to produce better quality video.
But they’re not the same. Generally, RAW video takes up much more space on recording media and needs more processing power in post than log video does. But the idea behind shooting RAW and log video is to preserve the most dynamic range and image latitude possible when the signal is converted to REC. 709 color space for mass distribution.
The quest for better image quality is evolving quickly: Look at ARRI cameras and Sony’s PXW-FX9. They can shoot in S-Cinetone Gamma, which has better dynamic range and provides more latitude when editing in post. Using S-Cinetone Gamma on those cameras also allows you to record those signals to a high enough quality internal codec your video will keep all of the latitude and dynamic range intact. You’ll then only need a simple color correction and grading.
That’s why shooting RAW or log video are popular ways for those searching for visual authenticity—they can present a more natural, realistic and lifelike image. But remember—in the upcoming years, as HDR displays become more common, we may be able to obtain just as much, if not more, visual authenticity by simply shooting and editing in newer, more advanced color standards and workflows like HDR, ACES, REC. 2020 and REC. 2100.
The search for visual authenticity encompasses more than just the momentary, fleeting trends of digital cinema/video production. It’s a search for a way to make your content special and extraordinary. You’ll need the right tools, of course. And those that are presently being used in production continue to evolve at a dizzying pace while prices continue to spiral downward, as capability and features rise. But, in the end, visual authenticity goes beyond just finding the right tool. It’s a search that combines the right gear with techniques and mindset, which, when combined, will let you tell the stories you want in the most engaging, interesting and innovative ways possible.
The post Five Trends For Creating Visually Authentic Movies appeared first on HD Video Pro.
Fremont, CA – July 9, 2020 – Blackmagic Design today announced the all new ATEM 2 M/E Advanced Panel and the ATEM 4 M/E Advanced Panel. A new family of elegantly designed hardware control panels designed to work with all ATEM switchers. The ATEM Advanced Panels are large enough so the user has dedicated controls for the largest ATEM switchers. ...
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Friedrichsdorf, Germany – July 9, 2020 – Today, Maxon and Red Giant released a tutorial on how to create an alien invasion during the 4th of July. Inspired by the 1996 hit movie Independence Day, Seth Worley took on the challenge of replicating the invasion, sans the octopus-like aliens from the film, opting instead for ...
The post Maxon and Red Giant Debut New Tutorial on How to Create an Alien Invasion appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
RUSHWORKS Releases RESIDENTIAL PROMPTER KIT Kit boosts professionalism factor for home-based presentations Flower Mound, Texas – July 1, 2020 – RUSHWORKS, provider of cool technology for production, playback and streaming since 2001, today announced the release of the RESIDENTIAL PROMPTER KIT, a small desktop teleprompting kit that uses your webcam to capture home-based presentations. It’s ...
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An 8K RAW Canon full-frame mirrorless camera is here! Plus new features, specs, and prices have been revealed for the R5 and R6.
Take a look at how innovative TikTok content creators are influencing the next generation of filmmakers. I don’t know about you, but it’s shameful how much time ...
Former SVP & General Manager of Comcast Technology Solutions will drive product-led growth in MediaKind’s cloud-based SaaS offering and a focus on the power of streaming media McConnell will accelerate MediaKind’s strategy execution and the delivery of the innovative solutions its customers need to successfully create competitive media businesses Angel Ruiz becomes Chairman of the ...
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L’association PLASA annonce le report du salon PLASA qui devait se dérouler du 6 au 8 septembre à l'Olympia de Londres. La crise du Covid-19 en est la cause. Lire la suite →
L’article Le salon Plasa est reporté à 2021 est apparu en premier sur SoundLightUp..
Canon’s new products include the Canon EOS R5 full-frame mirrorless camera (top left)
Earlier this year, Canon announced that it was in the process of developing a new flagship camera, the EOS R5 for its EOS R series system. Today, it made good on that promise, while also expanding other parts of the system: Canon has announced the next two models in its full-frame mirrorless camera system—the EOS R5 and EOS R6.
According to the release, the EOS R5, which is the new flagship model in the EOS R series lineup, features a new 45-megapixel full-frame CMOS sensor and uncropped 8K video recording up to 29.97 fps. The EOS R6 has a 20.1-megapixel full-frame CMOS sensor and 4K video recording up to 59.94 fps.
In addition, Canon also introduced four RF lenses, two RF-lens compatible teleconverters and a new professional inkjet printer as well as some new accessories.
Here’s a list of the new lenses, teleconverters and printer:
Although each new Canon full-frame mirrorless model is targeted at different markets—the Canon EOS R5 is being targeted at professional photographers and content creators, while the EOS R6 is being marketed to advanced amateurs—they do share a number of qualities, including:
Here are a few of the many differences between the two models:
The EOS R5 uses a 45-megapixel CMOS image sensor and comes with an ISO range of ISO 100 to ISO 51200 (expandable up to ISO 102,400). It can also capture 8K UHD RAW video as well as 4K up to 120fps, 10-bit 4:2:2 with Canon Log or HDR PQ, using internal recording and AF for all formats. Canon says that when “in DCI modes, the 8K and 4K video recording is uncropped and Dual Pixel CMOS AF II is available in all 8K and 4K recording modes.”
Additionally, in terms of live-view displays, the EOS R5 has a built-in 0.5-inch OLED electronic viewfinder with approximately 5.76 million dots and a 119.88 fps refresh rate, and 3.2-inch 2.1 million-dot swiveling touch-screen LCD. It also comes with weather-, drip- and dust-sealing features on par with the EOS 5D DSLR series.
The 20-megapixel EOS R6 also comes with a CMOS image sensor, but it’s only 20 megapixels. However, it does have a slightly higher sensor sensitivity than the EOS R5, with an ISO range of ISO 100 to ISO 102,400 (expandable to ISO 204,800). But it can’t capture video with the high resolution found on the EOS 5D. Instead, it captures 4K UHD video up to 60fps as well as 1080p HD video up to 120fps 10-bit 4:2:2 with Canon Log or HDR PQ, using internal recording and AF for all formats.
Like the EOS R5, the EOS R6 has a built-in 0.5-inch OLED EVF, but with just 3.69 million dots, although it has the same 119.88 fps refresh rate and the LCD is a 3-inch, 1.62 million-dots, swiveling touch-screen LCD
Canon also announced four new RF-series lenses for its full-frame mirrorless system. Here are a few details on these lenses, all of which include optical image stabilizers:
In addition, Canon has a new professional 13-inch inkjet printer, the Canon imagePROGRAF PRO-300, which is designed to be 15% smaller than its predecessor. The printer includes a number of core features, including:
Additionally, Canon is introducing a Premium Fine Art Rough paper, which has a rough surface texture and is available in a variety of sizes.
Lastly, Canon announced three new accessories: a new battery grip (BG-R10), a high-capacity battery (LP-E6NH) and a high-performance wireless file transmitter (WFT-R10A)
All the products that Canon announced today will be available at the end of this month, except the EOS R6 (which will be available the end of August), the Canon RF 100-500mm F4.5-7.1 L IS USM lens (which will be available the end of September) and the Canon RF 85mm F2 MACRO IS STM lens (which will be available the end of October).
The following camera bodies and lenses are priced according to several configurations:
For more information, see the press release below.
[[ press release ]]
THE SECRET IS OUT: CANON OFFICIALLY ANNOUNCES THE CANON EOS R5 AND R6, THE COMPANY’S MOST ADVANCED FULL-FRAME MIRRORLESS CAMERAS EVER
The Company is Also Announcing Four RF Lenses, Two RF Lens Extenders, and a PRO Printer
MELVILLE, N.Y., July 9, 2020 – With anticipation at a fever pitch, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the company’s next generation of full-frame mirrorless cameras – the EOS R5 and EOS R6. These groundbreaking cameras are the result of many years of collecting and listening to feedback from Canon users and are sure to meet the needs and demands of a variety of creators. The EOS R5 is a camera designed for professional applications featuring a new 45-megapixel full-frame CMOS sensor and uncropped 8K video recording up to 29.97 fps. The EOS R6 is geared towards advanced amateurs featuring a 20.1-megapixel full-frame CMOS sensor and 4K video recording up to 59.94 fps. The addition of the EOS R5 and the EOS R6 cameras within the EOS R series lineup further solidifies Canon’s commitment to providing the equipment needed for users to bring their content to the next level.
Canon is also introducing four RF lenses and two RF lens extenders: The Canon RF100-500mm F4.5-7.1 L IS USM, Canon RF600mm F11 IS STM, Canon RF800mm F11 IS STM, and RF85mm F2 MACRO IS STM lenses. All four new lenses were designed to meet the ever-expanding demands of the skilled creatives who capture amazing imagery using EOS R series cameras, including the new EOS R5 and EOS R6. In addition to the lenses, there are two new RF lens extenders, a 1.4x and a 2x model, allowing for users to take their compatible RF lens focal lengths even farther, and a 13-inch professional printer, the imagePROGRAF PRO-300, to bring photos to life through the power of print.
“For all of the Canon research and development team members who worked tirelessly on the production of these new products, today marks the culmination of a long journey. For those people looking for the next great tools to work with to expand their creative possibilities, the door is now wide open,” said Tatsuro “Tony” Kano, Executive Vice President and General Manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “The industry has asked for new products that can push their levels of creativity to new heights, and we are confident that the EOS R5 and EOS R6, alongside the new lenses, lens extenders, and the pro printer, will fulfill those needs and more.
Canon EOS R5 and EOS R6
Both the EOS R5 and EOS R6 cameras have the ability to capture the action of a variety of fast-moving subjects with impressive accuracy and speed. When using the mechanical shutter, each can shoot up to 12 fps and up to 20 fps when using the completely silent shutter. Both cameras are the first to be outfitted with Canon’s advanced Dual Pixel CMOS AF II which utilizes up to approximately100 percent coverage of the AF area and EOS iTR AF X incorporating AF tracking algorithms using deep learning technology and enhanced readout speed of the CMOS sensor and processing speed thanks to the DIGIC X image processor. The 1,053 automatically selected AF Zones are made even more potent by the ability to detect the human eye, face or head as well as the eye, face or body of animals such as dogs, cats and even birds[i]. Adding to the feature set is the 5-axis In-Body Image Stabilizer, having coordinated control with Optical Image Stabilizer in IS equipped RF lenses. This provides up to 8 stops[ii] of shake correction, a feature that many creators have long asked for from Canon. Both the EOS R5 and R6 cameras come with a new LP-E6NH battery with a higher capacity than the previous model.
As the new flagship model in the EOS R series lineup, the EOS R5 camera has features that pack a punch for a variety of users who create both still and video content. It has a powerful 45-megapixel full-frame CMOS sensor and is driven by the speedy DIGIC X image processor, giving wide dynamic range as well as boasting an ISO range of 100-51,200 that is expandable up to 102,400[iii]. In a camera full of eye-popping features, one that really stands out is the ability to record uncropped 8K RAW internal video recording up to 29.97 fps and 8K internal video recording up to 29.97 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). The camera can also record 4K internal video recording up to 119.88 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). External recording in 4K is also available up to 59.94 fps. When in DCI modes, the 8K and 4K video recording is uncropped and Dual Pixel CMOS AF II is available in all 8K and 4K recording modes. Additional features of the EOS R5 camera include:
The EOS R6 camera is well-equipped with a host of new features to push the limits of creativity for imaging enthusiasts. The combination of the EOS-1D X Mark III based 20.1-megapixel full-frame CMOS sensor and the DIGIC X image processor produces an ISO range of 100-102,400 and is expandable to 204,800. Internal video recording at 4K is capable up to 59.94 fps or 1080p up to 119.88 fps in 10 bit 4:2:2 Canon Log(H.265) or HDR PQ(H.265). The camera also features a built-in 0.5-inch OLED EVF with approximately 3.69 million dots and a 119.88 fps refresh ratevi. Additional features of the EOS R6 camera include
Battery Accessory
The optional BG-R10 battery grip accessory will be available for both the EOS R5 and EOS R6 full-frame mirrorless cameras. The BG-R10 accommodates up to two batteries and is compatible with the new LP-E6NH, LP-E6N and LP-E6 batteries. The convenient BG-R10 grip accessory can also improve handling for users while capturing portrait photography.
Canon RF100-500mm F4.5-7.1 L IS USM
The Canon RF100-500mm F4.5-7.1 L IS USM is a high-performance and versatile super-telephoto zoom lens that will find its way into the bags of many photographers. The compact and lightweight lens features optical image stabilization of up to five stops* of shake correction with three different IS modes, including standard, panning and during exposure only. Two Nano USM motors are at the heart of this lens and provide users with high-speed, smooth and quiet auto focus with a minimum focusing distance of three feet. Additional features of the Canon RF100-500mm F4.5-7.1 L IS USM include:
Canon RF600mm and 800mm F11 IS STM
The Canon RF600mm and RF800mm F11 IS STM lenses are the first fixed focal length super-telephoto RF lenses and are incredibly compact and lightweight. The portability of the new lenses is made even greater due to the ability for the lens barrel to retract and lock in place when the lenses are stowed away and not in use. Diffractive Optics technology helps to reduce the necessary number of lenses and greatly diminish the cost of the lenses, making them affordable for a broader group of photographers. Additional features of the Canon RF600mm and RF800mm F11 IS STM lenses include:
Canon RF85mm F2 MACRO IS STM
The third RF85mm lens in the RF lineup, the Canon RF85mm F2 MACRO IS STM is compact and lightweight, featuring a bright f/2 aperture helping to capture images that have exceptional bokeh. The lens features a maximum magnification of 0.5x and a minimum focusing distance of 1.15 feet, providing users with macro-photography capability. Additional features of the Canon RF85mm F2 MACRO IS STM include:
RF Lens Extenders
Lens extenders have long been a practical and useful tool for a variety of photographers. That story continues with the introduction of the Extender RF 1.4x and Extender RF 2x. The new lens extenders inherit the same high image quality, precision AF and reliability, such as being drip and dustproof, of EF lens extenders. When used in combination with the newly-released compatible lenses, the capturing range can be dramatically increased, providing consumers with additional use cases for their existing RF lenses.
Canon imagePROGRAF PRO-300
Completing the lineup of professional printer options from 13 inches through 60 inches, Canon also unveiled today the new 13-inch Canon imagePROGRAF PRO-300 Inkjet Printer along with a new Premium Fine Art Rough paper. Providing an improved workflow and high-quality output within a smaller footprint compared to previous models, this new printer excels at professional printing performance. Combined with the new Premium Fine Art Rough paper that features a textured surface to express the depth of an image, the printer along with the paper and new EOS R5 or EOS R6 camera introduces a new powerhouse professional imaging trio that meets creators’ demands.
Pricing and Availability
The EOS R5 full-frame mirrorless camera is scheduled to be available at the end of July for an estimated retail price of $3899.00 for the body only and $4999.00 for the R5 and RF 24-105mm F4 L IS USM lens kit**.
The EOS R6 full-frame mirrorless camera is scheduled to be available at the end of August for an estimated retail price of $2499.00 for the body only, $2.899.00 for the R6 and RF 24-105 F4-7.1 IS STM lens kit or $3,599.00 for the R6 and RF 24-105mm F4 L IS USM lens kit**.
The BG-R10 battery grip accessory and WFT-R10A are both scheduled to be available at the end of July for an estimated retail price of $349.99 and $999.99**, respectively.
The RF100-500mm F4.5-7.1 L IS USM lens is scheduled to be available in September 2020 for an estimated retail price of $2,699.00. The RF600mm F11 IS STM and RF800mm F11 IS STM lenses are scheduled to be available at the end of July 2020 for an estimated retail price of $699.99 and $899.99, respectively. The RF85mm F2 MACRO IS STM lens is scheduled to be available in October 2020 for an estimated retail price of $599.99 **.
The RF Extender 1.4x and 2x are scheduled to be available at the end of July for an estimated retail price of $499.99 and $599.99** each.
The imagePROGRAF PRO-300 Printer will be available later in July for a suggested retail price of $899.99. Premium Fine Art Rough paper will also be available later in July for a suggested retail price of $44.99 for Letter size, $109.99 for 13” x 19” inches and $169.99, 17” x 22” inches**.
[i] Effectiveness varies depending on the subject. In some cases, dogs, cats or birds may not be detected, while some animals other than dogs, cats or birds may be detected
[ii] Based on CIPA (Camera & Imaging Products Association) standards. Combined with RF 24-105mm F4 L IS USM lens at a focal distance of 105mm. IS equipped RF lenses available prior to July 9th, 2020 will require a lens firmware update to utilize coordinated IS control. Please check the Canon website for the latest firmware updates.
[iii] For still images
[iv] Type B compatible
[vi] Display may be grainier
[vii] Compatible with iOS® versions 9.3/10.3/11.2-11.4/12.4/13.2, Android smartphone and tablet versions 5.0/5.1/6.0/7.0/7.1/8.0/8.1/9.0/10. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app
[viii] Compatible with select smartphone and tablet devices (Android version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® Version 4.1 or later and the Camera Connect App Ver. 2.5.10. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met
*Based on CIPA (Camera & Imaging Products Association) standard
The post Canon Unveils Full-Frame EOS R5 And R6 Mirrorless Cameras, New RF Lenses And More appeared first on HD Video Pro.
Hamburg, Germany and Mumbai, India, 9th July 2020: NetRange MMH GmbH (‘NetRange’), the global provider of white-labelled, turnkey Smart TV and OTT ecosystems and SonyLIV, India’s first premium video on demand (VOD) service, today, announced a collaboration. Through this alliance, the Indian users of the NetRange Smart TV App Store will now be able to gain the SonyLIV ...
The post SonyLIV and NetRange partner to expand Indian viewer base appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Tokyo, Japan - Panasonic Corporation, Panasonic Production Engineering Co., Ltd., and Panasonic System Solutions Japan Co., Ltd. (collectively, "Panasonic"), in association with JR East Mechatronics Co., Ltd. (JREM), conducted a trial for station services using robots from June 17 to 30, ...
While the Blackmagic Design ATEM Mini Pro was conceived primarily as a live streaming tool, I propose that it has so many intriguing features that, for me, it’s becoming an indispensable tool for all kinds of non-live streaming shoots.
By now, you’ve probably read at least one of the pieces I’ve written for HDVideoPro or seen a YouTube video or read elsewhere about live streaming using the Blackmagic Design ATEM Mini Pro. I have an interesting value proposition for you to consider about who should be using the ATEM Mini Pro. Here it is. Even if you’ve never considered, aren’t presently and have no plans in the near future for live streaming, I still think you should consider spending $595 for the Blackmagic Design ATEM Mini Pro. Why? It’s pretty simple: it’s too handy for its multi-view monitoring function.
Perhaps if you only ever shoot single camera, you may not need the functionality that the ATEM Mini Pro provides. Do you ever shoot multiple cameras though? Besides live streaming, my business has lately been embracing the convenience and flexibility that comes with shooting multiple cameras. There’s something to be said for the speed and flexibility that shooting with two, three or four cameras offers that’s not possible with single-camera shooting. If it’s a narrative piece, these are most often shot with a single camera “film style” as we used to say.
This means working with professional actors or spokespeople who are skilled enough at learning and delivering lines and being able to repeat them a great number of times with relative accuracy. Then you can light each angle perfectly, shoot the performance from one angle and then move the camera to shoot an alternative angle as the talent repeats their performance. Classic cinema/single-camera episodic shooting. If this is how you shoot, you may not gain the advantages of the ATEM Mini Pro for monitoring.
Alternately, if you have two, three or four cameras, you can often shoot a scene just once or twice and because you have multiple angles in camera, it can allow you to move much faster than shooting single-camera style. There are of course compromises to be made shooting multiple camera. More cameras, more gear, more cables, more tripods.
If you’re carefully lighting a scene cinematically, with multiple cameras, depending on where they’re located and what they’re shooting, the lighting can be a compromise because the DP then has to light the scene in such a way where multiple angles look perfect instead of just one angle. Let’s take a look at one way of shooting that usually still can work with more cinematically lit scenes, shooting two or even three cameras from the same angle.
If I’m shooting a dramatic scene between two actors, the first instinct might be to have one or two cameras on each of the actors. This would require lighting both angles at once which, while not impossible, takes longer, adds more grip and lighting gear to the scene and, generally, most DPs feel it would be a compromise in the lighting, especially for anything dramatically lit.
However, if we scale the shot back to just two cameras stacked, both from the exact same angle, one wider and one in a close up, if we were shooting with a single camera, that would be at least two takes, one for each frame, right? Multiply that to several takes in the same setup to get the perfect performance, it can be difficult for an actor to match their performance between multiple takes perfectly. Even if they nail the line and delivery each time, there might be continuity differences about where their eyeline is, the tile of their head, what they’re doing with their body, etc.
If you shoot it with two cameras, you mitigate any of these minor continuity variations. You could have two monitors for the director, writer, script supervisor and other department heads to see. Here’s where the ATEM Mini Pro starts to come into play though.
You can run the HDMI output (not every camera outputs HDMI of course. Higher-end cameras often only have SDI outputs, but most low-end to mid-level cameras have HDMI out and many mid level cameras have both HDMI and SDI outputs) into the ATEM Mini Pro. Using it’s Multiview function, you can then see the feeds from up to four cameras at once on a single monitor. Each camera will also have its audio output levels superimposed as well. That function itself has previously been possible but expensive and complicated.
The ATEM Mini Pro is ridiculously easy to set up and use. You can hook its output up to an inexpensive computer monitor or up to an expensive, high-end huge 65-inch monitor as long as it has HDMI inputs. If you expand the equation out to three or even four cameras, you can see all three or four angles at once. You can instantly go full screen with any camera to check focus or framing or look for lint on your talent’s wardrobe or any out-of-place hairs.
The ATEM Mini Pro can not only shoot up to four camera inputs on a single monitor, it also allows you to hook up an SSD to the program output and record it. What this means is that not only can you monitor the output, you can actually do a line cut. What’s a line cut? It’s a switched feed, a “rough cut” of the scene being recorded. Think about the possibilities for directors and editors. This gives the ability to record a switched cut.
What if your timing is a little off and you want different timing in your final edit? You’ll be shooting isolated recordings in each camera that will be your source material. What if you can walk away from each scene with at least a rough cut of your multiple angles cut together? That rough cut can be given to an editor to put on their timeline as a “rough” assembly. The camera media can then be loaded and it becomes simple to slip or slide the timing if the person controlling the ATEM was off a little in their timing.
The ATEM Mini Pro has a 3.5mm audio input, so your rough assembly of each scene will have sound from your sound mixer on it or you could hook up a small TC generator like a Tentacle Sync E to the audio input of the ATEM Mini Pro with the TC matching your sound mixer’s recorder so it all syncs up to match your camera source and sound time code.
I’ve covered a use case above for narrative production. Let’s discuss a few other scenarios. I shoot documentaries. As you know, interviews are generally the architectural framework that’s used to assemble a typical documentary. Shooting multiple cameras in documentaries presents many of the same lighting and gear limitations as in narrative but if you’re using a small crew or even doing a one-man-band shoot for a documentary, it can be incredibly helpful in your framing and lighting to see and record your setups even if you’re only shooting with two cameras.
Imagine if your camera one is on a motion-control slider with an MCU shot of your talent. Camera two is locked off on a wider-angle shot of the same. Perhaps camera three is getting a complete different angle profile shot. With this setup, you could be conducting the interview and be viewing all three of your camera angles as well. Having a rough assembly of the three cameras can be tremendously helpful as well. It takes more time to set this up than a single camera, but the end result may save you time in post and is immensely helpful in doing a rough assembly of a given scene.
Think the same about doing live events. The ATEM Mini Pro becomes a powerful tool for weddings, live concerts and musical performances. I’ve used it to record a laptop’s output for a client project; the quality for the screen recording was excellent. A limitation could be HDMI, which isn’t especially good for doing long cable runs, so SDI is better. We’ve used HDMI runs to 50 feet with high-quality cables. The ATEM Mini Pro can only record up to 1080 60p, so it won’t record UHD or DCI 4K or higher. I’m proposing using it as a monitoring and rough assembly recording tool, which is where it shines.
The ATEM Mini Pro lacks a headphone jack, so although it shows you audio levels on the meters on screen, you have to monitor your audio elsewhere, from the camera or recorder, but that’s a minor issue.
Even if you never plan on live streaming, Blackmagic Design has built so much interesting functionality into the ATEM Mini Pro that I think the product will be incredibly useful for all kinds of productions. Take a look at your situation; the ATEM Mini Pro could be a useful multi-function tool for your kit.
The post Using The Blackmagic Design ATEM Mini Pro Without Streaming appeared first on HD Video Pro.
The Hollywood Professional Association (HPA®) has opened the call for entries in creative categories for the 2020 HPA Awards. Celebrating its 15th anniversary this year, the HPA Awards shine a light on the creative brilliance of the HPA community, honoring artistry in color grading, editing, sound, and visual effects in feature film, episodic, and commercials. ...
The post HPA Awards Announce Call for Entries in Creative Categories appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Learn how to frame a Medium Shot the Roger Deakins way. Break down the work of a twelve-time Oscar nominee by learning the difference between a Medium ...
Collanews 