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Hier — 6 juillet 2020Vos flux RSS

Borealis devrait apporter les jeux Steam sous ChromeOS

Ce n’est pas un secret, Google travaille a porter Steam sous ChromeOS pour offrir une multitude de jeux PC à son système d’exploitation. Cette idée passe par Borealis, une intégration d’Ubuntu sous ChromeOS qui reprend en grande partie l’idée de Crostini, un autre projet d’intégration d’un Linux Debian dans le système.


Le projet veut profiter du noyau et des capacités d’un système Linux à l’intérieur de ChromeOS. Une solution qui permet de garder les apparences du système de Google en les mélangeant aux capacités de Linux. Parmi les points clé de Borealis, une compatibilité avec Steam, le magasin de jeux dématérialisés de Valve. Avec Borealis un Chromebook pourra se connecter au site de Steam puis installer des jeux comme si l’engin était un PC équipé d’un Linux natif comme Ubuntu. Est-ce que cela veut dire que les machines sous ChromeOS pourraient bénéficier du catalogue de jeux compatibles Linux de Steam ? Oui… et non.

ProtonDB

Oui car grâce aux API Libres Vulkan et OpenCL, Linux a pu profiter d’excellents jeux ces dernières années et de nombreux développeurs ont compris qu’il y avait là un marché a prendre en compte. Valve l’a lui aussi pris en compte et le propriétaire de Steam a développé Proton, une solution Linux qui utilise les capacités de Wine pour prendre en charge les bibliothèques DirectX de Windows. Grâce à un système de notation précis, ProtonDB liste les jeux pouvant être pris en charge sous Linux même lorsqu’ils ne sont pas sortis directement avec cette compatibilité par défaut. Avec l’arrivée de Borealis, l’ensemble des titres listés, de Dark Souls 3 à Sea of Thieves en passant par GTA V ou PUBG pourraient donc tourner sous ChromeOS.

ProtonDB

Sur le papier donc, un Chromebook lambda serait, d’un coup, apte a gérer une vaste gamme de jeux. En plus des applications Android, ces engins seraient a même de plonger les joueurs dans des univers 3D récents. Mais sur le papier seulement. Le nombre de machines sorties sous ChromeOS capables de faire tourner ces titres est proche du néant. On oubliera d’office les solutions trop anciennes et la très très grande majorité des engins sortis sous SoC ARM. On fera également une croix sur la pelletée de Chromebooks ou Chromebox qui n’embarquent que 16 ou 32 Go de stockage. Au vu du poids des jeux récents, même si les engins étaient capable de faire tourner ces titres, leur installation ne serait sans doute pas aisée.

Acer Chromebook Spin 713
Reste quelques modèles très haut de gamme qui pourraient profiter de cette évolution. Même si je doute que ces modèles, en général destinés au marché pro, soient vraiment pensés pour ce type d’usage. La bonne question a se poser à mon avis est plutôt : qui voudrait d’un engin sous ChromeOS pour jouer à des jeux PC ?

Un engin haut de gamme comme le Acer Chromebook Spin 713 proposé à 999€ dans sa version la plus musclée, sera bien à la peine pour faire tourner un jeu PC récent décemment. Si il propose bien un processeur Intel Core de dixième génération, il n’a pas de solution graphique externe pour accélérer sa 3D. Rajouter une couche de traitement en prime via Proton pour prendre en charge les fonctions de DirectX devrait lui être fatal en terme de calcul. Cet engin ne proposera pas une expérience de jeu décente en FullHD.

Est-ce que Borealis va se présenter comme un effet “Whaouh” a destination des acheteurs ? Une simple démo technologique présentant les machines sous leur meilleur jour en affirmant que oui, les Chromebooks peuvent désormais piocher dans le catalogue de Steam. Mais sans pouvoir prétendre a faire tourner des jeux exigeants en 3D ? C’est en grande partie ce que fait le système avec les applications Android. Si ChromeOS est bien compatible avec le catalogue d’applications et de jeux Android, l’expérience est loin d’être aussi satisfaisante que ce qui est présenté par Google. Nombre de jeux Android ne sont pas correctement reconnus, les applications perdent assez souvent les pédales et les interfaces ne sont pas parfaitement reportées d’un système à l’autre ce qui rend  souvent l’expérience de jeu mobile cent fois supérieure à l’exploitation sur le grand écran tactile d’un portable sous ChromeOS. La compatibilité Android existe mais son exploitation pratique est souvent impossible. Est-ce le même schéma qui va se répéter ici ? Les engins seront estampillés compatible Steam mais n’auront droit en pratique que de naviguer dans l’interface du catalogue ?

Acer Chromebook Spin 311

Le Acer ChromeBook Spin 311 sous SoC ARM Mediatek MT8183

Les constructeurs de Chromebooks pourraient bien entendu faire évoluer leur offre pour prendre cette possibilité en compte dans le futur. Orienter leur production vers des engins plus complets avec des processeurs haut de gamme, des circuits graphiques indépendants et un stockage plus important. Si cette seconde voie est empruntée, on devrait trouver des machines sous ChromeOS… au prix des engins sous Windows. Mais avec moins de choix. Il existe des PC sous Windows capables de lancer des jeux modernes aux tarifs des Chromebooks les plus chers. Avec en prime tout l’attirail des fonctions de Google accessibles.

Je ne vois pas de solution à ce problème, si les Chromebooks se vendaient à 999 ou 1199€ pour viser un public de joueurs… Se vendraient t-ils encore ? Qui achèterait un Chromebook pour jouer ? Ce n’est pas que le jeu et ChromeOS soient incompatibles, c’est que l’essence même de Chrome OS n’est pas le jeu. Le système a été pensé pour être simple et surtout fournir un pilotage dans les nuages, une sauvegarde quasi permanente dans le Cloud. C’est son ADN et son objectif par nature. On est loin de la possibilité de lancer un jeu entre deux réunions ou deux travaux.

Acer Chromebook Spin 311

C’est d’ailleurs l’une des raison du choix de ChromeOS par des entreprises et des campus : le fait que l’on ne puisse pas détourner facilement l’appareil d’un terminal de saisie et de consultation en une solution de jeu est considéré comme un plus par ceux qui achètent ces machines en masse. Rajouter cette fonction, même en imaginant que le marché suive et ajoute des capacités techniques aux engins pour les rendre compatibles, cela ne transformera pas leur destination première. Ce ne sont pas des engins pensés pour le jeu. Est-ce que les libristes vont applaudir cette évolution ? Je n’en suis pas sûr non plus. Un utilisateur de Linux utilisera… une distribution Linux, pas une solution Linux planquée derrière une création de Google.

Si je résume, Borealis promet du jeu sous Steam aux Chromebooks. En pratique les Chromebooks actuels ne seront pas capables d’en profiter. Si le marché les fait évoluer pour les rendre compatibles alors ils seront aussi chers que des engins classiques sous Linux, sans système ou sous Windows. Si le marché ne les fait pas évoluer alors l’annonce sera purement diplomatique… Mon inquiétude ici étant que cette idée creuse l’écart entre les Chromebooks entrée de gamme du marché, les engins sous SoC ARM avec encore 4 Go de mémoire vive et 32 Go de stockage qui sont les plus abordables. Et le haut de gamme qui taquine déjà allègrement les 800 ou les 1000€. 

Au final cette annonce ne fait qu’accentuer les questions que l’on se pose autour de Google et de ses offres : Stadia semble être la piste a privilégier pour apporter du jeu sous ChromeOS. Pourtant le moteur de recherche semble tout vouloir faire pour reporter son public vers une solution concurrente.

Source : 9to5google

Borealis devrait apporter les jeux Steam sous ChromeOS © MiniMachines.net. 2020.

Roland MC-101 Groovebox



Roland MC-101 Groovebox

I finally updated the Unity NDI plugin. It now supports DX12 and...



I finally updated the Unity NDI plugin. It now supports DX12 and SRPs (URP and HDRP). For the new implementation, I used the C# interoperability instead of the C++ native plugin interface, making it easier to customize. https://github.com/keijiro/KlakNDI

À partir d’avant-hierVos flux RSS

Stork's MyHero Build: ASUS ROG Z170 MAXIMUS VIII HERO - i7-6700K - GTX 980

Stork's MyHero Build: ASUS Maximus VIII HERO - i7-6700K - GTX 980 http://d3eqjvh3r56yhd.cloudfront.net/wp-content/uploads/2017/08/a05fn-01...

Cannes XR : Rain Fruits, chronique mélancolique d’un déraciné

Par : Shadows

Migrant issu du Myanmar (ex Birmanie) et venu s’installer en Corée du Sud dans l’espoir d’y faire carrière en tant qu’ingénieur, Tharu déchante rapidement. Racisme, exploitation et dure réalité de l’industrie le frapperont de plein fouet, de même que l’impossibilité d’évoquer à ses proches, dans ses nombreuses lettres, l’aliénation et le travail acharné qui sont devenus sont quotidien. Peu à peu, le mal du pays se fera sentir…

Aliénation et nuages de points

Créé par Youngyoon Song et Sngmoo Lee et adapté de l’histoire de Thura Maung, Rain Drops nous propose donc de découvrir la perspective d’un travailleur immigré, qu’il s’étonne de certaines coutumes locales ou se retrouve face à une réalité économique peu reluisante. En parallèle, nous découvrons la jeunesse du personnage principal, dans un pays pauvre mais, semble-t-il, moins aliénant.

Sur le plan visuel, Rain Fruits adopte un choix esthétique a priori surprenant, avec des nuages de points que l’on devine issus à la fois de photogrammétrie et d’un système type Kinect. Une décision qui prend rapidement son sens lors du visionnage : elle fait écho aux sentiments du narrateur et personnage principal, avec un côté presque irréel qui retranscrit l’idée d’aliénation et de ne pas vraiment faire partie de ce nouveau pays. On peut aussi voir dans ces points autant de renvois aux gouttes de la pluie qui a marqué l’enfance du personnage.

L’avis de 3DVF

Mêlant colère, tristesse, nostalgie et sentiment de déracinement, Rain Drop offre une perspective intéressante, et nous vous conseillons d’y jeter un oeil lors de ses prochaines diffusions dans les festivals. Seul vrai regret dans le cadre de Cannes XR : la diffusion souffrait, dans notre cas, d’une compression vidéo causant la perte de nombreux détails. Malheureusement, points et particules supportent mal un traitement trop agressif. Nous aurions donc aimé voir le projet dans de meilleures conditions ou, mieux encore, sous forme de « vrai » nuage de points dans une scène 3D immersive afin d’éliminer tout problème de compression et quitte à nécessiter un GPU plus puissant.

Techtel integrates Bluefish444 IngeSTore Server with Inflo™ for network control of Tasmanian Parliament’s centralised SDI ingest

Australian-based systems integrator, Techtel, is a leading independent broadcast technology systems specialist, providing hardware and software industry solutions in the Asia-Pacific region. Techtel recently worked with the Tasmanian Parliament to develop an integrated recording solution to manage their seven HD-SDI camera video feeds from their House of Assembly, Legislative Council, and smaller committee meeting rooms. ...

The post Techtel integrates Bluefish444 IngeSTore Server with Inflo™ for network control of Tasmanian Parliament’s centralised SDI ingest appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

HP Zbook Create avec Geforce : un nouvel ordinateur portable dans la boutique 3DVF.fr

Par : Shadows

A découvrir dans la boutique 3DVF, le HP Zbook Create, un nouvel ordinateur portable de travail doté de 6 coeurs et d’une GeForce :

  • carte graphique NVIDIA GeForce RTX 2070 M 8Gb ;
  • processeur Intel Core i7 10750H 2.6GHz, 6 coeurs ;
  • SSD NVMe 512Go ;
  • écran 15.6 pouces Full HD ;
  • Windows 10 Pro ;
  • Garantie 3 ans J+1 sur site.

Il est disponible en deux versions, 16Go de RAM pour 2 190,00 €HT (2628.00 € TTC) et 32Go de RAM au tarif de 2 290,00 €HT (2748.00 € TTC).

A noter : les 15 premières commandes en version 32Go auront droit au tarif de la déclinaison 16Go, soit 150€ TTC d’économie. Cliquez ici pour en bénéficier.

Comme toujours, si vous avez des questions sur ce produit ou cette offre, n’hésitez pas à contacter notre partenaire Progiss, par téléphone au 01 49 89 07 90 ou par mail : info@progiss.com
Notez également que l’équipe Progiss est à votre disposition pour vous proposer des présentations des logiciels de la boutique, que ce soit dans leurs locaux (Villepinte, à côté de Paris) ou dans les vôtres.

Fujifilm Introduces GF 30mm F3.5 R WR Wide-Angle Lens

Par : By Staff

Fujifilm’s new FUJINON GF30mmF3.5 R WR Lens

Fujifilm has announced a new wide-angle lens for its GFX medium-format system: The new GF 30mm F3.5 R WR lens has a focal-length equivalent of 24mm (35mm film format). The prime will ship in late July or early August and cost $1699.

The optical design of the lens consists of 13 elements in 10 groups, and includes two aspherical elements and two extra-low dispersion (ED) elements. Other features include:

  • A lightweight, portable and compact design—it weighs approximately 18 ounces and measures 3.9 inches, with a maximum diameter of 3.3 inches (84mm).
  • A fast and quiet autofocus (AF) system.
  • Focus breathing is limited to just 0.05%, making it a great lens for recording video.
  • Dust and weather-resistant seals
  • And the lens can work in temperatures as low as 14°F, allowing you to shoot in challenging environments.

For more, see the press release below, or visit: https://fujifilm-x.com/en- us/products/lenses/gf30mmf35-r-wr/    

Fujifilm’s new FUJINON GF30mmF3.5 R WR Lens
Fujifilm’s new FUJINON GF30mmF3.5 R WR Lens (on the GFX100 camera body).

[[press release]]

Fujifilm Launches FUJINON GF30mmF3.5 R WR Lightweight, High Resolution Lens

Valhalla, N.Y., June 30, 2020 – FUJIFILM North America Corporation today announced the launch of the FUJINON GF30mmF3.5 R WR (GF30mmF3.5 R WR), a wide-angle prime lens with a focal length equivalent of 24mm (in the 35mm film format) for the FUJIFILM GFX System of large format*1 digital cameras.

With its dust and weather-resistant design, the GF30mmF3.5 R WR caters to a variety of shooting styles including landscapes, architecture, as well as casual snapshots on the move. “This lens is a great compliment to our existing series of GF lenses and gives image-makers a great wide-angle option for landscapes, architecture, or wide environmental portraits,” said Victor Ha, senior director, marketing and product management with the Electronic Imaging Division of FUJIFILM North America Corporation. “We are really excited to see the images our community will make with this lens.

Main product features:

Image quality

The lens consists of thirteen lens elements in ten groups, including two aspherical elements and two extra-low dispersion (ED) elements. The high-performance lens groups are positioned to control various aberrations, especially distortion to which wide- angle lenses are prone, to achieve edge-to-edge sharpness. The lens is able to resolve an impressive amount of detail, compatible with 100MP sensors — “enabling the photographer to re-create the atmosphere of each scene with a sense of visual honesty and feeling,” said Ha.

Portability

This compact lens weighs approximately 18 ounces (510g) and measures 3.9 inches (99.4mm) with a maximum diameter of 3.3 inches (84mm). In addition, the slim design balances well on a GFX System camera, making it a perfect lens to carry on-the-go.

Performance

The new GF30mmF3.5 R WR lens uses an internal focusing system, offering fast and quiet autofocus (AF). Focus breathing is just 0.05%, making it a great lens for recording video. Like all of Fujifilm’s lenses in the GF family, the GF30mmF3.5 R WR incorporates Fujifilm’s optical design and production technology processes to achieve a sub-micron level precision lens surface. This allows the lens to bring out the full potential of the FUJIFILM GFX 50S and GFX 50R mirrorless digital cameras, as well as the 100MP image sensor of the FUJIFILM GFX 100.

Durability

The lens is sealed at nine locations to make it dust and weather-resistant. It can also be used in temperatures as low as 14°F (-10°C), offering photographers peace-of-mind when shooting in inclement weather or dusty environments.

The GF30mmF3.5 R WR lens will be available in late July or early August in the U.S. and Canada for a manufacturer’s suggested retail price of USD $1699. For more information, visit https://fujifilm-x.com/en- us/products/lenses/gf30mmf35-r-wr/    

 

 

 

 

 

The post Fujifilm Introduces GF 30mm F3.5 R WR Wide-Angle Lens appeared first on HD Video Pro.

Updating My Lighting Paradigm With The Godox VL300

My first LED panel light, the Cool Light CL600. While it had several advantages over the Arri Fresnel’s I was used to, mainly heat and power draw, its output and color accuracy weren’t as good.

Lighting in 2020 has come a long way from where it was just a few short years ago. The choices we have today in different styles, builds and fixtures are varied and deep. There are lights for almost any need and at any price. Digital technology still hasn’t conclusively solved every lighting problem that LED lights have though. Many of the early challenges with LED lighting revolved simply around output—the first generation of LED instruments simply didn’t have much output. Their color accuracy was suspect as well. Unlike the tungsten heat generators that most of us were using a decade ago that had extremely accurate color reproduction, LED lights tend to not have the same full-spectrum color reproduction that tungsten lighting has, although with each new generation of LED technology, the color reproduction, CRI and TLCI measurements have continued to improve.

Updating My Lighting Paradigm With The Godox VL300
The Cool Light CL600 only required 48W or 4 amps of power, but its output was low for anything other than a dark stage or room with low ambient light.

My Generation One LEDs

My first LED panels I ever bought were from a company called Cool Lights. These early 1×1 panels appealed to me simply because I was looking for an effective way to light interviews in smaller rooms without heating up the room to unbearable levels. I liked the way my tungsten Arri Fresnel’s made talent and skin tones look, but I often had to shoot in people’s smaller offices and conference rooms, and the heat that they Arris generated was becoming unbearable.

The upside with the Cool Lights panels was that they had just enough power to punch the lights through diffusion to reach adequate output levels for an interview. They caused no change in room temperature and they used far less power than my tungsten lights did. If you never had the experience of lighting with tungsten instruments, you’ve probably missed out on the fun of blowing a circuit breaker. The issue was that often when setting up tungsten lights, the amperage draw for putting more than one or two instruments on one circuit would exceed the outlet’s rated amperage.

Often in homes and even in offices, it’s not clear which outlets are on which circuit, so it was a normal and not fun part of lighting with tungsten instruments that we’d occasionally trip the circuit breaker, requiring locating the circuit breaker box, resetting the circuit breaker and rerouting lights to better distribute the power load. This was often a time-consuming hassle. The Cool Light panels solved this issue instantly, so just for the reduction of heat and power consumption, they were a win.

Where they lacked was in color reproduction; they had a green spike in their output that required a full-time minus green filter and, frankly, skin tones looked okay but not as good as tungsten lights. I also noticed that the falloff of the light occurred at a much faster rate with the LED lights than with tungsten. I’d have to place the lights very close to the talent to get the kind of output needed. This can become challenging in how you frame your shots and choose your locations.

Updating My Lighting Paradigm With The Godox VL300
My second LED panel light, the Aputure LS-1S Lightstorm. The Aputure had considerably more output, wireless power and level control, and its output was also more color accurate with much higher CRI and TLCI ratings than my first panels.

My Generation Two LEDs

A few years ago, I decided that my older LEDs, the Cool Lights panels, were fading in output. I measured the output with my light meter and a specific distance, then checked it a few weeks later and sure enough, the lights weren’t dead but as they aged, the output levels were fading. I realized that I needed to invest in a few new LED panels to replace them. I did my research and found some interesting LED panels from a new company called Aputure. The new lights I was taking a good hard look at were called the LS-1S Lightstorms. The output and design of these lights were intriguing as they had about three to four times the output of my Cool Lights panels and these lights were much more color accurate on top of that. One other feature that I thought would be handy was that the lights were controllable by a small wireless remote that came with the lights. I could wireless turn on or off any light in my setup and raise and lower the light’s output level as well.

The Aputures came with a set of attached barndoors for better lighting control. My old Cool Lights had separate barndoors that fit into a channel on the light body. It worked, but the barndoors were a bit loose in the channel, so adjusting them always felt a bit noisy and clunky. I also had four Chimera soft banks that I wanted to utilize with the Aputure Lightstorms, but the issue, at least with the small Chimera that I wanted to mount to the light, was that there was no existing speed ring that would fit the Aputure. Undeterred, I enlisted a friend of mine who’s a talented welder to help me design and fabricate my own speed ring that would fit the Aputure, allowing me to keep using my expensive, well-loved Chimera light banks with these new lights.

After some trial and error, we finally came up with a design that would fit onto the Aputure and successfully stretch and fill the Chimera with light. I also have a Medium Chimera Softbank that measures 3 by 4 feet. It’s too large to fit onto most lights and too heavy for the light to hold at a specific angle, so I mount that Chimera on its own huge speed ring and then I mount that speed ring onto a C-Stand knuckle on a C-stand, then I place one or two of the Aputures on their own light stands and nest them into the speed right on the light.

Updating My Lighting Paradigm With The Godox VL300
Here’s an outdoor live stream that took place outdoors but after the sun had set. This is with two of our LS-1S Lightstorms shining through my medium Chimera. This setup worked, but you can see all of the equipment needed to put these two lights through the Chimera.

It works—I’ve used this setup for several interviews for a couple of documentary films that I’ve shot, but it’s a clunky and hardware-intensive setup and a pain to actually move the Chimera and its C-stand as well as one or two light stands every time I want to flip the key source or nudge it over to the edge of the frame. One of the problems with using LED panels with a soft bank is that LED panels, with hundreds of 5mm LED bulbs, are inherently an inefficient endeavor. It’s hard to wrap the rear panels of the Chimera around the light, so you tend to get a lot of output bleeding out the rear of the setup. Most importantly, using the LS-1S or two of them with a Chimera requires a lot of hardware in the form of a C-stand as well as one or two light stands.

I’ve been studying the newest trends in LED lighting, which seemed to be pointing me to a Chip on Board (COB) light. What is a COB light? As you know, LED panel lights mostly utilize rows of individual 5mm bulbs or, in the case of a few LEDs like my Kamerar Brightcast panels I reviewed here last year, utilize SMD (Surface Mount Diodes) technology. COB technology utilizes essentially what’s one large source rather than dozens or hundreds of small LEDs. The advantage is greater output from COB and the ability to utilize a Fresnel lens to turn your COB instrument into a Fresnel light. This allows you to use the light as a spot source, make slashes using the barndoors and, in general, gives you more options than an LED panel.

Updating My Lighting Paradigm With The Godox VL300
This is a perfect shot of a COB light. Notice how the light source is a small, single source at the center of the light’s reflector instead of hundreds of small 5mm LED bulbs. This is the next step in LED technology evolution.

My Generation 3 LED

After studying the market and the latest COB light offerings, I finally arrived at a list of features I was looking for in a single instrument:

  • Quiet
  • High output
  • Barndoors
  • Wireless remote control
  • Reliable
  • Color accurate
  • Quarantine-friendly cost   

I watched a few YouTube videos with early adopters and the Godox VL line looked encouraging. I had considered some other COB lights, which looked promising as far as specs and performance, but the cost was more than I was comfortable spending during the year of quarantine. Work has been scarce this year and revenue has been down, so I wanted to buy a light that didn’t cost a lot but was well built and would last while offering a lot of light output.

Updating My Lighting Paradigm With The Godox VL300
The Godox VL300 is a brand-new COB high-powered LED single source from Godox who has a good reputation for their flashes for still photography.

Enter The Godox VL Series COB Lights

The Godox VL300 seemed to check off all of these boxes pretty well based upon reviews and tests I’ve been looking at. Normally, I like to rent lights, cameras, lenses and other relatively expensive gear before buying, but the Godox VL300 was so new that I couldn’t find one to rent. I ordered the light from Amazon, figuring that if it didn’t perform as advertised, I could always return it. My fears were put to rest the day the Godox arrived. I mounted it onto my American Grip medium light stand and fired it up. The light was quiet. The fans kicked on after the light had been on at 100 percent output for a few minutes, but I really couldn’t hear them unless I put my ear right next to the bottom of the light and even then, the fans (yes, there are two of them) were exceedingly quiet.

Lighting Horsepower

I checked the light output using my Sekonic light meter and found that the light was giving me a little over 7,200 FC at one meter. The included barndoors were of good quality and easily attached to the reflector. I tested out the included wireless remote, which functioned perfectly. A week later, after checking its long-term function by leaving the light on for four hours, I used the light as my key source for a series of training videos we were shooting for a client. I utilized the light through a Nice Photo Parabolic 45-inch softbox with a 40-degree egg crate to keep the light from spilling onto the wall behind the talent.

Even with the key located a good 10 feet from the talent in order to not encroach into the frame of the wide-angle shot in the three-camera shoot, I only had to run the VL300 at about 55 percent output. Keep in mind that this softbox had two layers of diffusion mounted as well as the egg crate, which normally cuts perceived output by about 20 to 30 percent and I still had plenty of output left. This was the result I was hoping for in buying a more powerful key source. Even my two Aputure LS-1S wouldn’t have had the same output levels.  

Updating My Lighting Paradigm With The Godox VL300
The Godox VL300 comes with a separate control box that has two wireless control antennas as well as a separate AC power supply.

The only drawbacks so far with the light are that the color leans a bit toward magenta. I shot a white card and chip chart, and it was easily correctable in editing. The VL300 utilizes the same awkward separate power supply, control box and multiple cables set up as my Aputure LS-1S. This setup makes the light head smaller and lighter, which makes it easier and less ungainly to have mounted high up in the air at the end of a light stand, but the downside is that setting up the light is messier and requires more time and more cable clutter.

The control box comes from Godox with a built-in hanger that allows you to easily hang it from a light stand tie-down, but you still have the AC power supply on the floor and an additional cable from the control box to the light head. I’m used to this setup since my Aputures have the same, but it’s not as clean as having the power supply built into the light itself. As far as the magenta bias, COB lights veer more toward green as they burn in and are used more, so I suspect that eventually this light will lose its slight magenta bias and it’s a very slight bias, not a drastic one.

Updating My Lighting Paradigm With The Godox VL300
A BTS still from my first shoot with the Godox VL300 with the Nice Photo 45-inch Parabolic softbox serving as my key source for this series of instructional videos for a client’s YouTube channel.

I’m very pleased with the Godox VL300. It came with a very nice soft case that gives you a good place to keep all of the pieces needed to make it work. The cost, $750, was exceedingly inexpensive when you consider that its nearest competition costs about 40 percent more and actually offers a bit less output. I think Godox has a good future in video lighting; they also offer two less-powerful versions of this COB light, the VL200 and the VL150, which cost $549 and $399 respectively. All of the VL line utilizes the Bowens mounting system, which makes the speed rings and rod systems used in most video soft boxes seem clunky and primitive in comparison.

Overall, the Godox seems like a pretty good deal. It may not be the absolute best light on the market, but for a quarantine-budget instrument, it’s an amazing value and gets the job done with efficiency and ease of use.

The post Updating My Lighting Paradigm With The Godox VL300 appeared first on HD Video Pro.

G5 Case Mod GA H370M D3H GSM i5-8500 RX580

Craig's G5 Mod Sapphire GamingCreative: GA H370M D3H GSM i5-8500 RX 580 COMPONENTS Gigabyte H370M D3H GSM Motherboard. Amazon Newegg Core i5-8500 processor 6 core, 3GHz Base 4.1GHz Turbo, UHD-630...

Why You Want to Use Both SSD and HDD for Video Storage

Video editing computers need plenty of space, but they also need to be fast. Let's explore the benefits of SSD and HDD storage for video.

Forcer une sortie sur un serveur d’un pays précis avec Tor Browser sous macOS

J’achète assez régulièrement des objets sur eBay, comme vous avez pu le constater, et j’ai parfois un petit problème : il y a des restrictions géographiques. Certaines annonces ne s’affichent que si vous êtes aux USA. Mais il y a une solution, et je voudrais vous parler de mon sponso…

Non, je déconne, je ne vais pas faire de pubs pour un VPN.

Les restrictions, donc : même si j’ai une solution pour faire envoyer aux USA, c’est peu pratique. Changer les réglages rend les recherches en France pénibles. Si j’ai le lien direct d’une annonce sur ebay.com, ça passe, mais je ne peux par exemple pas lister les ventes d’une personne précise (par exemple celui-ci). La première solution, c’est un VPN, mais je ne compte pas payer pour ça, et je considère que c’est inutile de payer un VPN pour un usage standard. Vraiment.

La seconde solution, c’est Tor Browser. Le logiciel intègre une version modifiée de Firefox et permet de se connecter à Tor facilement. Si vous l’avez déjà utilisé, vous allez vous dire que ça ne règle pas mon problème : l’IP de sortie n’est pas nécessairement aux USA et donc je risque d’être géolocalisé dans un autre endroit. Dans le fonctionnement normal de Tor Browser, c’est le cas, mais il est possible de forcer une sortie sur un serveur dans le pays de l’oncle Sam. Je ne vais pas vous expliquer le fonctionnement de Tor, mais il faut juste savoir que le programme va faire passer vos informations par différents serveurs avant d’utiliser un point de sortie, et que ce point de sortie va déterminer l’adresse IP vue par le serveur (ici eBay) et donc dans certains cas, votre localisation.

Sous macOS, une fois Tor Browser téléchargé, il faut faire un clic seconde sur l’icône du logiciel, choisir Afficher le contenu du paquet, puis se rendre dans /Contents/Resources/TorBrowser/Tor. Là, vous trouverez le fichier torrc-defaults qu’il faut éditer. Pour une sortie aux USA, il faut ajouter ExitNodes {us} à la fin du fichier. Vous pouvez forcer d’autres pays avec les valeurs standards (ISO-3166), en les séparant par des virgules. Il existe aussi d’autres options pour par exemple exclure certains pays.

Avec cette solution, le point de sortie est toujours aux USA, et dans mon cas je peux donc utiliser correctement eBay pour les annonces dans ce pays.

Google a découvert le secret des vidéos 360 avec 6 DoF en streaming

Par : Sitraka R
Google a découvert le secret des vidéos 360 avec 6 DoF en streaming

Des chercheurs de Google ont réussi à développer un système pour des vidéos 360 avec 6 DoF (six degrés de liberté) de bout en bout, pouvant même se visionner en streaming. Néanmoins, il faudra dans ce dernier cas disposer d’une connexion internet à très haut débit.

Les vidéos 360 actuelles vous permettent de découvrir des lieux situés à l’autre bout du monde, mais restent malgré tout limitées. En effet, si l’on peut regarder autour de soi, on ne peut pas avancer ou reculer la tête. De fait, cela donne un côté figé à l’expérience, qui est donc un peu moins immersive que prévu.

Le nouveau système vidéo de Google résout ce problème en englobant toutes les étapes de la conception d’une vidéo : captage, compression et rendu.

Pour se faire, le rig employé rassemble 46 caméras 4K synchronisées et filmant en 30 fps. Un dôme semi-transparent sert à la fois d’attache aux caméras et de viseur au caméraman.

  • 250,26 € 870,48 € -71%
  • 120,05 €
  • Les options cachées des préférences Moniteurs

    Si vous voulez afficher plus d’options dans les préférences Moniteurs de macOS, il existe une petite astuce. Elle permet, par exemple, d’afficher le menu de rotation quand il n’est pas présent.

    La commande est assez simple : il faut presser option et command en ouvrant la section Moniteurs dans les Préférences Système. Si jamais ça ne fonctionne pas, par exemple si vous avez déjà ouvert la section, il faut quitter Préférences Système et recommencer.

    Sur l’écran interne de mon MacBook Pro, on gagne la case Rotation. Attention quand même, une fois l’orientation changée, c’est parfois compliqué de bouger correctement le curseur pour revenir à l’orientation par défaut.

    Avant


    Après

    Sur un écran Thunderbolt, l’option Permettre une plage dynamique étendue apparaît. Honnêtement, je n’ai pas vu de différence, mais c’est peut-être lié à la prise en charge du HDR par macOS Catalina.

    Avant


    Après

    Les raccourcis à base de touche option (ici avec command, d’ailleurs), c’est un peu comme les raccourcis 3D Touch et Force Touch : on ne peut pas deviner si ça existe sans tester.

    Hands-On Review: Sony PXW-FX9 Digital Cinema Camera

    One thing Sony tends to do better than many of its competitors in the pro cinema camera market is to read and respond to market segment demand. I know because I’ve owned several Sony cinema cameras over the years and watched how the company has reacted to new technologies and format changes. It’s why Sony has become a powerhouse in the market segment of event, corporate and reality shooting with two models—Sony’s PXW-FS7 and FS7 MKII.

    But just as times change, so does the technology. For at least the past year or so, the digital cinema camera market has become obsessed with full-frame sensors and using them to record a full-frame image using a 6K or 8K raster, which raises the question: Does anyone really need 6K or 8K acquisition? In my view, no, or at least, very few do. But like it or not, the digital cinema camera business has turned into a sensor- and raster-size arms race.

    Sony’s answer to this entirely new obsession with sensor size is the new PXW-FX9 digital cinema camera, one of its latest XDCAMs, which Sony says is the first featuring “an advanced 6K full-frame sensor and Fast Hybrid Auto Focus (AF) system.” But taking a look at the FX9’s design, layout and feature set, it’s hard to not see it as the heir apparent to the Sony’s PXW-FS7 and FS7 MKII.

    Sony PXW-FX9
    A screencap from footage I shot with the FX9 paired with the Sony FE 100-400mm F4.5-5.6 OSS G lens using the setting sun as a backlit source for the surfers in the foreground.

    Of course, it’s too early to tell if the FX9 will actually replace the FS7 and FS7 MKII, or merely provide a full-frame 6K-resolution alternative to these two S35 cameras in the Sony lineup. As a point of reference, here’s how the models compare resolution- and size-wise: The FS7 models use a 4K native S35 sensor, which measures 24.0mm x 12.7mm. The FX9 uses the physically larger 6K native full-frame sensor, which measures 35.7mm x 18.8mm.

    However, it’s very important to point out that at press time, the FX9 doesn’t record in 6K resolution. Its highest setting is in UHD (3840 x 2160) at 16:9. There’s a possibility that it might in the future, but it’s uncertain if Sony will ever offer an upgrade for the FX9 to capture 6K resolution video.

    Features, Features, Features

    Sony PXW-FX9
    The FX9 gives you several options for windowing the 6K full-frame sensor.

    I won’t go in-depth on every feature and specification available on the FX9, but here are some of the headline features and what’s significant about them:

    Sony’s Exmor R CMOS Sensor Full-Frame Sensor: In actual use, the extra light-gathering ability of the FF sensor was handy when using the FE PZ 28-135mm f/4.0 G OSS lens for interiors and interviews. For these shots, the noise level of the FF sensor was great, even at the high base ISO of 4000.

    When shooting surfers at a distance on a bright day, the ability to easily narrow the wider FF FOV to a S35 FOV helped me maximize the focal length of the FE 100-400mm f/4.5-5.6 G OSS zoom for a bit of extra reach. In FF 4K mode, the FX9 maxes out at 30 fps. So you’ll have to switch to S35 FOV to obtain 4K 60p recording.

    Many of us would like to shoot sports and action using 4K 60p, so it’s good that the FX9 can accommodate this, but I was surprised that Sony couldn’t raise the bar a bit to give us 80-90 fps in 4K S35 mode and 60 fps with the FF sensor. Even with these limitations, I never thought I’d say it, but overall, the FF sensor is a distinct advantage over only having a S35 sensor. 

    Sony PXW-FX9
    The Sony PXW-FX9 Exmor R CMOS sensor is a brand-new variant that is closer in color science to the Venice than the FS7 MKII.

    6K, 4K, HD And Frame Rates: Although a headline feature, 6K isn’t really the showstopper you would think it might be with the FX9. As I mentioned earlier, as of today, it only records a 6K image but downsamples it to 4K (UHD). Now, I’m happy to say it gives the 4K footage tremendous detail and looks very good. But it’s not 6K. As of today, the FX9 only records in two raster sizes: FHD (1920×1080) and UHD (3840×2160).

    What’s more is that the FX9 only shoots higher frame rates if you window the sensor down to S35 size. (The max 6K full-frame rate is 30p.) If you window the sensor to S35 size, you can shoot up to 59.94 fps, but you have to go down to HD resolution to achieve the camera’s maximum frame rate of 120 fps. (Note: 180 fps should be coming in the FX9 V2.0 firmware sometime in 2020.)

    Dual ISO: Since the FX9 has dual base ISOs of 800 and 4000, I tested grain and noise by shooting ISO 800 base for exteriors and ISO base of 4000 for interiors. The lenses I used were fairly slow zooms—the FE PZ 28-135mm f/4.0 G OSS and the FE 100-400mm f/4.5-5.6 GM OSS. I was impressed, and I think you’ll be pleasantly surprised at how clean and low-noise the ISO 4000 looks, particularly if you only have S35 camera experience with ISO 4000, whether with a dual ISO base camera or with just a fixed ISO camera with the gain turned up.

    15 Stops Of Dynamic Range: In real-world shooting, most of us are satisfied with cameras that can record 12 stops of DR and up. Sony rates the FX9 at 15 stops, the same as the Canon C200 when shooting Cinema RAW Light in Clog 2. I believe that the Canon and this Sony are likely seeing about 13.5 usable stops, rather than the claimed 15 stops, but regardless of that, I did see a nice distribution of DR and latitude when I pushed the FX9 as hard as I possibly could shooting a couple of sunset scenes. Overall, I think you’ll find the DR of the FX9 to be very good, especially keeping in mind this an $11k camera, not a $50k or $80K digital cinema camera.

    Sony PXW-FX9
    The Electronic Variable ND system on the FX9 is easy to use and works incredibly well.

    Autofocus: The FX9’s AF was exceptional when tracking faces in interviews. It was also very good when shooting b-roll, landscapes and scenery. Additionally, I tried shooting one of the most difficult subjects for auto focus—birds in flight—shooting some brown pelicans dive bombing from about 100 feet up into the water. The FX9 AF held the pelicans isolated against a gray, featureless sky in sharp focus—a very high keeper rate.

    I also found the FX9’s Face Detect feature flawless: When shooting three different interviews in three different lighting setups and locations, including a couple that appeared in a low-contrast, moody type of lighting, the FX9 nailed focus on the constantly moving subjects every time. 

    Variable ND Filter System: Sony implemented an electronic variable ND filter into the FS7 MKII, and that same feature carries into the FX9. I found it is by far the best, most innovative ND system in any pro digital cinema camera, rendering other competitors’ ND systems rather limited and primitive feeling, with clunky fixed stops and often not enough ND at just six stops. Contrast this with the Sony, where you can dial in all of your shutter, ISO and aperture settings and then dial in the exact amount of the ND needed. Then, you can also set the ND to track the exposure and keep your same ISO, depth of field, etc. 

    S-Cinetone And SOOC Colors: In the past, clients have asked me to shoot with the SOOC (Straight Out Of Camera) colors in mind. So, what I shoot is what they get. But I’ve never been satisfied with the color science of the FS7 and FS7 MKII straight out of camera. To my eyes, skin tones in particular on both cameras have a specific blue/cyan quality, straight out of camera, that looks unflattering to me. But on the FX9, you’ll find a new gamma and look called S-Cinetone, which is straight out of camera, and its color that is supposedly profiled to resemble the color science from the Sony Venice, which produces very nice, accurate, flattering skin tones.

    Sony PXW-FX9
    The Sony PXW-FX9 utilizes the same Sony XQD card format as the FS7 and FS7 MKII.

    My verdict? I shot three interviews with the FX9—and all were very flattering, SOOC. If felt the footage looked wonderful with saturated colors that look appealing without appearing cartoon-like.

    How The Sony PXW-FX9 Handled Challenging Shoots

    To test the FX9, I decided to shoot with it in the field as much as possible instead of spending time shooting test charts and taking measurements. It’s generally how I can tell how these cameras behave on real-world shoots in paying, high pressure, one-take situations. Here are the results of my shoots:

    Shoot Number One–Santa Rose Trail: I’ve recently been in production on a project that has a spectacular sunset in the script, which gave me an opportunity to see how portable the FX9 is.

    For this shoot, I needed to hike to the top of some nearby cliffs, which, for me, wasn’t that far a hike, distance-wise. It was roughly 2.5 miles from the parking lot to the spot I chose. Now, I have hiked this trail dozens of times, and it’s pretty easy for me (since I’m an avid hiker). But that’s not when I am not carrying an 18-pound camera in one hand, a 22-pound tripod on the opposite shoulder and a 15-pound backpack on my back. So, by the time I made it to the top of the cliffs, I had had a pretty good workout and needed to rest a couple of times.

    Sony PXW-FX9
    In real-world shooting conditions, I found the FX9 to be a solid performer. It was predictable and ergonomically sound, and, most importantly, my clients found the footage to be great for their needs.

    It was a somewhat strenuous trek, but I was rewarded by a spectacular sunset, and the FX9 was a joy to shoot with. Technically speaking, the variable ND was extremely useful, since I could pan on and off the incredibly bright sun and some rock formations surrounding it, and the Variable ND on the FX9 would smoothly ramp up the exposure so I could keep the same f/stop, ISO and shutter speed.

    Shoot Number Two–Interview Day: I shot three different interviews—all set in different locations of an LA library—for director Robert Bader. For this shoot, it was the first time I had a chance to use the FX9’s face detect/auto focus, and the results were impressive. The AF box tracked the talent like glue and never wavered even once.

    On the same shoot, I switched the camera from Slog3.Cine gamma to the S-Cinetone gamma—the producer requested that I achieve a usable look straight out of camera—and we both were happy with how the FX9 rendered skin tones on our talent.

    Audio was excellent, too: I ran a Schoeps CMC641 Supercardioid boom mic into channel one and a TRAM TR50B wired lavalier into channel two. I liked how the FX9 supported four audio channels, allowing me to duplicate my two inputs to channels three and four, and offset them to -10dB lower as my safety channels. Since I was handling the audio myself as well, I was happy the FX9 made that task easy.   

    Shoot Number Three–Interview Day: For our interview with a film restoration artist, we set up shop in the screening room at Post Haste Digital in Los Angeles, which would be a good test of the FX9’s dynamic range. Here’s why: We needed to achieve a flattering image, but it would have to be a low-light level on the talent, since we needed to project images and footage from her work on various film projects, all from the silent film era, in back of her.

    Sony PXW-FX9
    An interview with a subject in a sunroom. Note the windows behind him, which were not tinted or ND gelled. The FX9’s 15 stops of DR allowed me to hold a decent amount of detail in the windows while illuminating the subject with only two small LED panels and a diffusion disc.

    Most projection systems aren’t very bright, especially in comparison to the lighting output you’ll use to light your talent. It means the camera needs to be able to handle a decent amount of dynamic range to expose the talent and the projection behind them evenly.

    Here again, I used the FX9’s high ISO base of 4000, which looked good, even though I was using the relatively slow Sony FE 28-135mm f/4.0 OSS G lens. And I even tested the camera’s gain at +6dB, and I was pleasantly surprised at how little grain was visible running the camera at ISO 4000 and adding gain.

    And once again, the face detect/auto focus behaved flawlessly, even under low lighting levels.

    Shoot Number Four–Harbor Shoot: For my last day with the FX9, I decided to capture windsurfers. However, I was disappointed, since the weather and conditions just didn’t cooperate. I even drove more than 100 miles up and down the Southern California coast at several spots that are popular with windsurfers. On the first day, we had light rain and no wind, and on the second day, the sky brightened up, but there was still no wind. So we didn’t see any regular surfers. I decided to take the camera to the harbor to shoot footage of whatever I could find there. Fortunately, I saw a class of lifeguards on the beach, running in and out of the water and up and down the beach. It allowed me to capture subjects with movement.

    Sony PXW-FX9
    I was impressed at the painterly look I was able to achieve shooting this sunset on a local trail using the FX9’s Variable ND feature that allowed me to pan on and off the sunset while holding a similar overall exposure with smooth ramping of the ND to compensate.

    I positioned myself at the mouth of the harbor, up on a breakwater, where I also photographed pelicans, herons feeding, and boats entering and exiting the harbor.

    I used the Sony FE 100-400mm F4.5-5.6 OSS G telephoto zoom lens, selecting a variety of frame rates and sensor sizes, and even shot some 120 fps footage of the subjects. In my opinion, the footage looked good, and the FX9 behaved well in these extremely bright, contrast-filled conditions.

    I did make one discovery while shooting: When you shoot S&Q (slow and quick) frame-rate footage, the FX9 is manual focus only, a challenge when shooting moving subjects at a 400m focal length. Overall, though, the FX9 behaved well, and the images are great.

    Sony PXW-FX9
    The FX9 S-Cinetone Gamma setting helped me to easily and quickly dial in an image straight out of camera that looks really good, like this interview shot at a post house screening room with a film restoration expert.

    Sony’s XDCA Extension And Shooting RAW

    If you want to capture RAW video, you may be disappointed to learn that the FX9 doesn’t (and probably never will) have the ability to record RAW internally. There’s an external solution, but it’s pricey: You’ll need Sony’s optional XDCA-FX9 extension unit, which costs $2,498 extra. It has a 16-bit RAW output on it via a BNC connector. You then need to buy additional hardware: A future RAW-recording solution will likely require a separate third-party device, for an additional $1,500 to $2,500, to actually record the 16-bit output of the XDCA-FX9 back.

    Aside from the expense, this hardware adds significant weight and cable clutter to the FX9, as well. What this means is that if RAW recording capability is important to you, the PXW-FX9 may not be the right choice. However, I look at this issue a little differently and like what Sony has done with RAW and the FX9. The market segment that buys and uses the FS7 and FS7 MKII rarely would ever need RAW recording. With the FX9, Sony provides a potential option for RAW capture.

    Sony PXW-FX9
    I walked away from a week of shooting with the FX9 impressed by its performance.

    The Bottom Line

    The Sony PXW-FX9 is a very intelligently updated version of the FS7 MKII. In doing so, they’ve produced an excellent camera with a very capable full-frame 6K sensor package. Also, I was impressed with Sony’s AF technology, which is probably the best in the business. The FX9 isn’t the best camera for every user and application, but it’s a very good, solid, all-around, versatile digital cinema camera.

    Also, for $11,000, it has a lot of quality and a robust feature set. And while it’s not a perfect cinema camera, when you go down its list of headline features, there is a lot to get excited about. In its segment, I think the FX9 is going to be hard to beat for working pros in the corporate, event and reality markets. If you are in the market for this type of camera, you should borrow, rent or evaluate it because I think the FX9 will be a relevant camera in our extremely fast-changing market for years to come. 

    The post Hands-On Review: Sony PXW-FX9 Digital Cinema Camera appeared first on HD Video Pro.

    Gigabyte Z490 Vision D (Thunderbolt 3) + i5-10400 + AMD RX 580

    CaseySJ's Comet Lake-S in BeQuiet! Pure Base 500DX: Gigabyte Z490 Vision-D - i5-10400 - UHD 630 - AMD RX 580 (Please do not quote this guide in its entirety...

    Full Acceleration for Intel HD 3000 and older NVIDIA Graphics in macOS Catalina

    445437 Verified for macOS Catalina 10.15.2, the Legacy Video patch package enables full acceleration for Intel HD 3000 and older NVIDIA Cards in macOS Catalina...

    [Success] Mini-ITX build GIGABYTE Z390 I AORUS PRO WiFi + i9 9900K

    benmingli'S Build: Gigabyte Z390-I AORUS PRO WiFi - i9-9900K - UHD 630 - AMD RX 570 375003 Components Intel Core i9-9900K Desktop Processor https://www.amazon.ca/dp/B005404P9I/?tag=tonymacx86c0c-20 https://www.amazon...

    Beelink GT-R : un autre MiniPC sous AMD Ryzen 5 R3550H

    A la mi Juin, je vous expliquais qu’une nouvelle génération de MiniPC abordables et capables de remplacer une tour classique, allait débarquer. Qu’une révolution était en train de débuter. L’annonce du Minisforum Deskmini DMAF5 était un signe annonciateur de cette nouvelle génération de machines. Aujourd’hui, cette nouvelle gamme de solutions se confirme avec l’annonce du Beelink GT-R. 

    On retrouve sur le Beelink GT-R un élément commun avec la machine de Minisforum, le Ryzen 5 R3550H. Un processeur signé AMD qui déploie quatre coeurs et huit threads. Le tout cadencé de 2.1 à 3.7 GHz et associé à un chipset Radeon Vega 8 à 1.2 GHz. Une solution robuste qui permet d’exécuter tous les programmes classiques d’un PC familial : bureautique, multimédia, retouche d’image, montage léger, conception et impression 3D et même jeu 2D et 3D. Ce Ryzen 5 n’est pas un monstre de performances mais il est largement suffisant pour de nombreux usages et pourra, par exemple, réaliser des montages vidéos FullHD et lancer des jeux 3D récents peu détaillés.

    Beelink GT-R

    Dans le Beelink GT-R, cette puce sera bien entourée. La marque va vendre son MiniPC sous plusieurs formats allant du barebone nu, sans mémoire ni stockage, jusqu’à des versions pré-équipées. L’engin proposera deux slots de mémoire vive DDR4, ce qui devrait lui permettre de piloter au moins 32 Go de mémoire vive. On pourra également profiter de deux slots au format M.2 2280. Le premier sera compatible PCIe NVMe et le second limité au SATA 3.0. Enfin, un emplacement 2.5 pouces pour un stockage SATA 3.0 supplémentaire sera également disponible. On pourra donc piloter 3 solutions de stockage différentes avec cet engin. 

    Beelink GT-R

    Le tout sera ventilé activement par une solution assez complète comprenant un système de caloduc en cuivre et un double ventilateur en extraction. Un système complet et assez classique qui pousse de l’air frais sur des ailettes vers lesquelles la chaleur a été transportée. On n’aura donc pas un engin fanless mais il est possible que les moyens employés par la marque permettent de profiter d’un engin relativement discret en terme de nuisances sonores. On note au passage que le système de refroidissement est placé au dessus du châssis et non pas en dessous de la carte mère, un point positif pour l’ensemble de la ventilation globale qui permettra de garder un processeur plus facilement au frais malgré ses 35 watts de TDP. 

    Beelink GT-R

    Le boitier du Beelink GT-R lui même participera à la dissipation de la  chaleur. Avec une coque en aluminium, il protégera bien l’ensemble de la machine tout en proposant une option originale pour un MiniPC de ce type. Au dessus du châssis, on retrouve un lecteur d’empreintes digitales qui pourra piloter un système d’authentification et de chiffrement. 

    Beelink GT-R

    La connectique est bonne avec en façade deux ports USB 3.0 type-A, un USB Type-C, un port jack audio combinant casque et micro, un double micro pour piloter une solution d’assistant personnel. Et, en plus du bouton de démarrage, un bouton reset. Je ne pense pas qu’il s’agisse d’une bonne solution de placer ce bouton qui ré-démarrera la machine à cet endroit. J’imagine que des erreurs de manipulation pourraient être faites et un placement à l’arrière pourrait être plus sécurisant que de placer ce type de bouton entre les ports USB et le bouton de démarrage. On pourra sans doute débrancher le connecteur de ce bouton assez facilement pour éviter tout ça.

    Beelink GT-R
    Sur la partie arrière du Beelink GT-R, on découvre de très belles choses avec une alimentation jack classique, deux ports réseau Ethernet Gigabit ce qui est une excellente nouvelle pour piloter deux réseaux distincts avec ce type d’engin, une double sortie vidéo HDMI2.0 et un Displayport 1.4. Les trois ports permettront d’afficher des contenus en UltraHD à 60 images par seconde et en HDR.

    Beelink GT-R

    Le port USB Type-C de façade étant également compatible DisplayPort, il sera possible de piloter quatre écrans en simultané avec l’engin. Un point qui pourrait intéresser certains métiers.

    Enfin, quatre autres ports USB 3.0 sont présents pour un total de 6 au global. Parfait encore une fois pour remplacer une tour classique avec l’ensemble des accessoires traditionnels : De la webcam au clavier en passant par une imprimante et des manettes. Il manque peut être pour pinailler un lecteur de cartes mémoire SDXC qui n’aurait pas été désagréable mais on pourra en connecter un en USB 3.0 facilement. Le MiniPC propose évidemment un Wifi5 ainsi qu’un module Bluetooth 4.1 pour piloter des systèmes sans fil.

    Beelink GT-R

    Le Beelink GT-R fait tenir tout cela dans un châssis un peu plus grand que d’habitude avec 16.8 cm de large pour 12 cm de profondeur et 3.9 cm d’épaisseur. Cela reste très très compact et comme l’engin propose une fixation de type VESA, il sera possible de le fixer sur un meuble ou derrière un écran facilement. 

    Le Beelink GT-R est annoncé comme 100% compatible Linux et Windows et si on ne connait pas encore sa date de commercialisation ni les prix demandés par la marque, je suis persuadé que ce type de machine va bouleverser le marché. Plus complète et plus efficace, elle ne remplacera pas un PC Expert spécialisé dans un usage mais sera parfaite pour un usage familial avec très peu de choses inaccessibles dans cette optique.

    Voilà également pourquoi il ne faut pas se précipiter sur des offres comme celle du Minisforum Deskmini DMAF5 en financement participatif. Il est possible que cet engin soit une meilleure affaire au final et profite d’une commercialisation traditionnelle. Comme il est possible que d’autres constructeurs de ce type lancent leur propre version d’un MiniPC sous Ryzen 5 et fassent jouer la concurrence et les prix.

    Source : Beelink

    Beelink GT-R : un autre MiniPC sous AMD Ryzen 5 R3550H © MiniMachines.net. 2020.

    NAGRA secures Taiwan Broadband Communications’ hybrid Android TV STB 4K service

    Par : visitechpr

      * The NAGRA Security Service Platform and NAGRA Connect content protection technology will secure the operator’s new hybrid Android TV offer * New service will enable a fast time-to-market solution and new revenue streams through Android TV based 4K Ultra HD content, OTT and premium interactive services * Solution leverages a comprehensive portfolio of ...

    The post NAGRA secures Taiwan Broadband Communications’ hybrid Android TV STB 4K service appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    Atomos enables large format 12-bit 4K ProRes RAW recording with Fujifilm GFX100

    June 30, 2020 Atomos is excited to announce RAW over HDMI recording with the Fujifilm GFX100 and Ninja V 5” HDR monitor-recorder. The Ninja V will record up to 4Kp30 12-bit Apple ProRes RAW video from the GFX100’s state-of-the-art large format CMOS sensor. This makes it the world’s first commercially available medium format RAW video ...

    The post Atomos enables large format 12-bit 4K ProRes RAW recording with Fujifilm GFX100 appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    Studio Monitor - Black Video from Multicast Streams (Win10)

    Par : muzicman82
    I posted this on the NDI Facebook Group, so if you've seen this already, I apologize.

    Brand new clean Win10 install (it's an Intel NUC8). All drivers up to date.

    With NDI Tools installed (downloaded today, so 4.5), I get just a black screen for either of two multicast streams on this network... but they work fine on another system on the same switch (Netgear M4300).

    In Wireshark, I can see the IGMP membership reports and leave messages, and all of the UDP packets the same as on the working system. I can also see the querier messages.

    Win10 firewall is all disabled.

    Just for kicks, the multicast prefixes are different for two BirdDog P200 cameras.

    I can get NDI Test Patters from working computer over to the NUC, but that isn't multicast. I can also get Test patterns from the NUC to the working PC... also not multicast.

    The NUC does not have any other network connections active... Bluetooth and WiFi are disabled. The Ethernet connection is set to a Private Network. I disabled EEE and low power modes on the driver.

    It doesn't matter if I close Studio Monitor on the working system.

    The IGMP snooping table for the Netgear M4300 switch shows the same things for both clients.

    BirdDog Multiview shows the streams perfectly fine! If I run Studio Monitor at the same time, I don't get extra membership reports in Wireshark, and closing one of them doesn't give a leave group message.

    I also installed OBS with the NDI plugin. The multicast streams show up there just fine as well.

    As another exercise, I set a BirdDog decoder to decode one of the multicast streams, and hooked the HDMI output to the HDMI input on a BirdDog encoder set to transmit multicast. That stream opens just fine on the working PC but not the other. But, the decode/encode cycle tells me multicast is working OK.

    Unicast streams open in Studio Monitor just fine.

    I also set up a 3rd PC today and that one also just gives black screen. What am I missing here?

    7 Production to Roll Out Middle East’s First 4K OB Truck with Grass Valley Solutions

    MONTREAL – June 30, 2020 – UAE-based 7 Production, one of the Middle East’s leading video production service providers, has chosen an end-to-end Grass Valley workflow for its latest 4K UHD outside broadcast (OB) truck – the first of its kind in the region. Grass Valley’s market-leading solutions give 7 Production the flexible, future-ready capability it needs to ...

    The post 7 Production to Roll Out Middle East’s First 4K OB Truck with Grass Valley Solutions appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

    Acer ConceptD 3 Ezel : un ultraportable pour un autre type de créateurs

    Le Acer ConceptD 3 Ezel reprend donc les puces Intel Core i5-10300H et i7-10750H Comet Lake-H du ConcptD 3. Des puces associées de 8 à 16 Go de mémoire vive DDR4 et un SSD NVMe M.2 allant jusqu’à 1 To. La partie graphique sera confiée à des circuits mobiles Nvidia GeForce GTX 1650 Ti et GeForce GTX 1650.

    Acer ConceptD 3 Ezel

    Cette base de processeur sert d’architecture à l’ensemble de la machine avec un trio d’options d’affichage : L’entrée de gamme proposera un Intel UHD fourni par le processeur Intel, le milieu de gamme sera un chipset GeForce GTX 1650 qui sera également décliné dans une version avancée “Ti”. Le modèle le plus haut de gamme aura droit à une solution Nvidia Quadro T1000. La mémoire vive pourra grimper à 16 Go de DDR4 et le stockage, sera assuré par un SSD M.2 PCIe NVMe qui pourra grimper jusqu’à 1 To.

    Acer ConceptD 3 Ezel

    Là différence vient de la charnière d’écran de l’engin, un montage particulier qui permet de basculer la diagonale de 14 pouces FullHD de manière à venir coiffer le clavier pour se positionner comme une tablette graphique. La dalle IPS en profite pour afficher une colorimétrie validée par Pantone et calibrée pour correspondre à un 100% sRGB. La luminosité passe à 400 nits et, évidemment, la dalle devient tactile et compatible avec la technologie de stylets EMR de Wacom avec 4096 niveaux de pression en plus de proposer une fonction capacitive classique. De telle sorte qu’il sera bien possible d’utiliser le ConceptD 3 Ezel comme une solution mobile de dessin. 

    Le Acer Aspire R7

    Acer repend donc son idée lancée en 2013 avec ses Aspire R7 et largement améliorée depuis avec le ConceptD 9 Pro, un mastodonte de 17.4 pouces sous Core i9 et Quadro RTX 5000 qui proposait lui aussi une charnière basculante.

    Acer ConceptD 9 ProConceptD 9 Pro

    L’idée est la même mais évidemment la machine est beaucoup plus portable avec un poids situé entre 1.68 et 2.02 kilos suivant les fonctions embarquées et des dimensions contenues pour un 14 pouces : 32.67 cm de large pour 22.9 cm de profondeur et 2.39 cm d’épaisseur. L’autonomie variera de 15 à 18 heures suivant les modèles et leurs circuits graphiques.

    Acer ConceptD 3 Ezel

    Pour le reste, on retrouve la même connectique comprenant deux ports USB 3.1 Type-A, un lecteur de cartes SDXC, un jack audio stéréo combo, un port antivol Kensington Lock, un jack d’alimentation, un USB Type-C Thunderbolt 3.2 et deux sorties vidéo en HDMI 2.0 et en MiniDisplayPort. Avec, en plus, un Wifi6 et du Bluetooth 5.0, on retrouve bien une panoplie identique au ConceptD 3.

    Acer ConceptD 3 Ezel

    Et cela jusqu’au clavier rétro éclairé orange sur fond blanc de la machine, j’entend d’ici les hurlements de certains lecteurs face à ce choix si particulier.
    Acer assure que son ConceptD 3 Ezel sera sage en terme de bruit de ventilation malgré son équipement haut de gamme. L’engin ne devrait pas dépasser les 40 dB.

    Acer ConceptD 3 Ezel

    Ce nouvel ultraportable si situe au final sur un autre segment que le ConceptD 3. Conçu pour les créateurs graphiques et les utilisateurs de logiciels de retouche tandis que la version à charnière classique attirera probablement plus les architectes et autres designers 3D. Reste que je ne connais pas beaucoup de créateurs qui travaillent sans raccourcis clavier.

    C’est peut être le manque de cette offre, lorsque l’écran vient se positionner par dessus le reste des dispositifs de saisie, le portable se transforme uniquement en tablette. Un choix nécessaire pour utiliser une dalle stable mais qui n’aura de sens qu’en vraie mobilité. Le reste du temps ce choix sera peut être un handicap. 

    Le Acer ConceptD 3 Ezel sera commercialisé au mois d’Octobre à partir de 2199€.

    Acer ConceptD 3 Ezel : un ultraportable pour un autre type de créateurs © MiniMachines.net. 2020.

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