Exciting news from Blackmagic Design – They have announced a special price bundle on ATEM Production Studio 4K and HyperDeck Studio 12G for a limited time only.
The Blackmagic Design ATEM bundle suits customers wanting to upgrade to an Ultra HD switching workflow – which supports instant switching between SD, HD and Ultra HD video formats, providing a more advanced live production system as well as Ultra HD compatibility.
Blackmagic Design has been awarded four NewBay Media Product Innovation Awards for 2015. These awards recognize excellence in manufacturing of product to serve the television, professional video and broadcast/online radio markets. The winners are chosen by a panel of working professional engineers and managers in television, pro video and radio.
An incredibly tiny Ultra HD and HD studio camera for live production.
Small enough to fit in the palm of your hand and features an incredible quality, broadcast grade Ultra HD sensor that allows customers to see more texture and detail in their images than ever before.
Can be used for both HD and Ultra HD production and features a built in color corrector, talkback, tally indicator, PTZ control output, B4 lens control output, and an extremely flexible MFT lens mount that is easily converted to other lens mounts via third party adapters.
DaVinci Resolve 12 Studio was honoured for its many new updates, including a new modern interface, multi-cam editing, powerful new media management tools, an entirely new professional audio engine with support for VST/AU plug-ins, shot matching, 3D keyer, new 3D perspective tracker, enhanced curve editing and more.
NoFilmSchool today put up an article featuring Alex Mallis and some of his tips on filming in 8mm.
If you’ve never had the opportunity to shoot on film I’d highly recommend it. The fact that you can feel the film rolling is magical, and having a really strict shooting ratio can do wonders for your work ethic.
(I’m looking into filming some 8mm this summer, if I can wire a replacement battery compartment for the old Minolta we had stored in the roof.)
As far as the article goes, there is some really good info here on the different issues and choices you’ll run into with such a legacy format. And thanks to the big-budget directors like J.J. Abrams and Christopher Nolan, film stock will hopefully still be produced for a log time to come.
Most of the links Mallis talks about are relevant to the US (for Australia Nanolab is a good place to start for 8mm).
It’s been a while since the last post and quite a lot has happened in the world of film; another NAB has come and gone; Blackmagic have upped the anti for just about every other competitor, with a plethora of new cameras and modules; and DJI continues to innovate with cool new drone technology.
We’ll be keeping a weather eye on new developments so stay tuned! I’ll leave you with a video that could at the least be described as blasphemy. (Or maybe a DIY solution to a snorricam? Just make sure you have strong forearms.)
Joe Marine of NoFilmSchool has an article on AJA’s upcoming Cion 35mm Digital Camera, including an analysis of a post from Senior Product Manager Jon Thorn at AJA, who discusses some of the details of creating the camera, and why it took so long to release.
Personally I’m incredibly excited to see what this camera is capable of upon release. While a good camera does not a good film make, the images released appear to be the closest to filmic quality yet
Another announcement to come out of this years’ IBC is the introduction of Atomos’s new video calibration tool the Atomos Spyder. Atomos say they have identified some common issues in current recording techniques and hope to solve these with their new releases. The first of which is the aforementioned Spyder intended to ensure greater colour accuracy while monitoring resulting in an outcome that is more consistent with what you were expecting.
A statement from Atomos themselves:
“We have teamed up with Datacolor a leader in calibration equipment and produced a simple one touch calibration application that runs on Mac and PC and allows the user to instantly calibrate to SMPTE REC 709 with 6500K white balance. You connect the Spyder to the screen of the product and to the computer via USB, then connect a USB to serial cable to the LANC port of the Samurai Blade and press the one button to calibrate on the custom Atomos software. In a few minutes your screen is 100% calibrated and can be trusted for color! This is a major workflow and time saver because if you know your colors are accurate and you use the Waveform and monitoring tools provided in the Blade you will know 100% all scenes and shots are normalised and accurate in color. This will remove the need for heavy color grading in post and unlock the creative potential of video professionals by eliminating unnecessary time in color manipulation.”
Secondly, Atomos have also released an update to the AtomosOS firmware for the Ninja 2, Samurai and Ronin models which introduces new and improved audio level monitoring capabilities with their application Audio Level Meters
“We have created what we believe to be the most precise and smooth audio level meters in the industry, up their with the established high end audio players.
Samurai Blade AtomOS 5.03 receives 14 channels of precision audio level meter monitoring, you can adjust to see the 2 channels being monitored over headphones or all channels at once.
This was the final big feature requested form our customers and I am happy to say we have delivered some exception audio tools for our customers.”
To find out more or to download the updated firmware (and instructions for installation)