SMPTE Sydney was a couple of weekends ago and everyone has finally recovered enough to send out a few updates and reviews!
My apologies for the poor pun. But we are!
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
Check out the NoFilmSchool article here.
NewMagic recently published a Top Five questions FAQ about the Blackmagic URSA. Give it a read! Continue reading
We’ve recently begun shipping Blackmagic’s new Pocket Cinema Camera at one of the lowest prices in Australia.
After making a splash with the Cinema Camera in the last couple of years, Blackmagic have done it again, taking the features that made the Cinema Camera so distinctive.
Dave Dugdale has a good review of it on his youtube channel here.
We’re really excited to see what the Pocket Cinema Camera might be capable of, and how it will influence the DSLR industry.
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.”
To find out more: http://www.atomos.com/samurai-blade/
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
Atomos: “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) http://www.atomos.com/samurai-blade-firmware/
IBC 2013 kicked off last week with international AV companies scrambling to show off their new products and technologies. The whole show is being covered by IBCTV on their YouTube channel and you can check out the first episode from day 1 here:
There’s been a lot of talk lately about the next step in display resolutions. With the advent of displays capable of resolutions greater than 1920 x 1080px (CES was almost entirely 4K displays) film studios and production companies (Who have been shooting at this resolution for years) are beginning to consider mastering their releases at the 4096 x 2160px resolution or higher. Not that this is entirely a feasible prospect at the moment. The first professional 4K film, TimeScapes ,has just been released and is a whopping 160gb in size. You can see the trailer for the film below:
Pretty speccy right? Of course to get the full effect you would need to watch it on a screen capable of displaying that resolution and possessing at least 27 inches, and lets face it, not everyone has one of those.
So how much is one of these monsters going to set you back? Right now the cheapest available screen is a 55 inch UltraTV from Sony which is at minimum a $5,000 purchase with most other brands and models selling at upwards of $20,000. In addition to this an UltraHD player is required which will cost you an additional $1,000-$2,000.
Despite this, the potential is definitely there and it can be expected that with a future drop in prices for these technologies (and the possibility of a NBN) 4K will become commonplace. Several companies are already attempting to make that happen with BlackMagic releasing the BlackMagic Production Camera 4K next month and JVC planning to release their similar HMQ30 soon.
You can check out more about UltraTVs and the current state of 4K at: