ARRI has released a new Matte Box. I always regret saying this, but if you need a 4×5.65 matte box, this appears to have all the bases covered. I say regret because in trying to please everyone, inevitably there is always some needed feature left out. In my opinion, ARRI and Bright Tangerine are competing for the top of the matte box world. Interestingly on that front, ARRI is featuring a Bright Tangerine accessory in their video, but then they’ve never been shy about making accessories for other cameras too, not just Alexas.
So, clip-on with one, two or three stages and all common lens sizes. All three rod standards from the bottom or the top. 138mm bellows. Swing away. Tilting stages. Full 360 stage rotation. Flags on all 4 sides that fold flat and can stay on the unit for storage. Top and bottom mounts for a Cinetape or other accessories. Insertable mattes. Up-down and side-to-side fine tuning. Ability to use some pre-existing parts from other ARRI matte boxes. I think the only area lacking (and I’m just guessing here, I haven’t seen one in the wild) may be vignetting with super wide lenses and multiple stages. That is more a limitation of the 4×5.65 size standard than anything any manufacturer does, not just ARRI. Pretty comprehensive.
I’m sure it won’t be cheap, but then quality gear never is.
Source: ARRI introduces Matte Box LMB 4×5 by Jose Antunes – ProVideo Coalition
The Post audio guys I know say they couldn’t do their job without the software tools provided by iZotope. For those of you who don’t know, their software visualizes audio as a “spectrogram”. Rather than just a loudness waveform, a spectrogram looks at frequencies and loudness over time. The upshot of this is that problem audio can be visually isolated. What’s that mean? You can see a visual representation of the audio, and edit it visually. Even simpler? Draw a circle around the problem audio in the visual realm, and RX 6 will cut that specific part out of the audio realm while leaving the rest of the signal pretty much untouched. It’s magical to watch in action and has saved editors countless hours. Up until now it’s been fairly tailored to video professionals (that’s a broad statement I know, anybody can use any software for anything) but in this latest release, they are throwing in a few music related features. Canadian (yay!) Geoff Manchester demos the latest changes for Sweetwater Sound.
So, let’s recap. A solution that is essential to anybody serious about doing audio for Pro video. Blackmagic Design has decided to get serious about audio for Pro video in their latest Resolve release by integrating their Fairchild purchase. BMD virtually took over the color timing world by making Resolve free. How long do you think it will be before BMD buys iZotope, integrates it into Resolve and “forces” everyone to give up Pro Tools? I could see such a move taking them to the top of the audio for video market virtually overnight, especially considering the collaboration and editing tools they’re building into the latest Resolve.
I have zero inside knowledge, I’m simply speculating. But I could see it happening…..
It’s a fairly safe statement to say that few people know more about Apple and Post Production than Michael Cioni. BTW, if you don’t know, his company Light Iron was acquired by Panavision a couple of years ago.
In a rather lengthy video posted by http://www.fcp.co, he puts forth that now is the time for the Apple Post community to come together and hold Apple’s feet to the fire over the new Mac Pros coming next year. I totally agree, and gave Apple a little poke in the ribs earlier by comparing their statement on the current Mac Pro to Trump’s on health care. Maybe a bit extreme, but while I am a huge Apple fan, I get a bit tired of sycophants genuflecting before the Great & Mighty Apple like they can do no wrong.
Give it a watch if you have the time. At 25 minutes in he talks about a major change that’s happened recently that can help bring your older Mac into the modern age.
Source: Michael Cioni: Do I Have Stockholm Syndrome with Apple?
It may not be an accurate measure, but the size of a company’s booth at NAB is some indicator of their size and position in the video production industry. Using that metric, I think it’s safe to say that Blackmagic Design’s influence now ranks up there with some of the biggest companies in the industry.
They launch interesting products every year, and their aggressive pricing has forced competitors to adapt (or fall by the wayside). I didn’t cover this year’s releases. There’s a hundred sites that are, and you can watch Blackmagic’s own press conference here.
Instead, I asked to sit down with a corporate representative to talk about their growth, how they view themselves, and possible future directions.
One reason for their success is their open corporate structure, openness that allowed a small blog access to a corporate officer. I thank them.
One of the cool things about NAB is that by its nature, it’s full of media people. By that I mean the people that create media, but also the people that are in that media. I talked about scaring Matt Allard earlier, I tried to be a little cooler when I stumbled upon Mr. Curtis Judd and his brother Today. I know him from his excellent Youtube channel “Learning Light & Sound”.
His presentation is very polished, he explains things in a clean logical manner, and he backs up his conclusions with data.
They had gotten to the show late, and so hadn’t had much of a chance to see the sights, but he was nice enough to sit down and share a few of his thoughts. Thanks Curtis, it was nice to meet you.
BTW, the two items he’s interested in I’ve covered: the light is here, and the recorder is here.
Sounds like Jordan and Chris have come to some of the same conclusions about the A9 that I have.
Sony has really been killing it on the sensor front lately, and the latest news is that they are now #2 in full frame interchangeable lens cameras, having passed Nikon. My personal opinion is that Nikon’s days are numbered. Cell phones have blown up the point & shoot market, so the only place to make any money is the high end. When cameras were precision mechanical engineering and film, “heritage” camera manufacturers ruled and making inroads as an upstart would be hard just from overcoming inertia. Now though, sensors are film. Electronics have replaced mechanics. If you’re Nikon, and you don’t own the core technology of creating your product (sensors, eyepieces and storage), you’re always going to be at the mercy of someone else. This can’t help but eventually lead to inferior products, and then slow death. Nikon (and Canon) have a buffer against their eventual doom because of the respective libraries of quality glass they’ve built up over the years. But Sony thought of that.
The smartest thing Sony ever did with their mirrorless cameras was 1) design them so that using an adaptor they could be used with other manufacturer’s lenses, and 2) made their stabilization technologies in-body.
Up until now, Sony was content to chip away at the big two by stealing sales where they could. When the iPhone was released, Steve Jobs said something to the effect of “Apple is the only company in the world capable of making this product. Only Apple has the software, hardware and design integration to pull this off.” And he was right. It bought them a two year lead. From not having a dog in the race, to now owning 90% of the smart phone profits.
Mark my words: Sony’s A9 is the major turning point on their way to becoming #1 in the high end interchangeable lens still camera world. Sony just fulfilled every sports shooter’s dream list and it did it using technologies that can only come about by abandoning the DSLR model. Think Nikon has a 4K 120Hz viewfinder under active development? I doubt it. It will take a while, but I think Sony’s heading for the top.
Now. What are they going to announce at NAB tomorrow that is going have them make headway in the (very different) cinema market? I don’t know, but this blog will be covering it.
Source: Sony A9 aftermath: TheCameraStoreTV says hell yeah DSLR are dead ! | sonyalpharumors
So, shortly before I let this blog lapse 5 years ago, I did a story on Apple’s apparent lack of interest in significantly updating their Mac Pros:
This was before they launched the “trash can”. You know, can’t innovate any more my ass. Then they proceeded to let it die on the vine with no significant updates for 3 years.
I like John Gruber. He has integrity, and his writing is fair and logical. He ends with:
“Ultimately, actions speak louder than words. But I very much like the words I heard yesterday.”
I think that’s being a little too kind to Apple’s management. They’ve botched this for five years now. And no hope in sight until next year, so potentially seven years. But the fact that they’ve said “sorry” is supposed to have us kissing their ring.
Them saying “As we’ve said, we made something bold that we thought would be great for the majority of our Mac Pro users. And what we discovered was that it was great for some and not others. Enough so that we need to take another path.”
That sounds to me a lot like:
“We have come up with a solution that’s really, really I think very good…..Now, I have to tell you, it’s an unbelievably complex subject,……Nobody knew health care could be so complicated.”
So what is taking a company with Apple’s resources (essentially unlimited) 12 to 24 months to build a box with lots of CPUs and GPUs? I mean Linus Sebastian could have this done in a day.
Maybe they’re making their own CPUs? Or, maybe they’re making their own GPUs? Just the very thing needed to drive whoever has hung around long enough from the Mac professional community directly into Wintel and Adobe CC forever.
Source: Daring Fireball: The Mac Pro Lives