Does The Chair In Your Edit Suite Swivel?

Apple’s teased iMac Pro launches Today, and to take advantage of all that new horsepower, they are also shipping a major revision to Final Cut Pro X (can we drop the X at this point?). 9 to 5 Mac has a nice walk through.

Colour timing has much finer control, you can edit 360 degree video, and there is native support for h.265 among other new features.

The iMac Pro looks like good bang for the buck in its base configurations, but adding options raises the price quickly.  After they abandoned pro users by not updating the “trash can” Mac for 3 years, this is the machine that was going to be their new high end machine.  They’ve since said in public that they are working on an even higher end modular pro machine that will come sometime in 2018.

As someone who loves Mac and uses FCP, I’m glad to see Apple’s renewed focus on pro users.  I can’t see myself switching eco-systems to Windows anytime soon.  But I’m also gun shy about Apple’s dedication to the Mac and pro users.  You pay a pretty steep price premium for hardware in the Apple universe.  It’s hard to make that sort of investment when you see their commitment sometimes varies like the wind.

Source: Hands-on: Final Cut Pro 10.4 adds 360 VR, advanced color grading, HDR support, and more [Video]

Advertisements

MASV 2.0 – the pay-as-you-go massive file transfer service just got better – Newsshooter

This looks very promising.  In this age of no-tape cameras, getting shot footage to clients can be problematic.  You don’t want to hand over your expensive memory card to them and watch them get on a plane, so that generally means buying an external hard drive for the footage and shipping it to them.  This means a trip to the store and back, money for the drive, and money to ship the drive.  Kind of archaic in our modern age.  But file transfer services can be a pain in the behind as well.  FTP is fine if they have a server, but most don’t.  Large video files run over the limits of a lot of the other services.  Some services require custom software, often with a licensing fee.

MASV seems to have addressed a lot of these problems.

Fast – Browser based – Encrypted – Pay As You Go

Worth a look.

Source: MASV 2.0 – the pay-as-you-go massive file transfer service just got better – Newsshooter

Sony Venice Fully Functional FF in February | Film and Digital Times

Here’s a little bit of good news.  I (and others) was critical of Sony when they announced their VENICE camera because it was going to launch missing a lot of features that I thought it should have.  It appears Sony listened (not to me, I’m not that full of myself), because they have made a MAJOR feature change for the launch.

Source: Sony Venice Fully Functional FF in February | Film and Digital Times

SmallHD adds display calibration to full line of monitors with OS3 – Newsshooter

SmallHD1

The thing I like about SmallHD is that all they do is monitors.  They are not cheap, but they’re market competitive.  I also like that they’ve avoided the touchscreen craze.  Why are you going to put smears and fingerprints all over your viewing surface?  SmallHD is pretty prevalent out in the field, and calibration could possibly help get them into more edit suites.  I once had a DIT tell me that in his opinion SmallHD’s high brightness panels were not as accurate to his eye as regular brightness Flanders Scientifics or OLED Sonys.  With the release of their P3X, and now the calibration, they are definitely at the same level with those two.

P.S.  That spot metering waveform feature is pretty cool.

Source: SmallHD adds display calibration to full line of monitors with OS3 – Newsshooter

ARRI Rolls Out New Master Grips, Remote Head, Wireless Lighting System and More

ARRI has announced a number of new products at IBC.  I’m interested in the news that they have adopted the Lumen Radio standard for controlling their LED panels. With Kino-Flo also building Lumen wireless into their lights, I guess it’s “safe” now to invest in what the industry seems to have chosen as a de facto standard.  Check out my two video reports from CineGear on this.

One talks with Lumen Radio about their laptop control software:

The other talks with the company Cinelex, who are making fader/lighting control panels with a Lumen Radio built in:

Source: ARRI Rolls Out New Master Grips, Remote Head, Wireless Lighting System and More

Sony’s VENICE Full Frame + S35 Camera | Film and Digital Times

UPDATE: Newsshooter has an interview discussing the camera

 

Well, Sony’s long teased Full Frame cinema camera has finally been revealed.  Jon Fauer had early access and has a 28 page report on it if you want to dive deep.

My first impressions?  Promising, but hampered.  It will ship with only limited capabilities.  Sony has teased this long enough that you would think it would be a little more fully baked on release.

The positive?  They have learned a few things.  The viewfinder uses a LEMO connector rather than their proprietary flat multipin, and the connector is mounted at a point that it won’t immediately snap off (it might get in the way of lens accessories though).  It has industry standard 12V and 24V power connections.  The lens mount is really interesting.  Flat to the sensor is a locking E-mount, but fitted overtop of that, is a really solid looking PL mount that can be removed with 6 screws.  The camera has 8 levels of ND filters built in, and they can be activated remotely.  The sensor itself is replaceable, in an attempt to future-proof.  The body is relatively compact, roughly the same size as a RED with a jack pack attached, but the Sony does get significantly bigger when you add the optional external RAW recorder.  They are rating it at 500 ISO, with the option to go up to 4000 ISO.  They say that it has a better signal to noise ratio than the F65.  They are also emphasizing new colour science over outright resolution.  It will eventually record 6K RAW, whereas the F65 was an 8K camera.

The negative?  It does not have a global shutter, but Sony says “jello vision” should not be a problem.  At this point, it only seems able to do 60 frames per second.  I think the biggest negative is the incomplete feature set at launch.  This used to be a problem with RED, but unfortunately Sony has adopted this “ship it and fix it later” approach.  Those firmware updates will be free, but like ARRI, they will be charging for licenses to enable higher end features.  In my opinion, the F65 (and even the F55, in terms of a “cinema” camera) never really took off.  RED and the Alexa 65 have a lead in the full frame market, and in the cinema market in general. To quote Top Gun:

“And let’s not bullshit Maverick. Your family name ain’t the best in the Navy. You need to be doing it better, and cleaner than the other guy. Now what is it with you?”

If Sony wants to break into the high end, they need to offer better technology and complete feature sets at a lower price.  This latest offering does not cut it.

Source: Sony’s VENICE Full Frame + S35 Camera | Film and Digital Times

Sony will launch the new CineAlta full frame 36x24mm camera on September 6 – sonyalpharumors

Two weeks out from finally seeing what Sony has in store for the cinema world. I had played devil’s advocate that they might reveal this as a curved sensor, but I don’t seriously think that’s going to happen, it would alienate them with too many rental houses in terms of lensing.  I will predict that it will be very good in low light, capable of very high frame rates, and continue with their history of offering a global shutter.  I’m curious to see how big its body will be, and where they price it.

Source: Sony will launch the new CineAlta full frame 36x24mm camera on September 6 – sonyalpharumors sonyalpharumors