Teradek Serv Pro and VUER – ProVideo Coalition

“Teradek’s Serv Pro is a $1799 camera-top wireless transmitter, sending H.264 video and audio to as many as ten iPhones, iPads, or iPod touches. VUER is the free app that receives the Serv Pro’s transmissions. The two combined form a wireless monitoring system for any production that needs to show a feed to multiple people.”

I really can’t encapsulate it easier than that.  As the reviewer mentions, with some of Teradek’s products, you need a degree in arcane networking to make them work. I’ve been leary of their solutions for that reason, but they seem to have made this one very easy.

Source: Review: Teradek Serv Pro and VUER by Adam Wilt – ProVideo Coalition

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The Nikon D850 Doubles as a 45.7MP Film Scanner

Interesting attachment.  Last winter I scanned over 1500 old family slides.  It’s a tedious process on a flat bed scanner.  This would be roughly twice as fast I estimate, but with much better quality and range of adjustment since you’re shooting RAW.  I don’t see any mention in the article of what you’re using to backlight the diffusion screen with.

If you have the camera and macro lens already anyways, it seems like a cool option.  If not, then flatbed scanners are $100.  Hmmmm.

Source: The Nikon D850 Doubles as a 45.7MP Film Scanner

A “Deep Dive” at AbelCine in Los Angeles

As part of KOAT’s original content series, I stopped into AbelCine in Los Angeles to have a look at their cinema sales and rental operation.  The always enthusiastic Andy Shipsides sat down for a talk about surviving in a service industry, and their possible future moves.

Christie projectors don’t come cheap, and I was pretty impressed that they offer their clients a calibrated viewing theatre, both for dailies and training purposes.  Abel has an idea about how things should be done, and if that means they have to design their own gear to meet that standard, then that’s what they do.  Hope you enjoy!

Cinefade Blows Them Away

Cinefade

One of the booth videos I featured at CineGear was from a company called CineFade (no relation  🙂 ) They are using mainly existing technology in a novel new way.  Their system allows you to modify depth of field, without changing focus or exposure.  Say what?  They have synced a FIZ unit to change aperture value (affecting DOF) while counteracting the respective change in exposure by simultaneously adding or subtracting neutral density value.  They do this by making a variable ND filter out of two polarizers.  The iris and the ND are mapped to each other over the length of the variability so there is no “stepping” or anything to give the change away.

Sony is doing the same thing on their FS5 and FS7ll cameras, but this is the first system I’ve seen that does it for any camera/lens combination and is designed for cinema use.  Remember the first time you saw a Dolly Zoom?  (There’s actually a pretty good one in Guardians of The Galaxy 2 when Peter realizes -SPOILERS- that Ego killed his Mother).  The effect on DOPs that are seeing the process for the first time is pretty profound.  Oliver from Cinefade put together a little film of their reactions at CineGear.  Fun to watch, and nothing makes you “get it” like watching the effect happen in real time.  Fair warning: strong language if that’s not your thing.

Check it out by clicking here.

Go Behind the Scenes of an Air-to-Air Shoot of a Boeing 787 | Fstoppers

Air Canada has to repaint its planes every ten years, so since they’re going to be doing it anyways, it makes sense to do a redesign at the same time.  And, once you do the redesign, you need new marketing materials.  Have a look as they use a Lear Jet outfitted with a RED camera to take some spectacular footage.  As the reviewer says, it almost looks CGI.

Source: Go Behind the Scenes of an Air-to-Air Shoot of a Boeing 787 | Fstoppers

Notes on Apple HEVC and HEIF from WWDC17

At the World Wide developer’s Conference, Apple detailed their plan to move to the h.265 High Efficiency Video Codec going forward with the release of their High Sierra OS for Mac.  Here’s a little background on what you can expect.  What was interesting to me is that it will encode depth details as metadata, and it can do 10bit.

Source: Notes on Apple HEVC and HEIF from WWDC17