Gamma & Density’s Image Control Pro/Lite is the ultimate tool in quick mobile color correction. With Image Control Pro / Lite, you can import still frames from motion footage, use the digital spot meter tool to analyze exposure, color grade the image using professional tools with industry standard test instruments, then email the image in a professional report to post-production – along with the custom LUT file of the color corrections. You can do all this and more right from you palm on your Apple iPad.
Image Control comes in two versions – Pro and Lite. The Pro version contains all features and interfaces with our popular 3cP software program via a wireless connection. Image Control Lite gives users the ability to select the features they want and use utilizing in-app purchases. The cost for all in-app purchases has been reduced.
Adorama, one of the world’s largest photography, imaging, video and electronics retailers, and a leading destination for iPhone photo specialty accessories, is now selling the brand new Flashpoint ZeroGrav Camera Stabilizer. The durable rig’s well-designed levers, springs, counterbalance weights and concentric ring connections let shooters precisely control camera-in-motion shots with ease and comfort. The anti-gravity sensation eliminates shakes and bumps, giving shooters the ability to capture fluid video even when filming fast-action shots or shooting on rough terrain. Simple-to-use, shooters can attach a DSLR camera to the ZeroGrav platform or by means of a quick release adapter.
Flashpoint ZeroGrav Specifications:
Length: minimum 27in / 69cm, maximum 47.25 in / 120cm
The Flashpoint ZeroGrav Stabilizer is available online at Adorama or at the Adorama superstore.
Flashpoint is Adorama’s in-house brand, featuring high quality photo accessories and gear, such as the Flashpoint ZeroGrav Stabilizer, at price points lower than competing name brands like VariZoom and Glidecam.
The marriage of technology and creativity – ah, it’s magical!
Don’t you enjoy observing how developers and engineers build the technical foundations that exist to support us as we create media content? And isn’t it amazing to then turn around and witness that technology working to make content come to life in the hands of creative people? It is truly a daily miracle in Hollywood.
ATEME is a French company that has been on the forefront of technology since the 1990’s. There have been some recent announcements concerning the upcoming h.264 codec and changes on the MPEG4 front. So why is this important? Because it will change the way we create, transport and store our media as we move into hi-def, 4K and beyond. Benoit Fouchard is Chief Strategy Officer at ATEME and he is involved at the highest level with these new developments and is coming to the BuZz to tell us more.
Photo by Cirina Catania
Shanaya Fastjeis a lovely and talented young lady who inspires me every day in so many ways. She is a sought-after motivational speaker with a special commendation from President Obama, author of 3 books, the most recent being, “Bully in the Mirror.” She runs a production company, 13th Productions, and is creating a web series entitled, M.D. Squared.” Shanaya is also a singer/songwriter with two popular songs selling on iTunes. She is a high school graduate and…she is only 13! So if you are having a day where you can’t seem to get motivated, just listen to her for a few minutes and you will realize that you can never give up!
There is a reason why Stephen Nakamura is one of the most sought-after digital intermediate colorists in Hollywood. His work at Company 3 has brought him to some of today’s top features.. Prometheus, Zero Dark Thirty, The Departed, Kill Bill, The Terminal, The Aviator and more. His most recent work was on OZ. Speaking with Stephen, we learned that the filmmakers wanted to use a film-style LUT. It seems unusual and not necessarily the norm, particularly when the workflow included the RED camera and the film was never going to go “out to film” again. We also want to know more about color choices for those amazing costumes, the production design and numerous visual effects. Color is an art form and Stephan’s work is beautiful.
Dave Basulto is one of those great and memorable teachers. He also has another life creating and inventing and writing. He is, on the one hand, a media arts and animation instructor at San Marino Hight School in Southern California. (The program is part of the Los Angeles county Regional Occupational Program.) His students win multiple awards on a consistent basis. When not teaching, he is a journalist specializing in Avid products and the post-production community and he loves iPads for teaching, content creation and social media. With the advent of the iOgrapher, we can add inventor to his list of titles.
Don’t forget to contact me with suggestions for guests: email@example.com – please put The BuZZ in the subject line!
The last few versions of After Effects have been very stable but sometimes problems will still pop up from time to time. Quite often you know where a problem comes in, but sometimes you don’t. Sometimes there are conflicts with plug-ins, known memory issues, or a corrupt file, but a lot of times, there’s no easy answer. How do you fix something when you don’t know the cause?
Here is are some trouble shooting tips on how to fix issues you may encounter, along with some back story here and there to keep things interesting. Please share your own troubleshooting tricks with us too!
While the movie, Julie and Julia, is about intertwining two real-life stories about Julia Child and Julie Powell, I plan to focus on Julie’s side of the story. Julie Powell was about to turn thirty, was working for a government agency, had a half written book which received many rejections for publishing, and would lunch with girlfriends who were super-successful, making her feel like she wasn’t “living up to her potential.”
Ever feel like that? Your career isn’t exactly where you want it to be, you’re not expressing yourself creatively, you’re comparing yourself to others whom you feel are more successful than you?
GUESTS: Benoit Fouchard, Shanaya Fastje, Stephan Nakamura, and David Basulto
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New interviews every show! Join Larry Jordan and Mike Horton this week as they talk with:
Benoit Fouchard, Chief Strategy Officer, ATEME
We first spoke with Benoit Fouchard, Chief Strategy Officer for ATEME, on last week’s show. During that interview, we learned about the new H.265 compression codec, as well as the challenges in shooting Ultra HD (4K) video. This week, we invited Benoit back to talk more about what filmmakers need to know about shooting and compressing high-resolution images.
Shanaya Fastje, Producer, Author, and Motivational Speaker
Shanaya Fastje is a sought-after motivational speaker with a special commendation from President Obama. She is the author of 3 books, the most recent being, “Bully in the Mirror.” She runs a production company, 13th Productions, and is creating a web series entitled, “M.D. Squared.” Shanaya is also a singer/songwriter with two popular songs selling on iTunes. She is a high school graduate and… she is only 13! We talk with her this week to discover her secrets to success at such a young age.
Stephen Nakamura, Digital Intermediate Colorist, Company 3
“OZ The Great and Powerful” was recently released in theaters nationwide and there’s a lot of buzz about the “look” of the film. Stephen Nakamura, of Company 3. one of the most sought-after DI (digital intermediate) colorists in the industry, is one of the key people responsible for the look of this film. In addition to Oz, his work has been seen on countless features, including Prometheus, Zero Dark Thirty and the upcoming Spring Breakers, from director Harmony Korine.
David Basulto, Instructor, San Marino High School
David Basulto is the media arts and animation instructor at award-winning San Marino High School in Southern California. In his first three years of teaching, his students have won Silver and Bronze medals in the LACOROP annual competition. Outside the classroom, Basulto is an avid reviewer and influencer in the post-production community. He writes for Post Magazine and his own site Filmmaking Central. He is an Adobe Educational Leader and a fanatic about using iPads for teaching, content creation, and social media. He joins us this week to share this thoughts on technology and his new KickStarter campaign.
The Buzz is all the information you need now to know what’s coming next!
The Digital Production BuZZ airs LIVE Thursday from 6-7 PM Pacific Daylight Time. Ask questions during the show on our Live Chat, listen live, download an episode from the archives, or subscribe to the podcast either through iTunes or our website. Whatever you do, DON’T miss this week’s show!
Ross Video has added another product to its expanding Carbonite switcher lineup. Called Carbonite 10, this new 1 MLE switcher is designed for the budget conscious but includes the powerful standard features of the Carbonite family.
Carbonite 10 is a new 1 MLE control panel based on its successful bigger brothers, the Carbonite 1 and 1M but with 10 source select buttons instead of 16 or 24.
Like the other switchers in the Carbonite range, the Carbonite 10 is available with 16 or 24 Multi-Definition SDI inputs and 9 internally generated sources. Carbonite 10 can be configured with the new Carbonite+ and MultiMedia processing engines and comes with our LiveAssist and MediaManager Graphical User Interfaces.
A 16 input Carbonite 10 is available for immediate delivery.
Thinkbox Software has announced the release of Krakatoa SR, a stand-alone version of Thinkbox Software’s high-volume particle renderer for Microsoft Windows and Linux operating systems that can be integrated with any 3D content creation application.
Previously available for Autodesk 3ds Max and Autodesk Maya 3D software, Krakatoa is CPU-based, highly optimized, heavily multi-threaded, and can be used successfully on most hardware running Windows or Linux operating systems, including laptops and render nodes, without dedicated high-end graphics accelerators. Krakatoa SR exposes both a Python-based interface and a C++ API to connect to various professional 3D applications such as The Foundry’s Nuke or Side Effects Software’s Houdini.
Key features of Krakatoa SR include:
Point or voxel representation of particle data, with various filter modes, motion blur and depth of field camera effects, and HDRI render passes output to OpenEXR files
Support for both additive and volumetric shading models at the same time, with per-particle control over color, emission, absorption, density and more
Support for various light scattering algorithms, high-quality self-shadowing and occlusions from both geometry and DTEX maps
Particle loading of Krakatoa .PRT file sequences, RealFlow .BIN file sequences and .CSV file sequences, with the ability to offset, retime, combine and modify already cached particles
Procedural particle creation from polygon mesh volumes and mathematical algorithms
Particle repopulation for render-time conversion of low-count simulations into high-count particle clouds
Krakatoa SR is compatible with the network rendering licenses used by the other Krakatoa implementations (Krakatoa MX and Krakatoa MY).
Pushing for more cost-effective HD acquisition, JVC has announced the GY-HM70, a shoulder-mount HD camcorder that shoots at resolutions up to 1080/60p and records AVC HD footage to dual SDHC/SDXC memory cards at up to 28 Mbps. The camera lists is expected to ship in May.
The camera’s imager is a 1/2.3-inch 12-megapixel CMOS that records 1080/60p, 1080/60i, and 480/60i footage at a variety of bit rates, starting at 3 Mbps for SD and 5 Mbps for 1080/60i HD. It will also shoot at 300 fps, but only at 720×480 (PAL versions shoot 250 fps at 720×576). The camera will also capture still images at 12 megapixels of resolution. JVC reps tell us this is the same sensor used in the company’s GY-HMQ10 4K compact handheld camcorder.
The glass is a 29.5mm (35mm-equivalent) wide-angle GT lens with 10x optical zoom. It has manual focus, iris, and shutter controls and a choice of manual or automatic white balance. Optical image stabilization, auto focus, and focus assist are also featured.
For viewfinding while the camera is shoulder-mounted, a .24-inch LCOS color viewfinder is available, as well as a flip-out three-inch LCD for viewing while the camera is tripod-mounted. (There is also an HDMI Mini connector and RCA video and audio outs, should you need them for monitoring or playback.) A mic, 3.5mm mic input, and 3.5mm headphone jack are all on board.
A hot-swappable dual battery system lets shooters keep the camera running for hours. With one battery attached, it weighs about 6.7 pounds (3.0 kg).
It’s aimed at traditionally low-budget market segments like education and event videography.
We have been debating 4K here at the BuZZ and with our tech friends around the globe. Do you think it will resonate with audiences? Do you think content providers will be able to make a living producing with 4K in mind? Although there are some who would disagree, I believe we will have no choice. When new codecs are developed that support the bandwidth requirements and when large corporations like Sony declare publicly that they will be creating avenues for us to enter this marketplace, I can’t help but think that we will have no choice.
Larry Jordan just got back from BVE (Broadcast Video Expo) in London, where he gave a talk about H.265 and 4K. You can see it here.
Benoit Fouchard of ATEME joins Larry for a lively discussion about H.265, 4K, bandwidth and all that we will need to move into that arena. I think you will find it enlightening. The discussion ranges from how production at high resolution needs to change from HD, a timeline for when we can distribute 4K images and why faster frame rates are almost inevitable with higher resolutions.
photo courtesy of Build Your Own Drone Ltd.
While we are on the topic of BVE, Larry also brought back three interesting interviews. If you know Larry, you know he just loves anything electronic that comes under the category of “toy” and some that are more sophisticated – sort of the big boy toys, right? So when he walked by the booth for a company called Build Your Own Drone, Ltd, he just couldn’t leave it alone. His talk with Martin Toovey, Director, about a portable flying platform for cameras that just might replace more traditional helicopter shots makes us want to go out and spend our allowance. Oh, and Larry says, it is a “really cool three-foot, spider-looking-thingy.” Put this one on your list for next Christmas.
Also at BVE, Larry spoke with Alex Panton, a London-based agent in the 4K arena who, apparently, is putting the fear of you know what into producers everywhere, because he represents below-the-line techs. We like that.
Finally, in the BVE segment of tonight’s broadcast, Chuck Silber, COO, of NewTek updates us on this company that has become the darling of anyone who broadcasts over the internet and for anyone left who works in old-fashioned television. Sorry, I couldn’t resist..
Sean Mullen is someone we’ve been watching for about a year now. He is a highly experienced special effects designer who has worked on literally hundreds of film, television and music video projects. His company, Rampant Design, is growing so fast we almost can’t keep up. The good news is he has numerous solutions for video producers who need drag and drop effects for their work. How hard is it to balance between the left and right side of the brain, run a business and still stay creative? I’ll bet we can all relate to that, right?
Philip Hodgetts and his partner, Gregory Clarke were invited to exhibit their app, Lumberjack, at the recent Hollywood Post Alliance (HPA). While there, they also noticed that there was some very interesting technology emerging from some of the other exhibitors. Philip is here to tell us about what he observed, what he learned and how Lumberjack was received.