I was very excited for this deck presented by Michael Cioni, Panavision’s SVP Innovation, at theLumaForge “Faster Together” of NAB 2018. I thought it would deal with topics like 8K acquisition, editing and delivery. Instead we got a decent speech trying to convince us that 8K is the standard now, that we should embrace it immediately and prepare for 11K – all of this based on “Moore’s Law”, which is taken from the transistors integrated circuit world. Has he convinced me? Read below to find out! First of all, the main slide of the presentation was a bit misleading. The entire presentation was more philosophical rather than practical, yet it was fascinating to listen. I was expecting to hear about editing 8K on an iMac Pro, but instead we saw and heard a lot of 8K marketing material. Secondly, Michael Cioni is a smart and interesting guy, but he is not unbiased as he represents Panavision and its 8K DXL camera, so obviously he is in favor of their 8K format. 8K today, 11K tomorrow Cioni says that the pursuit after higher and higher resolution “never ever going to stop”. “We didn’t want this technology, it’s just a part of an unstoppable revolution.” He bases his hypothesis on Moore’s Law, which attempts to explain the exponential growth expectations in information technology. To make a long story short, remember the days of the transitions from SD to “almost” HD, to Full HD (1080p) and then 4K? Those transitions were not initiated by the needs in cinematography, but by natural evolution of technology, which can and will never stop, and thus we must adapt to it. We somehow got used to the better quality and despite not believing it in the beginning, we increasingly expect the higher resolution and detail now.  In order to simplify the explanation, one should remember that in the old SD days, 1 GB of memory cost almost $20, comparing to only $0.04 in 2018. It’s a similar case for processing technologies and capabilities. Technology is racing forward and according to Cioni, 8K is only a starting point. He thinks that 8K is going to be like SD in a couple of years. Moreover, Cioni says that for 8K infrastructure we will need 11K cameras, and that is the direction we are all headed to. screenshot from the presentation The human eye is not a factor Coini claims that the common discussion regarding the limitation of the human eye to observe details in more than Full HD resolution at normal distances to a TV is not true, but not even relevant. He says that 8K is not about sharper images, but rather about other advantages which are demonstrated in the screenshots below (taken from the presentation). Cioni thinks that the human eye is not a factor (!), but the unavoidable development of newer and better technology which will render “lower” resolutions obsolete.  The advantages of 8K resolution 8K nowadays:  off-the-shelf technologies Coini compares the barriers breached in 2015 to those before us in 2018. Nowadays, 8K capture is doable by the hundreds (or thousands) of DXL and RED Monstros camera that are already in use. Screening the content is possible with 8K TVs like the Sharp Aquos series, content delivery with Thunderbolt 3 (which hasn’t existed 3 years ago), playback is a no-brainer on NLEs like Resolve and FCPX with capable hardware solutions like the iMac Pro. All of those are off-the-shelf technologies that anyone can purchase and use today. They are still expensive, but they are available, and Moore’s Law dictates that this technology will come down in price very quickly.  Editing 8K with off-the-shelf technologies Watch here the whole presentation:  Was I convinced of his arguments? Yes and no. At first glance, Cioni is right. I do believe that we are all heading to 8K somehow. But not for the next 2-3 years, because resolution is not the most important thing in regards to picture quality, nor for cinema camera capabilities. We all know RED and Panavision are headed that way, but what about ARRI? With older ARRI ALEXA cameras you can shoot 16:9 ARRIRAW (2.8K) and up-sample to 4K in post. This method has been used successfully on many feature films which even had IMAX releases (!), and that’s because the image derived from the sensor plus the technology and acquisition are so good that can be aggressively manipulated in post. Resolution is not everything. And the list of cameras used for Academy Award nominated films in 2018 speaks its own language. (Yes, ARRI is now moving into 4.5K cameras, but those cameras are only starting to being used in productions.) Does that mean that 2.8K from an ALEXA camera equals to 8K from a RED? Probably not. But it’s worth keeping in mind how “important” resolution really is. Or rather, how important it is to be first on a new technology – it certainly won’t make your film any better.  By the way, it was interesting to hear on this presentation that Final Cut Pro X combined with the new iMac Pro were the referenced major tools for 8K workflow. Do you think 8K acquisition and delivery is going to be the next standard? Let us know your thoughts in the comments below!

Facebook is partnering up with RED in order to connect RED’s camera technology with Facebook 360 algorithms to create immersive, 6 degrees of freedom (6DOF) content. In a new announcement made at their f8 developer conference, Facebook revealed their plan to enhance content creation by teaming up with RED in order to develop a high-end professional VR camera. (Watch here the relevant section of the presentation).  According to Facebook, they have been pursuing the best technology in order to help their users to deliver the most compelling and beautiful stories and now, teaming up with RED will also offer them a chance to work with a company that is already an established partner of Hollywood, which should help to get the camera into the hands of filmmakers.  Facebook VR camera prototype. A screenshot taken from the presentation RED will be responsible for capturing the images, (it’s not mentioned in the presentation if the files will be R3D – but most probably not), and the rest of the workflow will probably be implemented by other technologies and companies. Take a look at the screenshot from the presentation below. It looks as if Adobe will be involved  in this project too.  A slide taken from Facebook’s presentation There is no information regarding the camera structure nor the price. Also, there is not a sketch on how it may look like. For now it seems that all is being kept under a “development announcement” and I’m really curious to see how it will evolve and at what price point. Final thought RED hasn’t mentioned anything yet regarding the partnership with Facebook and I don’t expect this VR 360 product to be available anytime soon, since RED is busy with their smartphone project which is supposed to be shipped later on this summer. Developing  such a product together with other technologies and companies is very complex and will take some time. What do you think about this announcement? Let us know your thoughts about this partnership in the comments below. 

ARRI has announced the Certified Pre-Owned Program, which offers selected pre-owned and refurbished camera systems of the ALEXA series for sale. If you have a dream to become an ALEXA owner, this is certainly a good chance to get “into the game”. Many independent filmmakers that have the desire to own a high-end cinema camera, find themselves choosing RED instead of ALEXA usually because of the price range. Generally speaking, RED cameras are cheaper than ARRI (that is not true for every model, though … and also the cost of RED accessories or media really adds up). It’s true that you can find used ALEXA cameras on eBay, but buying from unauthorized dealer can turn out to be a risky and unreliable deal. Thanks to ARRI’s program, filmmakers can buy their first ALEXA straight from ARRI, meaning, buying used cameras directly from the manufacturer with ARRI’s warranty, as been stated by ARRI: We are excited to offer the ARRI Approved Certified Pre-Owned Program…It’s a global initiative which adds a new tier to our products, allowing more filmmakers access to our technology. It also gives educational institutions a cost-effective way of providing high-quality equipment for their students.  ARRI’s Stamp of Approval ARRI says that every camera has undergone certification process which means examination, full calibration, and has been rigorously tested. The overhaul also includes an update to the latest Software Update Packet (SUP) of the respective model. All components—starting with the sensor—are checked to confirm they are fully functioning, and that all systems work as they should. Any parts that require replacement are exchanged”  Furthermore, once all functions have been checked and approved, ARRI engineers issue an official printed certificate, which will come with every camera you buy, plus one year warranty. The cameras in the program Unfortunately, there is no ALEXA Mini nor AMIRA on the list. Also the assortment is very limited, hopefully will be expanded to much more choices. For now, there are only ALEXA Plus and ALEXA Classic models to choose from. Price range: 9,900 – 13,900 euro. The cameras have between 1000-4000 operating hours. You can find more info on the program page.  The cameras also include accessories like viewfinders and other stuff which are essential for shooting. I think this is a great initiative by ARRI, which has the potential to raise the chances that independent filmmakers and film schools can afford ARRI cameras, which are the standard for high-end cinema productions.  Would you purchase your first ARRI from the Approved Certified Pre-Owned Program ? Let us know in the comments section below.

The DJI MasterWheels which we’ve already covered here aim to provide very precise gimbal control achieved with “old style” motion wheels. A more precise alternative to joysticks and knobs. The Master Wheels are basically a combination between classic wheels from big camera tripod heads, and a much more sophisticated apparatus which controls the gimbals. “Old style” motion controllers to get the organic movement The reason behind DJI designing the Master Wheels is that a lot of DPs and camera operators still prefer to use wheels so they can accomplish more organic and precise camera movement than can be achieved with joysticks. DJI has made decent efforts to mimic the good old days’ wheels by very carefully designing the look-and-feel and weight distribution in the wheels, in order to elevate the accuracy of the movement and make it more precise, as we can see in the video. The friction of the wheels is adjustable as well.  The wheels are made of stainless steel, which provides a classic feel, reliable operation and accuracy by using ultra-high-resolution optical encoders to detect subtle movements and transmit them to a connected gimbal system, and can be fully customized by dedicated speed and smoothing adjustment knobs for each individual axis. Furthermore, the Master Wheels own dedicated acceleration dials which allow to control the speed of the movement. Modular design The three stainless steel wheels and the control modules have the ability to be swiftly detached from the main console and connected with a wire for space constrained shooting situations (like shooting inside a car or small spaces). Motion controller – recording the movement  The motion controller is a cool feature of the Master Wheels that allows you to record the movement so you can repeat complex movements by just pressing a dedicated button. General specs Wireless Long-Range Gimbal Controller 3 Wheel Control Modules, 1 Per Axis Compatible with DJI Ronin 2 and Ronin-S – Supports 3rd-Party Gimbals via SBUS 1.8 Mile Distance; 10 ms Latency 3-Stop Gimbal Direction Toggle Switches – Speed, Smoothness, and Damping Dials – Savable/Repeatable Moves 2.4 and 5.8 GHz Dual Frequency Up to 18-Hr Operation in as Low as -4°F (powered by an Inspire Ronin battery) Pricing and availability The Master Wheels will be shipped on June, and will cost $6000 for the two axis version and $8000 for the three axis version.  What do you think about the DJI Master Wheels? Do you prefer to control the movement of your gimbal via joystick or via classic movement wheels like in old days cinematography? Let us know your thoughts in the comments below. 

The Idolcam is an interesting and ambitious Kickstarter project which offers backers to be a part of the development of a 4K action camera with a gimbal with interchangeable lenses and lights. Find out more below. This Idolcam Kickstarter project defines itself as the world’s first pocket-sized stabilized camera with inter-changeable lenses and lighting, or as defined on their website: “THE ultimate 4K vlogging Machine”. 3-axis gimbal + lights + lenses – All in one device The founders of Idolcam come from the drone and gimbal world, and it seems that they have been working hard to make a stabilized camera that can be operated by itself, or by being attached to a drone (or even to remote car). The Idolcam is installed on a remote car Idolcam has 3 axis integrated gimbal in order to compensate shakiness, and to enable to capture stable videos. Also, Idolcam features a smart magnetic lens system for quick lens swapping. For now the project includes two lenses (regular and wide angle). However, the team has been working on more lens options that should be available soon. The lenses are magnetized and easily attached to the camera, as well as the lights. The magnetic apparatus in the front of the device allows for quick swapping between lights and lenses. More interchangeable lens options General view of the Idolcam Interchangeable lights Check out the video below to explore the Idolcam in action: 4th axis suspension arm The 4th axis suspension arm is truly interesting add-on for the Idolcam that caught my eye. Its role is to reduce the vertical motion that a 3 axis gimbal can’t compensate and produces more steady shots comparable to Steadicams. This arm is not ready yet ready for manufacturing, but I can see it as a stand alone product implemented on other action cameras in the future (like GoPros). The 4th axis suspension arm How does Idolcam compare to similar products? The Idolcam team compared the Idolcam to other similar product in the market, like the GoPro+Karma and the DJI Osmo. Take a look at the comparison table below. Of course this information has to be taken with a grain of salt because it comes from the manufacturer directly – we will only be able to tell how the Idolcam really compares when and if we get our hands on it for a test. Comparison between Idolcam to similar products General spec and main features: Image Sensor: 12MP Sony sensor Frame Rates: 4K (3840 x 2160) – 25/30 fps, 2.5K (2560 x 1440) – 30/60 fps, 1080p (1920 x 1080) – 30 / 60 / 120 fps , 720p (1280 x 720) – 30/60 / 120 / 240 fps Recording Format: mp4 with h.264 codec Connectivity & Ports: Built-in wifi that allows you to connect the smartphone using the app (currently in development for iOS / Android) Storage: MicroSD cards also up to 64 GB. Battery: Idolcam uses a 1500 mAh removable battery. Photo Mode: Single Shot / Self-timer / Continuous Shooting. Time-Lapse: 1s / 2 / 5 / 10 / 20 / 30 / 60 sec. Manual White Balance: Auto / Incandescent / D4000 / D5000 / Daylight / Cloudy / D9000 / D10000 / Flash / Fluorescent / Water / Outdoor. Audio bit rate: 28Kb, Audio sample 48Khz, Channel (Mono) Prices The early birds can get the Idolcam for $375. Click here to get to the campaign. That includes the camera, two lenses, two lights, battery, 180 rotation touch screen, and mini USB wire for charging and transferring files. Final thoughts In my opinion, although this is a very cool idea, the Idolcam is more dedicated to vloggers rather than filmmakers. For us, it seems more like a gimmick. Filmmakers need great video quality. However, based on what I have seen, the video quality is not good enough when comparing it to GoPro and DJI footage. It is just not there yet. But for vloggers who are not obsessed with picture quality, and simply want to install a camera on a selfie stick and walk with it, the Idolcam might be the ideal camera to use. What do you think about the Idolcam? Let us know your opinion in the comments section below. 

Easyrig, the company that develops products which help camera operators to transfer most of the camera weight from shoulders to hips through their popular contraptions, introduced four new products at NAB 2018. Let’s have a look.  The Quick Release Camera Hook The quick release camera hook can securely hold the camera with little to zero setup time, by attaching and reattaching it on a ball joint. The quick release camera hook was tested to hold up to 115 kilo/255 pounds. Judging from the video, this product indeed justifies its name since it looks like the camera is released very quickly. Check out a very convincing (and funny) demonstration about the quick release camera hook tested by the “Pizza Man”: We just could not wait to show you one of the four "Top Secret" products that we will release at NAB..This is the Quick Release Camera Hook! .Under our stay at NAB we will release the other three products, stay tuned!.#easyrig #secret #nab #invention Posted by Easyrig on Wednesday, April 4, 2018 The quick release comes with a ball joint (3/8″ and 1/4″) to match your camera. The Gimbal Flex Vest for camerawomen The Gimbal Flex Vest was designed for female camera operators who want more support around the waist and chest. This vest allows further velcro adjustment on the top in order to help supporting and distributing the weight specifically tailored for women operators.  Line Guide for Serene The Line Guide facilitates shooting from the shoulders when using a Serene arm. The product forces the camera to go back towards the shoulders and make it easier to shoot from the shoulder.  The Line Guide can be mounted to an existing Serene arm using five included screws. Umbrella with Holder Simple as it sounds, this allows mounting of an umbrella to the upper arm on an Easyrig. On the Umbrella Holder there is also a 3/8″ and a 1/4″ thread hole to mount a battery or other accessories. Obviously, this device is made to help protect the operator against sun and rain. Prices and availability The exact prices are yet to be announced, but they’re estimated to be around $100- $150 for each accessory. The products will be available to ship within the next two weeks. We will update the post with product links once we get them.  Have you been using an Easyrig before?  Were you missing one of their new accessories before? Let us know in the comments section below! 

SLR Magic introduces a new modestly priced cinema lens lineup, called the MicroPrime. For the time being, the lineup consists of four lenses (25, 35, 50, 75 mm) – with each lens costing $799. Read more below.  SLR Magic presents a new family of E-mount CINE lenses, The SLR Magic MicroPrime CINE 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 are the first lenses to be available. Smaller (and cheaper) cinema lenses As expected from cinema lenses, these lenses are housed in a cinema-grade metal exterior with matching dimensions and focus/iris gear positioning and a lens ring marked in T-stops instead of F-stops. The lenses are equipped with internal focusing, which is essential for matte box configuration and for cinema applications. Just be aware that the focus ring rotates only 150 degrees due to the smaller form factor, compared to “full size” cinema lenses. However, that should be enough to elevate the accuracy of focus pulling, when compared to a still lens.  As stated by SLR Magic:  The SLR Magic MicroPrime CINE lenses are designed to be compact and robust for use in a professional setting. The MicroPrime CINE lenses have a large image circle that covers up to full frame…Each lens is balanced in a similar weight distribution so that recalibration is not required during switching lenses when using a 3-axis gimbal. Lens gears are built-in with a throw slightly longer than photographic lenses but at the same time manageable when a motorized follow focus is not used. Each lens features internal focusing mechanism and comes with a standard 85mm diameter suitable for matte box use. In the situation where a smaller setup is required, each lenses also comes with a 82mm filter thread for use with 82mm Fixed ND filters. The MicroPrime CINE E-Mount Series Price and availability The price of each lens is $799, which is pretty affordable for cinema lens. All four lenses will be available by May 2018. The SLR Magic 18mm T2.9 will be ready by Q3 2018. This MicroPrime CINE E-mount series looks like a solid and well-built set of full frame cinema lenses. We can’t wait to try them out in order to explore their visual quality.  Would you consider buying MicroPrime lens, or would you prefer to pay more and get a full size cinema lens? Let us know your thoughts in the comments below! 

Angenieux expands its anamorphic lineup by presenting the new Optimo anamorphic 42-420 mm A2S, which has a different focal length and less distortion than the 2 year old Optimo  44-440 mm. Check it out.  The Optimo Anamorphic 42-420 A2S The lens is available in PL mount, features a 2x horizontal squeeze and is made for tough production conditions (temperature range from -20°C to +45°C).  As stated by Angenieux: Based on the Optimo 44-440 A2S lens, which was introduced in April 2016, and after some customers’ suggestions, the new Optimo 42-420 A2S has a different focal length and has even less distortion than the 44-440, which already was minimal.  The lens provides the specifications that made the Optimo 44-440 A2S lens so popular and some different image characteristics. The resemblance between the older and new lens continues as they both implementing the same IRO technology.  The IRO technology – innovative and modular lens design The Optimo 42-420mm A2S also features IRO (Interchangeable Rear Optics) technology, which is a modular lens design that enables different lens configurations. It was first introduced on the Optimo 44-440 A2S.  Tthanks to the IRO technology, the Optimo 42-420 A2S, with a spherical kit option, can be converted to a spherical 25-250 T3.5 zoom by swapping the rear group and appropriate rings. By having an Interchangeable Rear Optics system (IRO) on its newest lenses, Angénieux offers the privilege to adapt the lenses to a majority of image formats.  Watch the video below to learn more about the IRO technology that is also relevant in the new Optimo Anamorphic 42-420 mm zoom lens. Optimo 42-420 A2S Main Features 2:1 horizontal squeeze achieved by cylinder optics in the rear part of the lens Constant T4.5 across zoom range, no ramping Minimal breathing suitable for rack focusing Close Focus of (1.24m/4’1“ feet) enables extreme close-up shots Reduced distortion on all focal lengths and all focus distances Weight 16.7lbs – 7.6kg Precise and ergonomic focus ring with scale rotation of 320 degrees & over 40 focus marks. Interchangeable focus scale ring from feet to meters Available in PL mount. Easily interchangeable with PV Panavision mount Suited for extreme production environments (temperature range from -20°C to +45°C) Price The price is yet to be announced, but it’s not going to be a rather cheap lens, since its older brother (the Angenieux Optimo Anamorphic 44-440mm) costs $75,000.