Early in November, RED Digital Cinema’s RELEASE version of the highly anticipated firmware, v7.1, was made available for download. This included a plethora of fixes from v7.0.4, as well as many requested features, previously unavailable on RED’s DSMC2 line of cameras. Without prior warning, the firmware was pulled from RED’s website shortly after release, due to user reports of it crashing people’s cameras, amongst a whole host of other errors; turning their beloved tools into useless — albeit very sexy looking — camera-shaped boxes. RED Digital Cinema DSMC2 v7.1 Firmware Issues Upon Release Initially, experiencing these issues from firmware authorised for release left many RED users confused, annoyed and wondering what to do. From a personal standpoint, I wouldn’t want to take my RED Weapon 6K CF camera on a shoot with finicky firmware, unless I needed a $20,000+ paperweight to keep that script from flying off during those high octane, Michael-Bay-esque, action scenes that all us of RED Users are inclined to shoot! Thankfully, RED have quickly and compassionately listened to user feedback, and were prompt in addressing these issues. On November 6th, they made available RELEASE CANDIDATE 7.1.0.1rc1, followed up quickly by 7.1.0.1rc2 on November 15th. Then, on November 28th, they made available DSMC2 RELEASE BUILD v7.1.0.1. However, due to the on-going developmental nature of firmware production — and what we have learned recently — even release firmware can bring about issues; some trivial, and some that can really hamper your style. RED Digital Cinema DSMC2 v7.1 Firmware DSMC2 Release Build v7.1.0.1. Firmware Release Notes Please click below for the full list of fixes and updates included in the DSMC2 Release Build v7.1.0.1 Firmware: http://www.reduser.net/forum/showthread.php?172403-DSMC2-Release-Build-v7-1-0-1 A Word to the Wise Above all, as tempting as it is to update your camera to the latest firmware, you should always do so at your own risk, and even if it’s marked down as a “release”, make sure to update your camera well before taking it on a paid shoot, and test drive that thing like you have OCD — then do it again and again — as you never know; it could still blow up in front of your clients, and that’s never going to be a good look. You can download Release Build v7.1.0.1 for your DSMC2 camera below. RED Digital Cinema DSMC2 Firmware Download Page https://www.red.com/downloads/ As for me, I’m going to wait a while to see what happens with everyone else’s cameras before I update mine. Have you already updated your camera with the latest firmware? Please share with us your thoughts 

Back in September, we reviewed FUJIFILM’s flagship mirrorless camera, the X-T3. The development team at FUJIFILM listened carefully to customer’s feedback, and they are back with V2.00 firmware. Let’s take a look at what it brings. FUJIFILM X-T3 – Photo credit: Arturs Slosbergs No more 4Gb Clip Limit One of the significant change and improvement in V2.00 firmware is probably the removal of the 4Gb clip limit. Previously, when the recording exceeded the 4Gb limit, the movie clip was split into two (or more) files. With the update, as long as your memory card is 32Gb or higher, the clip will be recorded as one solid file. Unfortunately, if your memory card is smaller than 32Gb, the 4Gb file split limit will still apply. Movie recording will continue without interruption when the file size reaches 4GB; however subsequent footage will be recorded to a separate file. However, please note that the 29 minutes recording limit does not change. Simultaneous Video Output With Different Profiles With the new firmware, you’ll be able to simultaneously display Film Simulation on the camera while outputting F-Log via the HDMI port to your external recorder. It’s a nice addition, as some shooters prefer to shoot and view through the integrated camera monitor, while the AC or the client can look at the footages on the recorder. The only downside is that you can’t do it in 4K 60p due to a hardware limitation. Also, you can still record F-log internally and externally at the same time, as well as record F-log internally and sending a Film Simulation over HDMI externally. 4K HDR Recording Last but not least, the new firmware will add support for 4K HDR video recording in the Hybrid Log Gamma (HLG). Note that it’ll only be compatible with H.265 (HEVC) internal recording. Of course, you’ll be able to output HLG via the HDMI port to your favorite recorder and record in whatever format you prefer and supports it. The V2.00 firmware is a free update and will be available in December 2018. FilmConvert Profile Is Ready The team at FilmConvert continue to add camera profiles to their amazing color correction and film simulation software. They just released a FUJIFILM X-T3 profile, that you can download for free at FilmConvert. What do you think of this firmware update? Do you use it for shooting video? Share with us your thoughts in the comment section below.

At Inter BEE trade show in Tokyo, Blackmagic Design just introduced a major update to their powerful post production software DaVinci Resolve, version 15.2. The update features a lot of enhancements around editing workflow. In addition, they released the final Firmware Camera 6.0 for the URSA Mini Pro, which is their first camera to support Blackmagic RAW. Let’s take a closer look at both. DaVinci Resolve 15.2 – a Better NLE Experience Blackmagic Design’s efforts to transform DaVinci Resolve from a powerful color grading tool into a full-blown editing application are showing with every update they have added in the past years, and this one is no exception. Almost every enhancement and addition is centered around video editing with the 15.2 release. Faster Editing In order to get a faster “feel” around editing, the editing timeline draws at a higher frame rate, which makes it more responsive and fluid than before. New animations to clips sliding in and out of the timeline make it easier how a change to an edit affects other clips in the timeline. Duplication Detection A new visual duplication detection now makes it easy to see whether the same clip was already used on the timeline, which should be a very useful feature when working with b-roll footage, for example. Clips in the bin are also marked if they are used in the currently active timeline. It’s now also possible to “clean up” the timeline by flattening it, which will delete the invisible clips below (so this should probably be done with caution, however it’s useful for a master edit timeline). They have also simplified the way how timecode is entered across the entire software package. Editing Between Timelines Resolve 15.2 makes it easier to edit between different timelines. You can now load timelines or compound clips into the source viewer and edit them into the current timeline in their decomposed state. By hitting “X”, a clip from the source timeline can be cut directly into the active editing timeline. Inspector, On-Screen Controls and Metadata Display All the information displayed in the Inspector. the on-screen controls and the metadata viewer now relate to the information from the highest visible clip in the timeline at the current playhead position. Keyboard Customization Enhanced It’s now simpler and more intuitive than before to customize your keyboard in DaVinci Resolve 15.2. The new interface is visual and makes it much easier to see what keys are used to quickly re-assign them. They are including keyboard sets to emulate the keyboard settings from other NLEs such as Premiere Pro CC or Final Cut Pro X. Keyboard sets can also be shared between systems and now you can set shortcuts to more functions inside the application than before. New ResolveFX Plugins There’s a couple of new ResolveFX plugins included with DaVinci Resolve 15.2: “Blanking Fill” plugin fills black letterbox or pillar box areas in your image with out-of-focused video. This is popular for reformatted video, for example 4:3 or vertical video on a 16:9 timeline, and you don’t need to do it manually anymore. The “Beauty” plugin smoothes textures and blemishes on surfaces like skin and others, according to Blackmagic in a gentle and realistic way. There are also new plugins for colorists for ACES transformations and to limit gamut. It’s now also possible to bypass mixer node inputs by turning off connected nodes, and gallery stills can be exported with custom label names. Audio Enhancements Many enhancements went into the audio portion of Resolve 15.2 as well, with refinements for the Fairlight page as well as new FairlightFX plugins made for fixing common audio problems and speeding up final audio mastering. There’s a new “Stereo Fix” plugin that has presets for the most common channel mapping procedures, making it simple to fix clips with one or two clicks. For example, that means you can quickly fix if dual-channel mono dialogue was edited in stereo tracks. There’s also a new Multi-band compressor that analyses the spectrum in realtime, with four independently adjustable frequency bands, which will enable you to adjust the overall volume without creating artifacts while mastering audio. It’s now also possible to adjust the gain on multiple tracks at the same time with the added VCA groups that can lock strips together. These are the main features out of the 110 features Blackmagic Design added since introducing DaVinci Resolve 15 at NAB this past April. Watch our video with Blackmagic Design CEO Grant Petty from that show below, in case you missed it: Here’s our post from the final release of DaVinci Resolve 15 this past August, when it came out of beta. It deals with everything that’s new about DaVinci Resolve 15. To see a full new feature list of only Resolve 15.2, the latest update, click here. You can download the updates for Blackmagic Design DaVinci Resolve 15.2 and DaVinci Resolve Studio 15.2 (the paid version) on this website for free. Camera 6.0 Final Firmware Update for URSA Mini Pro Blackmagic Design is continuously improving what is now their flagship camera, the URSA Mini Pro. Since its update to support Blackmagic RAW (see our news post here), it’s gotten a lot more attention again. It still is the only Blackmagic camera to support their RAW format, however others will follow eventually. Now with version 6.0, their new Camera firmware came out of beta, adding a few additional features. Here’s the full list: Improvements for URSA Mini Pro Improved ISO range on URSA Mini Pro. Improved in camera playback. Improved status display info for off-speed. Improved responsiveness of color corrector. Improved timecode support. Improved metadata support. Improved shutter metadata. Add HDR metadata support in SDI stream. Add 2:1 monitoring frame guides. Add ability to lock timecode from SDI Input. Add frame guide options in SDI Camera Control Protocol. Fixed LCD clean feed record indicator bug. Fixed stills bug. Updated URSA Mini and SDK manual. New features for URSA Viewfinder Add Generation 4 Color Science. Add 4.6K Film to Extended Video LUT. Add support for 2:1 frame guides. Improved anamorphic frame guides. Improved false color. Fixed Extended Video 6.0 Beta LUT bug. General performance improvements. New features for URSA Studio Viewfinder Add Generation 4 Color Science. Add 4.6K Film to Extended Video LUT. Add support for 2:1 frame guides. Improved anamorphic frame guides. General performance improvements. No new features in 6.0 for other camera models. You can download firmware update 6.0 for the Blackmagic Design URSA Mini Pro for free here on this website. Are you a DaVinci Resolve or URSA Mini Pro user? What do you think of the updates? Let us know in the comments below. 

Panasonic have not only announced their new full frame mirrorless cameras – the LUMIX S line – they also announced interesting news for the micro four thirds community: Firstly, there will be a new Panasonic firmware update for the GH5 and GH5S, which will improve the continuous autofocus function (AFC). Secondly, the company has announced the development of a new fast wide zoom lens – the Panasonic Leica 10-25mm f/1.7. Panasonic Firmware Update for the GH5 (v.2.4) and GH5S (v.1.2) Both announced firmware updates are about to be released in late October 2018. We will post the link to the update as it becomes available. The most significant part of the update, which applies to both the GH5 and GH5S, is the improvement of autofocus (AF) performance. With the previous firmware, there were cases where the focus point was shifted to the background while tracking the subject in AFC mode. The new firmware minimizes this problem. Tracking performance in continuous AF has been improved by optimizing the tracking algorithm. Now, the subject will be tracked even when actively moving, for example in sports scenes, where the focus previously shifted to the background. The second important improvement for both, the GH5 and GH5S fixes a bug in video recording operation. The one push AE (exposure setting) failed to operate when the shutter speed/gain was set to angle/ISO while shooting in Creative Video M mode. This bug has been fixed and one push AE works now. Improvements for the GH5S only: Operating stability during variable frame rate (VFR) recording via HDMI output has been improved. Improvements of video recording performance – the image quality when using V-log for VFR recording in creative video mode has been improved. Also, the image quality when set to i.Dynamic (intelligent dynamic range control) has been improved. Improvement of operation under specific lighting conditions (fluorescent lights, etc.) – there were cases where the camera did not catch up with the change in brightness smoothly under specific lighting conditions such as fluorescent lights. This problem is now minimized with the new firmware. Panasonic Leica 10-25mm f/1.7 MFT Lens In the shade of the announcement of the LUMIX S series full frame mirrorless cameras, these news might seem a little forgotten. Panasonic, however, did not forget their large micro four thirds customer base. They announced the development of a new lens in cooperation with Leica – the fastest zoom lens in the Panasonic portfolio – the Panasonic Leica 10-25mm f/1.7 (full frame equivalent of 20-50mm). This lens should feature superb image quality, which we know from existing Panasonic Leica lenses (like the Nocticron 42.5mm f/1.2 or the 25mm f/1.4 MFT lens). In the words of Panasonic: It should replace five fast prime lenses. That is how much they believe in the image quality of the lens. Now, the news from Panasonic were just a development announcement. As you can see in our video interview, Panasonic only displayed a 3D-printed mockup lens here at Photokina. We have been informed that we should not expect the lens to come in the early 2019. Panasonic might have more info about the lens during next Photokina, which will be in May 2019. What do you think of the new firmware updates or the new fast zoom lens from Panasonic? Did you experience any of the bugs, which the new firmware fixes? Are you planning to invest in the lens? Let us know in the comments below.

The Blackmagic RAW codec has just been announced, with immediate public beta update for the URSA Mini Pro 4.6K and Davinci Resolve. The update should soon be available for other Blackmagic cameras, too. Complete RAW video capture is now coming to Blackmagic Design cameras and Davinci Resolve, with a non-linear 12-bit colour space, designed to capture the maximum amount of colour data and dynamic range available, all within an efficient, part-camera driven de-mosaic process. Blackmagic RAW uses the Blackmagic Design Generation 4 Colour Science, which ensures that skin tones and colour are reproduced accurately for superior imaging results. The resulting file is considerably smaller than traditional RAW files. Flexible Blackmagic RAW compression Two types of file compression are available in the camera recording options; Constant Quality or Constant Bitrate. Constant Quality can be achieved with RAW Q0, which encodes at a variable bitrate, ensuring high detail shots are recorded at the highest bitrate. Whereas RAW Q5 uses efficient encoding, which results in a smaller file size. Four levels of compression are available when recording in Constant Bitrate. All compression settings retain the 12-bit colour space. In terms of data rates, when recording in Constant Bitrate, 3:1 compression the average data rate is around 127MB/s, but in 12:1 the average data rate is around 32MB/s. Unlike the cinemaDNG RAW codec available in Blackmagic Design cameras, Blackmagic RAW captures the footage as one file, rather than a sequence of still images, further adding to the flexibility of handling, data transfer and processing of the files. The choice of RAW codec compression gives shooters the flexibility to choose whether a production requires image quality over file size – a non-restrictive and flexible approach – especially when production demands change. Blackmagic RAW promises efficient encoding and high performance, even with smaller file sizes. As part of the de-mosaic process takes place in camera, it means that Davinci Resolve uses less processing power to decode the files, and is even faster with GPU and CPU acceleration. The codec has been developed to understand the camera through sensor metadata, which means that image data and sensor characteristics are recorded into the file. This results in all of the traditional RAW controls over ISO, white balance, contrast, saturation and exposure, as well as camera data and colour science, enabling the editor to get the best out of the footage, even if it is captured in a compressed RAW codec. Additionally, the adjustment of the RAW settings in the files are carried across from app to app through the Sidecar file, which contains any adjustments to the settings such as exposure, white balance, contrast for example. This ensures that the  settings and images look the same across applications and operating systems, while the RAW file remains unchanged. The Blackmagic RAW SKD is also freely available for developers that wish to integrate the new RAW codec into software, for example editing platforms. Blackmagic Design is also interested in talking to other camera manufacturers that would like to implement Blackmagic RAW into their cameras. Completely free RAW update The Blackmagic RAW public beta update is free and available now for the URSA Mini Pro 4.6K camera and Davinci Resolve via the Blackmagic Camera 6.0 Beta update and Davinci Resolve 15.1 update respectively. There are four Blackmagic RAW files available to download on the Blackmagic Design website here. This new advancement in RAW recording for Blackmagic Design cameras really opens up a high-end avenue for anyone using Blackmagic cameras, and those editing or grading using the Davinci Resolve workflow, giving unprecedented control over the image in post production. At present, this update is only available for the URSA Mini Pro 4.6K, however Blackmagic have said that this update will be available for other cameras, such as the Blackmagic Pocket Cinema Camera 4K, soon. Will you be downloading the Blackmagic RAW update for your URSA Mini Pro 4.6K? Does the Blackmagic RAW update allow you to achieve even greater production quality? Let us know in the comments.

In a refreshingly swift move, Apple has addressed the thermal throttling issues that have plagued their brand new flagship i9 MacBook Pro for the past week. Apple today released an update to OSX High Sierra that patches a “missing digital key” and largely seems to solve the thermal throttling and improve the performance of their 2018 MacBook Pro lineup. For the uninitiated, thermal throttling is a common safety feature that limits the performance of a CPU to keep it from damaging itself under heavy use. Done properly, this can be a subtle way to protect your system without severely affecting performance. If there was no throttling or proper cooling in place, the internal temperature could rise high enough to literally melt your CPU. Not good. Throttling in the real world I’m sure every editor is familiar with that moment where you add one too many effects to your timeline. As the fans spin up to maximum speed, your heart and your playback FPS sink. This is thermal throttling in action. Forced to choose between playing back your clips smoothly and generating an unsafe amount of heat, the computer chose the former. That’s unfortunate, but necessary for your MacBook to live a long and healthy life. But what if it did that all the time, regardless of how many effects you actually added? What seems to have happened with Apple’s new i9 MacBook Pro is thermal throttling taken to the extreme. First reported by Dave Lee, the i9 MacBook Pro displayed extremely slow and uneven performance. As best we can tell, the processor was throttled very hard, then released, then throttled again. This manifested as much slower performance than expected, even when compared to older models with lower specs on paper. The ‘spiky’ performance of the i9 Macbook Pro before (left) and after (right) – image via CNET While it’s still too early to know for sure, with todays update seems to have solved the throttling, but its effect on performance is still unclear. Apple tells us that the performance should now be “70 percent faster” than the 2017 models with this update,  but keep an eye on the real-world testing as it comes in. AppleInsider’s tests show a performance increase, but not a major one. This is just one data point, though, and I personally would wait a week or two for the dust to settle before making a final verdict. On the whole though, it seems safe to say that the thermal throttling has been brought under control, and that the new i9 MacBook Pro is finally beginning to live up to its potential. Even the other members of the 2018 MacBook Pro lineup have seen a boost with the free software update! What does this mean for editing? For all of the laptop editors out there, whether you use Final Cut, Premiere, or DaVinci Resolve, this update could be the difference between editing your clips at real time or not, between half and quarter resolution playback. But maybe most of all, it makes the flagship i9 model, with its increased RAM capacity and six-core processer, a viable purchase again instead of a punchline. For a more detailed analysis, check out WIRED’s excellent coverage. To download the update, check the app store on your MacBook Pro. Would you buy a 2018 MacBook Pro after these updates, or still stick to last year’s model? Or are you a Windows editor? Let us know in the comments!

Atomos has just recently released their new firmware update, AtomOS 9.11, for the Shogun Inferno external recorder. It is now capable of 5.7K ProRes RAW recording in combination with the Panasonic EVA1. The 5.7K Prores RAW Recording Ability with the EVA1 Only two months ago on the day of the announcement, we shared an interview with Atomos CEO Jeromy Young about the Apple ProRes RAW format and  the new recording capability for that format in Atomos recorders with you. For more in-depth information, check out the interview and the accompanying article. Very simplified explanation: this new compression format fills the gap between regular ProRes and RAW and offers a good ratio between file size and grade-ability. 5.7K ProRes RAW out of Panasonic EVA1 Atomos now unveiled another new firmware upgrade, enabling more ProRes RAW functionality – AtomOS 9.11. (To be precise, Atomos first released AtomOS 9.1 but there were numerous issues with that update. Metadata from some lenses sent to the recorder caused the firmware to be unstable. The company quickly y pushed the fix, version 9.11). The firmware update was first released for the Atomos Sumo19 recorder, and after that, also for the popular 7.1″ Atomos Shogun Inferno recorder. When combined with the Panasonic EVA-1 camera, those updated recorders can now record the full sensor readout of 5.7K into Apple ProRes RAW and Prores RAW HQ video with up to 30fps over 6G SDI connection. They therefore make use of the full resolution and dynamic range of the EVA1 Super35 image sensor. Unfortunately, it appears that the 5.7K out of the EVA1 cannot be recorded into any other format other than ProRes RAW. The exact frame rates supported at 5.7K ProRes RAW are: 23.98 24 25 29.97 30 HDR Configuration during Playback Another new feature that comes with the update of the Shogun Inferno: the automatic HDR configuration in playback. When playing a movie recorded with AtomHDR monitoring enabled, all HDR settings will be automatically restored to match the settings in which the recording was started. The “Auto HDR” button needs to be selected to enable this feature. The Panasonic EVA1 and the Atomos Shogun Inferno make a good Pair The AtomOS 9.11 firmware update is available for free and can be downloaded here. This new firmware update makes the combo of EVA1 with the Shogun Inferno a very powerful yet lightweight cinematic tool, at quite an interesting price point in my opinion. The lightweight EVA1 body rigged – for instance – on the new DJI Ronin-S, plus being able to record 5.7K Prores RAW on the Shogun Inferno sounds very appealing to me. What do you think of this cinematic EVA1-Shogun Inferno combo? Did you already have the chance to record and/or grade the Prores RAW footage? How did you like it? Let us know in the comments below.

Sony just presented a new version of the Sony VENICE which will give it a removable sensor block which is tethered to the camera. Also, Sony VENICE will get the long-awaited firmware update version 2 at the beginning of July. The firmware update unlocks new framerates, Sony E-mount possibility and few other new features. Sony also announced that two Avatar sequels will be filmed with the Sony VENICE. Cine Gear Expo started today in Los Angeles and our cinema5D team there is reporting with fresh content from the Sony press conference. Avatar Sequels Filmed with Sony VENICE James Cameron made an appearance at the Sony press conference – only on screen – announcing that he will be shooting Avatar 2 and 3 with the Sony VENICE camera system. Avatar producer Jon Landau made an appearance on stage to discuss Lightstorm Entertainment’s collaboration with Sony, and we interviewed him as well. Landau said, “Jim (Cameron) and I were blown away by the potential of what the Sony Venice could do.” James Cameron added, “The VENICE camera delivers the most astonishing image I’ve ever seen. The blacks are rich, deep and velvety, the highlights and source lights are amazingly bright. For the first time, we truly appreciate what the term High Dynamic Range means.” Interesting side fact is that performance capture for Avatar sequels is supported by a variety of additional Sony cameras including multiple Alpha mirrorless interchangeable lens cameras and even the compact RX0. Avatar producer Jon Landau being happy with the new Sony Venice with tethered sensor block Sony VENICE Extension System – Tethered Removable Sensor Block The collaboration between Sony and Lightstorm, Cameron’s production company, began in 1999, resulting in the development of a unique extension system allowing the camera body to detach from the actual image sensor block. A similar approach has now been adopted for VENICE, with each sensor and camera body connected by a cable at distances of up to 20 feet with no degradation in image quality. For the upcoming Avatar sequels, multiple VENICE cameras will be paired in various 3D stereoscopic rigs. Using the new Sony cabling system, the only part of the VENICE carried on the rig will be the image sensor optical blocks, and thereby significantly reducing the carried camera weight to about 3 lbs per sensor block. Like a DSLR – with a big fat cable. The sensor block of the Sony Venice The Avatar sequels will be among the first feature films to use the new VENICE Extension. This system also has significant potential for wider use with Steadicams, (tethered) drones and gimbals, and remote mounting in confined places. No word on pricing or availability yet, but it is supposed to be an optional upgrade for existing VENICE cameras. Showcase of Sony VENICE Work There are two short films shot on the new Sony VENICE which were presented during the press conference to showcase this camera’s capabilities. The first film “The Shoot” by Jeff Berlin (director and DP) showcases the VENICE’s color science and how the camera handled different skin tones of casted models. Second short piece “Ties” directed by Laura Stabilini and shot by DP Paul Cameron, ASC, shows the low light capabilities of the Sony VENICE. Cameron used the newly announced ZEISS Supreme Prime lenses for the shoot. Sony VENICE Version 2 Firmware Update – Key Features Release in the beginning of July 2018 (instead of later in the summer as originally planned) Adds additional Imager modes: 25p in 6K Full-Frame, 25p in 4K 4:3 Anamorphic, 6K 17:9, 1.85:1 and 4K 6:5 Anamorphic. Wired LAN remote control – users can remotely control and change key functions, including camera settings, FPS, shutter, EI, iris (Sony E-mount lens), rec start/stop, and built-in optical ND filters. Dual Base ISO of 2500 added (noise responsive) to take full advantage of 15+ stops of dynamic range (from +6 stops to -9 stops as measured at 18% middle gray). Variable frame rates 1-60fps Users can customize their own 3D LUTs and save them directly into the camera. Supporting Lens mount added – E-mount (lever lock type) New Sony VENICE High Frame Rate Option Sony also announced the details of a planned optional (as in: payable) upgrade to support high frame rates in various resolutions. The upgrade will include speeds up to 60 fps in 6K, up to 90 fps in 4K, and up to 120 fps in 2K. It is planned to be released in the spring of 2019, but that timeframe is still tentative. Is the Sony VENICE camera system maturing with these new updates? Let us know what you think about the system in the comments below.