The Japanese company M Soft has released a new tool that will revolutionize studio and broadcast recording. That tool is the Raybrid Keymaker, and it uses depth instead of color to key out backgrounds. Check out Johnnie’s conversation with them at Inter BEE 2019: M Soft Green screen Solution – Image Credit cinema5D What is the M Soft Raybrid Keymaker? The Keymaker is nothing more and nothing less than a camera accessory, an add-on that tremendously expands the capabilities of any camera you pair it with. While Canon is the official distributor of the M Soft Raybrid Keymaker, don’t let that put you off. This technology is promised to work with any camera. It is only capable of processing HD images at the moment, but there is no reason 4K won’t be in its future. The HD spec is necessary because of computational speed, not because of any insurmountable physical limitation.   How it Works Here’s how it works: two distance sensors are mounted onto the front of the camera. The operator then sets the distance from the sensor to the background. Everything in front of that set point is separated from the background and sent through a processing pipeline where the edges are cleaned. Once the layers are cleaned and separated, you can choose to remove the background entirely, modify it, or add other objects into that 3D space. You can, for example, add a dinosaur between the subject and the background. A Quick History of Depth-Sensing Depth-sensing technology has really come into its own in recent years, as anyone with a modern cell phone can tell you. Apple, Google, Samsung, and more have embraced depth-sensing tech that allows them to unlock the phone with a 3D scan of your face, measure objects just by pointing your phone at them, and so much more. These are useful tricks, but they aren’t broadcast-ready. Some of us might also remember Lytro, whose “light field” cinema camera promised similar depth-mapping and background replacement. However, they created a massive closed-system cinema camera, and M Soft has built an accessory. The Raybrid Keymaker theoretically works with any HD camera.   The Raybrid Keymaker is available for order today – but only in Japan. It is expected to ship by the end of the year. The cost is 3,200,000 Yen, which is about $30k or €26,500. That hefty price tag includes software, sensors, a control PC, but no camera. What do you think – is depth keying ready for the big leagues? Or are there still advantages to chroma keying? Let us know in the comments!

The Wireless AtomX SYNC module is a new product from Atomos and Timecode Systems which should make multi-camera setups sync much easier. It connects to Ninja V’s expansion port and synchronizes more recorders and Timecode Systems products wirelessly in one network. All units in the network can also be controlled from one Ninja V unit. In the future, there will also be a remote app to control the whole network. AtomX SYNC module should ship within a few weeks and the price is around $150. Atomos SYNC sandwiched between the Ninja V and a battery – Image credit: cinema5D At the end of October 2019, Atomos announced the acquisition of Timecode Systems, a UK-based company designing and producing timecode sync solutions (our news post can be found here). Atomos promised integration of Timecode Systems technology into their products for better and easier multi-cam production workflows. One of the first outcomes of the acquisition is the AtomX Wireless Sync module for Atomos Ninja V. During Inter BEE 2019 in Japan, Atomos and Timecode Systems presented the working modules. My colleague Johnnie asked Paul Scurrell from Timecode Systems about this new module and the future of Atomos timecode synchronization. Wireless AtomX SYNC Module for Ninja V AtomX SYNC module takes advantage of the expansion port of Ninja V. It connects right to the body of the recorder and provides a battery plate for Sony NP batteries. The module itself also contains a small battery that acts as a hot swap solution, so users can change Sony NP batteries without powering down the recorder. The module can wirelessly synchronize multiple Ninja V recorders equipped with SYNC modules, other Timecode Systems products, and new Atomos products with built-in wireless sync modules. The module integrates the timecode information directly into the video files from the Ninja V. The number of synchronized devices is unlimited. Apart from being a synchronization module, the AtomX SYNC also offers control. All connected Ninja recorders in the network can be controlled from one unit. Users can change recording modes, framerates, resolutions, codecs, and so on. Recording on all Ninja V recorders in the network can also be triggered by one unit. Every AtomX SYNC module contains a long range wireless antenna to communicate with other Ninja recorders with SYNC modules on set. It also contains a Bluetooth antenna to connect to a smartphone. Atomos will offer a remote app, which will be able to connect to the AtomX SYNC module and control it. Through one module, it will be possible to control all the devices in the network. Atomos remote app will basically offer all the controls which are accessible on the touchscreen of Ninja V itself. In their future products, Atomos will integrate the timecode sync modules into the products directly. The Neon series from Atomos already has the timecode sync built-in. Price and Availability AtomX SYNC module is available for pre-order now and it should start shipping within the next few weeks. The price for the module is around $150. What do you think of the Sync module for Atomos recorders? Can you imagine using it on your multi-cam shoots? Let us know in the comments underneath the article.

Rycote is a company with a heritage of over forty years, specializing in developing state-of-the-art microphone windshields and shock resistance products for field audio productions. Our own Johnnie Behiri met John House at Inter BEE 2019 in Japan. They talked about the Rycote “hand-made” production process and facilities, their specialty tools, individual manufacturing requests, sound quality, and real-life onset product performances. Let’s take a closer look! Rycote selection – image credit: cinema5D The Rycote Brand Rycote is a brand is now owned by the Vitec Group that holds many of the well-known brands of our industry such as SmallHD, Teradek, Sachtler, Vinten, Manfrotto, and OConnor. They acquired Rycote just over a year ago. Rycote’s production line is still in Stroud, Gloucestershire in the UK and its products are created hand-made, 1-by-1 testing their products directly with the microphones and audio-equipment, which they are designed to fit. Their products range from categories such as production sound, through news & sports broadcasting, to live & studio applications as well as on-camera sound solutions. They create everything from mini windjammers, via lavalier mic solutions, to slip-on systems like their “Super-Softie” or “Classic-Softie”, to all sorts of windshields and basket systems like their “Cyclone” as well as PCS Range and specialized systems. Rycote- Solutions (Examples) (Credits: Rycote) Special Applications & Individual Requirements In the video, Johnnie (cinema5D) and John (Rycote) show several of the products mentioned above and describe profound use-cases. They especially linger with a sizeable specialized project for the Japanese TV broadcaster NHK. Rycote has been creating custom-made solutions for the NHK Golf Course coverage with hundreds of Sennheiser microphones placed to cover events such as the Japan Open Golf event in Yokohama. If you want to learn more about fabrication solutions, material options, color choices to blend in with the natural environment of your productions, John House offers a great set of explanations and real-life examples within the video. He also goes on to explain on-camera solutions for DSLR and DSLM cameras, meant to support “one-person production crews”. The BBG Windshield is such a small-sized solution that offers the properties for wind attenuation of a full-size windshield. Rycote – BBG Windshield (Credits: Rycote) Since Rycote’s efforts always focus on actual utilization, their website helps professionals to search their specific products by application, by product, and by category. If you have less connection to these types of sound and audio gear, it is worth taking a look, even for educational purposes. Which products did interest you the most? Let us know, and please subscribe to our YouTube channel to receive notices for future publications.

The Focusbug CINE RT is an ultrasonic rangefinder tracking system. It consists of a Base sensor, Handset control unit, High-bright LED display and ultrasonic Bug transmitter. All components communicate via 2.4 GHz low power RF bands with range up to 800’ (240m) line of sight. Thanks to its speed, the system can act as a reliable autofocus. Focusbug CINE RT system. Image credit: cinema5D Focusbug is a small company based in Canada. They developed an ultrasonic rangefinder tracking system called CINE RT. This system has been on the market for a while now, but Focusbug decided to expand to the Japanese market and they presented their system during Inter BEE 2019. Johnnie interviewed Laird Pierce from Focusbug during the show to know more about the CINE RT System. Focusbug CINE RT System The CINE RT System is a complete ultrasonic measuring ecosystem, designed and hand-built in Vancouver, Canada. It is comprised of four main components housed in CNC machined aluminum, Delrin and ABS with industry-standard connectors, spherical actuator buttons and low profile mounting hardware. When calibrated correctly, the system can function as a very reliable autofocus system – that can significantly help focus pullers nailing the focus in a complex and difficult shot. Focusbug CINE RT system. Image credit: Focusbug All components communicate on user-selectable 2.4 GHz low power RF bands for range of up to 800’ (240m) line of sight, while proprietary protocol settings allow several CINE RT systems to work in close proximity while avoiding crosstalk. The first component is the low profile Ultrasonic base sensor which operates as both a rangefinder and receiver for tracking CINE RT Bug Transmitters while sending constant distance information to the Handset, High-Bright LED Display(s), Preston HU3 and Arri WCU-4 Handsets. The BASE mounts on the camera via several mounting options. It combines control systems, sensor array, RF systems and targeting laser in one compact unit. The Handset control unit is a touchscreen hub to access live view display modes, operational tools, and user settings. It allows all adjustments to be made remotely without needing to be hands-on with the camera.  The Handset also doubles as a discrete tape measure allowing up to eight marks to be quickly collected, stored and edited without pulling a tape or sighting a laser. The compact High-bright LED display relays distance data with 0.55″ (14mm) ultra-bright LED characters. Five levels of brightness provide visibility in all lighting conditions. They can be remotely chained to offer multiple readouts of the same source or to track two different targets simultaneously while in dual view. The last component of the CINE RT system is the Ultrasonic bug transmitter. It is milled from rugged lightweight ABS, measures 1.6″ x 1.6″ x 0.4″ (4 x 4 x 1 cm) and weighs less than 0.7oz (20g). The “Bug” can be easily hidden and will transmit ultrasound through most fabrics with no RF emissions. They provide fast continuous distance information for focus pullers when placed on assistants, stand-ins or principal actors. The base sensor unit can track up to four Bug transmitters to distances of 120′ (36.5m) line of sight. Price and Availability The Focusbug CINE RT system is available now. The price for the “System package”, which includes the base sensor, hand unit, LED display, and one Bug transmitter, is around $8,800. What do you think about the Focusbug CINE RT system? Do you use some kind of ultrasonic rangefinder tracking system? Let us know in the comments underneath the article.

At this year’s Inter BEE, we had the chance to talk to Ryuji Nurishi, the managing head of the Canon Sumire Prime lens line. A perfect opportunity to chat a little bit about the idea behind this line of character-driven glass. What’s new and why soft might be the new sharp. Canon Sumire Prime Lenses kit – Image credit: cinema5D Canon Sumire primes are a newly developed line of lenses which, as opposed to the “original” CN-E cine primes, come with a certain character applied to their optical performance. They are a bit softer, yet deliver a very high resolution. They tend to flare a bit more yet these well-controlled flares add to the image rather than ruining it. And if you happen to wonder how to pronounce “Sumire”, Canon is here to help: Canon’s new line of cinema prime lenses named Sumire Prime (pronounced “Soo-mee-ray”) – associated with the beauty of a flower whose petals are open. These Canon Sumire Prime lenses seem to deliver what DPs and camera operators tend to ask for these days: character. It’s not about super high-resolution, ultra-sharp image rendition and zero optical “errors”. That’s upon the shoulder of modern digital cameras. But to tell your visual story you need more than technical superiority and perfect images. Canon Sumire Prime Lenses Character is the buzzword here and the Canon Sumire Prime lenses tend to deliver exactly that. However, character is not to be confused with inferior lens design here. These Sumire Primes are outstanding pieces of technology, no doubt about it. It’s just that Ryuji-san and his team managed to implement a certain look without impacting the quality of the lens itself. The promo video below was shot by Canon with a Canon C700 FF along with – of course – Sumire Primes. In order to create the Sumire lenses, Canon gathered a lot of feedback from pro customers around the globe. The clear trend was (and still is) the desire to deploy a lens as a creative tool that adds to a certain look rather than an optically perfect (as in neutral) piece of glass which sole purpose is to direct light towards the sensor plane. Canon Sumire Prime Lenses kit – Image credit: cinema5D The result of all this research is the Canon Sumire Prime line of lenses and as you can read (and watch) in our review here, the look and feel of these lenses are rather impressive. The Canon Sumire Prime line of lenses consists of the following focal lengths (for now): 14mm T3.1 20mm T1.5 24mm T1.5 35mm T1.5 50mm T1.3 85mm T1.3 135mm T2.2 Each lens covers full frame sensors and is capable of delivering up to 8K resolutions, yet adding a softer overall look to the image. According to Ryuji-san, contrast and resolution are not the same thing and therefore, the same lens can produce pleasingly soft contrast yet delivering very high resolution at the same time. Each lens, except for the 14mm one, accepts a 105mm front filter. All lenses sport a smooth 300-degree focus throw, a 11-blade aperture and a unified housing so focus and iris gears are on consistent positions. Same goes for the unified 114mm front diameter and the presence of focus and iris marking on both sides of the lenses. PL mount is standard but all lenses can be swapped for an EF lens mount. Pricing Cine lenses tend to be pricey pieces of kit and the Canon Sumire Primes are no exception to the rule. They aren’t uber-expensive, compared to other offerings but I think rental houses might still be the more likely customers rather than owner/operators. Additional information about the Sumire lenses can be obtained here. What do you think about the Canon Sumire Primes? Do you like the look or do you prefer other offerings? Share your thoughts in the comments below!

Kandao has launched the world’s smallest 8K 360 camera. The QooCam 8K offers 8K 10-bit video up to 200Mbps at 30fps and 4K at up to 120fps. Kandao 8K – Image source cinema5D I’ve been using the original QooCam for about a year. I’m also using the Insta360 One X and have used the Insta360 One before that. However, there’s two things that have been holding me back. The first thing I’ve been waiting for is 8K in an affordable, accessible 360 camera. The second thing is 10-bit video encoding at high bit-rates (something that also really needs to come to smartphones very soon). The fact is, 8K is really a minimum to capture a full 360 with sufficient detail and clarity. QooCam has delivered this and more with the QooCam 8K. Let’s take a closer look. QooCam 8K Specifications 1/1.7 ’’ 20MP Sensors 7680*[email protected] ∣ 10bit ∣ H.265 200Mbps (max) 3840*[email protected] 6-axis gyro, IMU sensor and advanced stabilization Realtime RAW Mode (photos) 2.4” Touchscreen Built-in 3000mAh battery Built-in 64GB internal memory External SD card support (up to 256GB) These are some serious specs for a compact 360 camera that’s aimed at the consumer creator. Larger Sensors and “Realtime RAW” Kandao claims that the QooCam 8K achieves APS-C level image quality, a first in a 360 camera of this size. This is down to a new image processing pipeline and a pair of 1/1.7″ 20MP sensors, with 246% larger area than the sensors in the original QooCam. The QooCam 8K can capture 12-bit DNG raw images, and a new computational imaging process combines multiple exposures to get one 16bit DNG and JPG, resulting in less noise, higher dynamic range. High Frame Rate 4K 120p and Super Steady Stabilization The QooCam 8K allows action to be captured at 120fps in 4K for even smoother, immersive 360 experiences. A 6-axis gyro and IMU for electronic stabilization eliminates camera shake for cinematic smooth video. This may well make the camera a great choice as an action camera. Power and Storage An internal 3000mAh battery should keep the camera running for plenty of time but making it removable could have been a good idea. Having the ability to swap out the battery for a charged one while on the run would be useful for a lot of people. Having said this, Kandao has incorporated 64GB of internal memory, with a microSD card slot for additional memory. This is a great feature because the camera is immediately usable right out of the box. Touchscreen A 2.4″ OLED touch screen makes the QooCam 8K entirely operable without a smartphone. Clips can be reviewed on screen as well as menu functions and camera status information. Pro 360 Camera Specs in a Consumer 360 Camera Body For the first time, professional specifications such as 8K 10-bit video at high bit rate has been incorporated into a consumer 360 camera. This may make the QooCam 8K more of a “Prosumer” 360 device. This is a camera that should be capable of high end results in the right hands, and at the same time be easy enough to use for anyone wanting to capture the world around them. These are the details released so far. Take a look at the QooCam 8K webpage for more information. We will be reviewing the camera in full, so stay tuned for more on the QooCam 8K. Have you used the original QooCam? What do you think about the QooCam 8K? Let us know in the comments

Libec TH-G3 is a new one-handed gimbal that can carry payloads between 0.5 and 3.6kg (1.1 – 7.9 lb). It offers four follow modes, 360° roll action, unlimited movement on all three axes, and up to 18 hours of battery life. After connecting to a smartphone with the Libec app, there are additional controls and motion time-lapse available. Libec TH-G3 Gimbal. Image credit: cinema5D The Japanese company Libec has been known mostly for their tripods and other grip products and accessories. It seems, however, that they are expanding their product portfolio now. During Inter BEE 2019 show they introduced their first gimbal Libec TH-G3. What are its features? Libec TH-G3 Gimbal Libec TH-G3 supports a payload range of 0.5kg to 3.6kg (1.1 – 7.9 lb), which puts it to the same category as DJI Ronin-S, MOZA Air 2, Zhiyun Crane 3 LAB and similar-sized gimbals. It offers an unlimited 360° movement on all three axes. Libec TH-G3 Gimbal. Image credit: cinema5D The gimbal functions in three different positions. Libec calls them “Top Down mode”, “Bottom Up mode”, and “Pen Light mode”. It basically only reflects how the gimbal is being held – upright, grip above the arms, or behind them in a horizontal position. Of course, this gimbal also offers the popular 360° roll feature which works in “Pen Light Mode” by moving the joystick. Libec TH-G3 gimbal has four follow modes including “Pan Follow Mode”, “Pan & Tilt Follow Mode”, “Lock Mode”, and “Roll Follow Mode”. These can be switched by pressing the Mode button. Action Mode, which can be activated by pressing the “Mode” button three times, provides higher motor strength for faster movements. Libec TH-G3 Gimbal. Image credit: cinema5D The TH-G3 is compatible with the majority of mirrorless and DSLR cameras. By connecting the camera to the gimbal with a standard connection cable, users can control the camera’s shutter and focus. There is no list of supported cameras from Libec yet. When it comes to battery, maximum working time for setups with a 0.5kg payload is 18 hours and for setups with a 3.6kg payload, it is 12 hours. The gimbal weighs 1,470g without batteries, so it is rather on the heavy side. Under the gimbal’s grip, there is a 1/4″ screw hole and a 3/8″ screw hole for various attachments, like the included mini tripod which becomes an extended grip when folded. The sliding plate is compatible with Libec, Manfrotto and Sachtler heads, allowing users to quickly swap between camera supports onsite without the need to change sliding plates. Libec TH-G3 Gimbal. Image credit: cinema5D Libec also offers a smartphone app for the gimbal. When connected, it offers additional adjustment options, like motor balancing to match the camera’s weight or speed adjustments. Smartphones with the Libec app can also act as a remote control for the gimbal and can trigger motion time-lapse. After setting up the route point on the motion time-lapse, users can preview the route. Libec TH-G3 Key Specs Payload: 500g – 3600g (1.1lb – 7.9lb) Operation time: 12-18 hours (depending on the payload) static operation under proper balance Charging time: 6h Input voltage: min. 11.2v, standard 14.8V, max. 16.8V Operation current: min. 150mA, max. 7600mA Operation temperature: min.-10℃ (+14℉), standard +25℃ (+77℉), max.+45℃ (+113℉) Tilt angle range: 360° unlimited rotation Roll angle range: 360° unlimited rotation Pan angle range: 360° unlimited rotation Following deviation in static state: min.±0.01°, max. ±0.03° Following deviation in motion state: min.±0.05°, max. ±0.1° Product dimensions: 192mm x 79mm x 460mm (7.6″ x 3.1″ x 18.1″) Weight: 1,470ｇ/ 3.2lbs (excluding batteries) Accessory mounts: 1/4″ and 3/8″ mounting/screw holes Connectors: 8V/2A power accessory port, Camera control port User interface: Bluetooth 4.0 Price and Availability The Libec TH-G3 gimbal will be available from January or February 2020. The price should be slightly above $400, but it has not been finalized yet. The company is considering offering an improved warranty service with their products. Libec TH-G3 Gimbal. Image credit: cinema5D By looking at this gimbal’s features, I don’t really see any unique selling point, to be honest. It is more or less on par with other manufacturer’s offerings. I like the fact it offers unlimited 360° rotation on all three arms and high capacity battery. On the other hand, its roll axis motor blocks the view of the rear screen, and the gimbal itself is quite heavy. I think its success comes down to what the final price and the warranty services will be. The gimbal market is definitely a very saturated one and it is extremely hard to bring new innovations there nowadays. What do you think of the new Libec TH-G3 gimbal? What kind of one-handed gimbal do you use? Let us know in the comments underneath the article.

At the Inter BEE show in Tokyo this week, Atomos announced a major update for the Sumo 19 – asynchronous multicam switching. This Sumo update gives their do-it-all unit just one more tool in the kit. Atomos Sumo19 can record 4 ISO feeds and 1 program – all to the same SSD (Image credit: Atomos) What is it? First, some context. Atomos has been creating high-quality external recorders for some time now, and the Sumo is their largest and most powerful unit to date. It is fully HDR-ready, capable of displaying a claimed 10+ stops of dynamic range at 1200nits. It is also one of only a few devices capable of capturing ProRes RAW. The Atomos Sumo is designed to be a do-it-all box, capable of replacing multiple pieces of hardware in the pipeline of smaller productions. “Save space by replacing several boxes in your rack with a single Sumo19,” brags the Atomos website. In terms of video feeds, it can handle signal conversions, both HDMI and SDI inputs, and record 4 ISO (isolated) video feeds and 1 stitched-together program feed to a single SSD. It can also output that program feed by either HDMI or SDI if it isn’t the final stop in your pipeline. On the audio front, it features two balanced XLR inputs, with full 48v phantom power and dedicated gain controls. And that’s all on top of being a great HDR monitor. Atomos Sumo19 can live-switch asynchronous feeds with this update (Image credit: Atomos) So What’s New? So with this latest Sumo update, Atomos has set their sights on removing one more step between your cameras and your recorder. AtomOS 9.2 for Sumo 19 will allow asynchronous live multicam switching. Translation: no genlock, no problem. While we don’t know how this will actually work, we can speculate. One common practice is to hold a drifting feed in a small buffer until it falls back into sync. But however it works, the Sumo will also record an XML file alongside the ISO and program feeds, so that everything can be brought straight into your NLE of choice with all of your edits in place. For that matter, it can even track whether you used a hard cut or a dissolve in the live recording, both of which can be configured to either a single- or a double-tap. The Takeaway These updates, on top of the already-existing features of the Sumo, make it an incredibly useful tool for any multi-camera production, live or not. Atomos continues to put powerful tools in the hands of filmmakers who wouldn’t have had access to them before. The update is available for download now. The new Sumo19 asynchronous switching function is on display in the Atomos booth (Hall 8 #8401) at Inter BEE 2019 in Tokyo, Japan (Nov 13-15, 2019). What is your multi-cam workflow? Would this feature tempt you to buy a Sumo? What is still missing? Let us know in the comments!