The update to the DJI GO app for the Inspire, Phantom, Matrice and Osmo products brings compatibility with Facebook’s Live video streaming platform. After waiting over a month since their demonstration at Facebook’s F8 conference, DJI has finally made good on their promise. The latest update to the DJI GO App for compatible DJI products is already available on the iTunes App Store, with the Google Play Store to follow suit very soon. DJI’s GO App update is available now! Using your Facebook login details from within DJI’s GO app allows you to send a feed directly to your account. From there, the stream happens just like normal, with the quality of the feed depending on your network coverage. The app uses your phone’s built-in microphone too, so you can talk to your viewers in real time. It has been a great first half of the year for DJI, having released the Phantom 4, the latest incarnation of their budget line of drones. 2016 also saw the release of the Matrice 600 aerial platform, as well as improvements to the Osmo handheld gimbal, offering RAW capabilities and better stabilisation. All of these products are compatible with the DJI Go app, which probably means you will start seeing some quite interesting perspectives popping up as live video streams on your Facebook timeline in the near future. Will you be broadcasting live to Facebook using a DJI device? Make sure to let us and the whole cinema5D Facebook community know! You can find us @c5Dnews. via CNETRead more
It is quite possibly the coolest camera around. Due to its price, it is unfortunately out of reach for most users. With the capability of shooting 1000fps at 4K resolution, the Phantom Flex 4K is a beast to be reckoned with. The data media management side, on the other hand, has always been troublesome. 64GB are used for a 5 second shot (in real time terms), with only limited ways to access the footage from the camera. That is where PHANTOMfuse from Kamerawerk comes in. Digital Image Technicians fear the word “Phantom.” Converting Phantom Cine Files is cumbersome and takes a lot of time. In order to combat this, Vision Research recently launched a new firmware upgrade for the Phantom Flex 4K camera, which allows for simultaneous CineRaw and ProRes422(HQ) recording. This has almost completely cut out the need to convert Phantom RAW files on set. It does however also mean that less space is available on the CineMag, thus enforcing a faster turnaround to make safe and verified copies. To get access to the Phantom’s CineFiles, DIT’s connected a CineStation via a 10GB ethernet hub to a Mac or PC. Only limited software such as Seance on MacOS or PCC on Windows could read the CineMag. It doesn’t show on the desktop as a card or a virtual drive, it had to go through specific software to get access to the Cine RAW files from the Phantom, and then to be able to download CineFiles from the CineStation. The Files would be processed through this software, and then copies would be made afterwards. With PHANTOMfuse, you can knock two birds with one stone. By just installing the software, it creates a virtual drive of the CineMags that are docked in the CineStation and displays it in the File Browser. This either allows for easy drag-and-drop from the card straight onto a drive, or for media management software, such as Pomfort’s Silverstack, to recognize the card and perform verified and safe copies on-set within their Browser. PHANTOMfuse automatically detects CineMags and creates reels for them. Usually, the Phantom is not an A Camera on-set, and I haven’t been able to figure out whether one can change the naming convention from A to something else. This could be a slight setback. The software is currently in BETA stage, available for OSX and is free to test for 14 Days. Price is yet to be determined. Feel free to look at PHANTOMfuse website.Read more
Blackmagic Design just introduced their first 4K disk recorder / monitor, challenging the Atomos Shogun recorders with a high resolution 1080p display and SDI / HDMI connectivity at an impressive pricepoint of just $895. Blackmagic Design Video Assist 4K After Atomos surprised us with yet another version of their high end HDR disk recorder, the Atomos Shogun Inferno, Blackmagic seems to be right at their heels with the new Blackmagic Video Assist 4K. What is interesting about this 4K SDI / HDMI recorder is mainly its price of $895. In comparison, the original Atomos Shogun is still $1495. At this point, I should also mention that the while the Blackmagic Video Assist 4K shares the SDI and HDMI connectivity of the Shogun, the Atomos has gone through a year’s worth of numerous firmware updates that have made it a very feature-rich tool. Just like the original HD Video Assist, I presume the Video Assist 4K is still very basic in terms of its features. If you’re searching for basic functionality though, the Blackmagic Video Assist 4K looks like a pretty interesting deal. It also offers a few nice features: it records directly to affordable and compact UHS-II SDHC Media and can even record to both simultaneously for a quick backup solution. Also when one card is full it switches over to the next card for continuous recording. There are also 2 mini XLR connectors for audio, including 48V phantom power for microphones and last but not least LANC control and HDMI and SDI rec-trigger: a very important feature when you’re working in the field and want to be quick as a single operator shooter. The 6G SDI input will enable recording from some of Blackmagic’s new cameras for a higher data rate. In comparison, most other camera manufacturers still use 3G-SDI that cause problems when working with 4K footage, degrading external recordings like on the FS7. Blackmagic Video Assist 4K Key Features 7 inch LCD touch screen with 1920 x 1200 high resolution monitor. 10-bit 4:2:2 HD ProRes or DNxHD recording. Dual high speed UHS-II SDHC card slots. Dual recorders allow non-stop recording. 2 mini XLR connectors with 48V phantom power. -128dBV electrical noise floor. LANC connection for remote control. Auto start/stop recording using HDMI or SDI triggers. Includes slots for 2 hot pluggable batteries as well as 12V DC power input. Included kickstand. Includes 6G-SDI input. The Blackmagic Video Assist 4K is available now and retails for $895.Read more
This is a guest post by Matti Haapoja on his work submitted to the Videolog. In this article Matti shares some extremely useful guidelines and numerous tips on how to make a cinematic and awesome travel video with his Panasonic GH4. Last fall I took a 29 day epic road trip through the west coast of America, along with my wife, brother and friends. Here are some most essential tips you should consider when planning to make an awesome travel film. 1. Prepare First off you have to make a plan. We had 29 days and although that seems like a lot of time we had to carefully plan out our trip in order to hit all the amazing places we wanted to see. Don’t be too strict because some places might totally surprise you with how amazing they are, case in point Crater Lake in Oregon. But make sure you have a plan so you don’t waste time on your trip trying to figure out where you should go. 2. Why? Then you need to figure out why you’re filming because that will dictate a lot of the gear you need and the quality you need to achieve. For this trip I tried to line up some sponsors who would either donate gear or pay for expenses and then in turn I would include them in the travel video somehow. But in this case it was way too big of a hassle with not enough return so I decided to shoot just for fun. Personal projects like these can be a great way to showcase your talent and style which helps you in the future to get more jobs doing films you actually like doing and that fit your style of film making. “Wild” has already helped me to land other travel videos that I’m being paid for. 3. Travel light If you have too much gear it’s going to either stop you from seeing the places you want or make you tired of shooting because its so much work. Keep it simple. I wanted to run really light so all I took with me was a Panasonic GH4 + Metabones adapter, a Sigma 18-35m f1.8, Nikon 85mm 1.8 and a panasonic 12-35 f2.8, Monopod and an ND filter. Remember if it’s your vacation try to relax and enjoy yourself. 4. Don’t get robbed Unfortunately fate would have it that apparently I had too much gear and in San Francisco my camera bag was stolen from our rental van. Be careful with your gear and don’t leave it in your car! Not even for 15 minutes… After a few days of sulking and being annoyed that footage from Crater Lake, Cannon Beach and Portland was stolen I got back into it and bought just the GH4, Panasonic 12-35mm 2.8 and an ND filter. I realized that this was a perfect combo for traveling. Its insanely light and with the OS on the lens and using the EVF on the GH4 I shot everything handheld (except for a few shots at Crater lake which were stolen of course). I was able to walk around comfortably all day with the camera in hand and quickly snag shots almost like I was taking stills. I found it to be a great way to not be overwhelmed with gear and shooting. It also helped to be stealthy when shooting in cities. 4. Don’t forget who you’re with Its all about people, characters and stories in the end so don’t forget to capture the people you’re travelling with or the locals if you’re by yourself. One of the big things to remember is that you don’t want to just capture the beautiful landscapes and places but try and capture people in those environments, their reactions, emotions and culture. Having characters interact with the environment will make your travel video much more interesting. 5. Make sure you have a drone Okay I did have a drone with me also. I brought along a drone because I wanted some epic shots of all the epic landscapes we were going to. It really elevates the production value of a travel film. I went with the DJI Phantom 2 and GoPro setup (Hero 3 in this case). Be careful about where you fly your drone though because not all places allow it and the laws can be a bit tricky. Also keep in mind you need an ND filter, which I only found out later. Also a little sun hood for the GoPro will save you from the shadow streaks created by the propellers when flying towards the sun. More info on this HERE. 6. Take your time on the edit So often with personal projects I don’t take as much time on it because there’s other projects to do that I’m being paid for or it’s just not a priority. But personal projects can take your film-making in the direction of films that you want to make. Clients will often ask you to recreate or make similar films to something you have already created, so a personal project can act as an awesome showcase video . 7. Shine, polish, match and grade! Don’t rush the colour grade. Travel films are usually shot in tons of different locations with different lighting etc. To keep the video cohesive and consistent make sure you take lots of time on the grade and matching shots. In Wild I tried to take a lot of time matching shots especially between the GH4 and the GoPro footage. I used VisionColor’s Impulz LUT’s for this travel film which worked great because they offer different versions of each LUT for different cameras like the GH4 and GoPro. Then I used curves for contrast and Magic Bullet Colorista to match between shots. Remember that these are just some tips and not absolute rules. Do your best to be unique and true to your style! You can see more of Matti Hapooja’s work at: www.heartvisuals.com vimeo.com/mattihRead more
NAB 2013 has been over for over a week now, and it’s time to reflect on what this year’s big trends were. It definitely wasn’t a year of huge innovation in the camera sector (despite the S35 Blackmagic Design 4K camera), it felt more like an evolutionary step. 4K is definitely still the buzzword whereas 3D seems to be almost dead. (Watch NextWaveDV’s NAB 2013 “bloggers breakfast” where we discussed much of that together with our friends from other blogs by clicking here.) Nothing is as sexy as new cameras for readers, but the one trend that clearly was showing this year was camera stabilization, in various forms: there was a lot of noteworthy innovation in a sector that was ripe for innovation. New sliders, jibs, copters and handheld rigs stole the show.Read more
The Sony FS700, the first affordable slow motion camera is on its way (expected July 2012) and here we see what the pro’s are currently up to in this field. Philip Johnston just shared a clip on how professional slow motion is done today in the Slomo FX factory at “The Marmalde” in Hamburg, Germany.Read more
Vincent compares the 1Dmk4 to a Phantom? By: Sebastian Wöber I passed Vincents presentation at the Canon booth the other day. I really liked the very cinematic 1Dmk4 footage he showed but was surprised when he compared the 1Dmk4 to a Phantom camera. I managed to grab a blurry image of the slide (see above) in which you can see a $750k Phantom setup on the left and a $50k 1D mark 4 setup on the right. His words: “Do the math! You know, none of us have 50 thousand dollars laying around, maybe 2 in the audience do, but I can take a lot more of the cameras on the right than I can of the cameras on the left, that’s why it becomes much more versatile.” He also added: “That being said the camera on the left does things the camera on the right does not.” I feel like Canon wants to sell their dslrs in a way that is very misleading. The Phantom model shown in that slide was a highspeed camera that records 1500fps uncompressed 1080p to be exact. In his speech Vincent showed some of his latest work and explained the benefits of using dslrs on a proferssional shoot.Read more
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