Alongside other manufacturers like LG and Samsung, Panasonic have unveiled their prototype of an invisible OLED TV. The appliances of an invisible screen are endless, especially for marketing products. Will you soon be walking through NAB, IBC and other events with invisible OLED showboxes, with touch screen capabilities to get the information you need? Are we one step closer to Minority Reports technology? What are possible applications of this technology for filmmakers? Invisible screen – Minority Report© 20th Century Fox / Dreamworks Pictures. It is well known that films and TV shows will often depict technology way beyond our imagination. From hoverboards to being able to connect to the world from the palm of your hand and now to invisible OLED TV screens with future touch capability. How does Transparent OLED work? OLED stands for organic light-emitting diode. They are screens that produce light when electricity is applied through them. OLED is used to create digital displays in many devices that are being used today, from TV screen to computer monitors to smartphones. OLED displays are more efficient than LCD displays, due to not needing a backlight and filters to display an image. The panels are made up of layers sandwhiched between two electrodes – the cathode and anode. The electricity that is fed through the plastic emits its own light. This enables easier manufacturing and thinner products, as well as now – to become transparent. Source: www.dailymail.co.uk Due to the transparent nature of the components used in OLED screens, when the panel is on, the self-illuminating pixels produce a picture, and when the screen is off, the components go back to being transparent. OLEDs can also be designed to be more flexible and even rollable, such as the rollable TV screen that LG unveiled. Soon you won’t be needing to buy an extra large TV cabinet to fit your 60″ TV. You’ll be able to roll it out on the fly. You may ask yourself, why is this relevant to us in the film industry. I think most VT operators would be grateful to have this technology, instead of having to schlepp big OLED displays up and down a mountain to get to set. The Panasonic and LG TVs are still prototypes, and is unlikely to be available for at least another couple of years. The technology is there, but affordability may still be out of reach for a consumer market. Different kind of filmmaking? Apart from obvious consumer-related usages of this technology, it can also change the kind of content filmmakers produce specifically for these screens, and filmmaking technology itself. With the background having to be translucent, it means a lot of content needs to be shot in front of a green or blue screen, otherwise it couldn’t be made partially translucent during display. What other uses of these “invisible OLEDs” can you think of? Let us know in the comments below!Read more
Canon is displaying their prototype of 8K camera at Photokina 2016. This crazy setup shows a complete working 8K solution from start to finish. The Canon 8K Cinema EOS camera presented here is part of Canon’s complete demonstration of their vision of an 8K future. The camera is hooked up to a prototype 10″ 4K on-camera display and an 8K monitor as well as an 8K printing solution for stills. The camera body of this 8K prototype is actually a slightly modified C300 mark II body with an 8K super35mm sensor developed by Canon. It is connected to a prototype debayering box that distributes 4K signals to 4 Convergent Design Odyssey recorders for high quality recording. Canon 8K Camera Prototype at Photokina 2016 Compared to the RED Helium solution, Canon’s current setup is huge and will most definitely not look like that as a final product. As cameras get smaller and smaller, we might see all that technology packed into a camera body similar in size to the Canon C300 or recent Canon C700 we talked about during IBC. At this moment, the Canon 8K camera prototype has no internal recording. The current recording format is 8K RAW 60fps. This results in over 10TB of data for every hour of footage. Surely this is not the end of development, but rather the beginning of what lies ahead in the 8K area for Canon cameras. Like many other companies, they have recently been focusing on providing solutions instead of products, and we’re curious to see where exactly will Canon be taking this technology 4 years down the road. Do we need 8K? Certainly not (yet). But as technology progresses further and we see storage and speeds of systems increase by the month, we might see a working 8K workflow in the not too distant future that can certainly open up greater possibilities in post production, flexibility in live boradcast and more, even though as an end format we might not need that 8K too soon. Companies are certainly pushing in that direction. The question is: will they convince us to go along?Read more
Recently, there’s been a boom in nanowire research and development. It seems as though everybody and their granny is looking into nanowire technology for the future of touch-screens—and it’s no wonder. Nanowires made of copper, silver, and even gold look set to bring us more cost-effective, longer-lasting displays for a multitude of devices in the coming years. Clearly, the colossus that is the smartphone industry is the main driving force behind this nanowire revolution. When you’re paying hundreds of dollars for an object which goes absolutely everywhere with you, the last thing you want is for dropping it once to shatter your home screen and your hopes and dreams along with it. With the current popularity of smartphones, tablets, plasma displays, and all things touchscreen, it is no wonder that the current go-to material—indium tin oxide or ITO—is disappearing, fast. Demand for touchscreens, of course, will remain ever present. However, the world’s ITO stockpiles cannot keep up, leading researchers and technology start-ups from across the world on the hunt for the perfect alternative: affordable, conductible nanowires. Nanowires: What are they? Before we can discuss nanowires, and how they may affect the camera industry in the coming years, it is probably a good idea to get to grips with what nanowires actually are. Fortunately, the definition for a nanowire is much simpler than the technology behind them: they are simply a wire with a diameter of no more than a few of nanometers—with one nanometer equaling to 0.000,000,001 of a meter! The companies that seek to revolutionize the touchscreen industry are doing so by suspending these nanowires in inks and then spreading these inks to form a film—a film that is, for the most part, empty space; this allows the films to remain transparent while the nanowires themselves remain conductive—just what industries need to keep their touch screen technology flowing! The Benefits of Nanowire Technology The diminishing levels of ITO available coupled with the ever-growing demand for screens mean that the race is on to get the first mass-producible nanowire screen technology out of the research labs and into our electronic devices. Looks like it is time to find out what benefits we, the consumers, can reap from this surge in nanowire research and production. Replacing Indium Tin Oxide One of the major benefits that producing screens via nanowire will have is the reduced demand for Indium Tin Oxide—something that the world is currently running fairly low on. As stock depletes, the price for the material will obviously increase and this is obviously going to be felt in the pockets of consumers as manufacturers up their prices. A More Efficient Manufacturing Process Screens made from ITO are also problematic due to how they are created. It is a complex and inefficient process, whereby the Indium Tin Oxide is deposited onto glass inside vacuum chambers. Obviously, the issue here is that not all of the expensive ITO lands where it is needed—meaning that the vacuum chambers themselves must be cleaned after each stage so that the rare material that’s left on the interior of the chamber may be reused. Of course, the simpler process behind rare metal nanowires has an awesome advantage for consumers; it means that nanowire screens will cost less! Improved Efficiency Nanowires offer better conductivity and lower sheet resistance than currently available techs—allowing for better optical quality while simultaneously reducing production costs, as we mentioned above. I find it fairly crazy that, before they’ve even properly hit the market, nanowires have already had an enormous impact on nanotube and graphene ITO alternatives. From the depths of research labs, nanowires have already destroyed the majority of the market for two competing technologies. Impressive. Flexibility While it may not be something on your immediate technological wish list, it is certainly an interesting development. By coating nanowires onto plastic sheets—as simple a saran wrap—companies have been able to develop flexible, functioning prototype screens. The video below has a few more details pertaining to the 18” roll-up OLED showcased by LG at CES 2016. Lower Costs I mentioned it earlier but it bears repeating. By utilizing minute amounts of pure, precious metals, researchers have been able to beat the performance offered by ITO at a fraction of the cost of the process involved in manufacturing items with Indium Tin Oxide. For consumers, that’s what I would call a win-win situation! Should Filmmakers be Getting Excited about Nanowire Technology? Personally, I think so. Even outside of filmmaking, we see an increasing number of screens as the technology available to us continues to advance into the realms of Science-Fiction. Whether camera displays begin to adopt nanowire technology in the near future or not, we’re probably all going to be experiencing the apparently improved performance that they can bring to the table in one way or another. Some of the best and brightest minds in the world are researching and developing nanowires, including teams at Stanford, MIT, Harvard, and Duke. That usually means two things: the tech will arrive on the market sooner than we might expect, and the applications will likely be extremely useful—or at the very least, incredibly interesting! We’ll have to wait and see if nanochemistry hits a roadblock with improving and producing nanowires and whether manufacturers take this new technology in their stride. However, with working proof-of-concept models already surfacing and the potential for lower costs, I’d wager that nanowires are going to be a big hit; even if we do have a while to go until these newer, tougher, or flexible screens are in our hands.Read more
Cineo Lighting has announced their next Remote Phosphor Technology lamp. The HS2 now features an inbuilt power supply with new DMX and remote controllable digital display. The original TruColor HS caused a bit of splash on announcement; one of the few filmmaking companies to utilize remote phosphor technology. Check out the science of it here, in a nutshell an array of blue LEDs hit a layer of phosphor that produces light, changing the phosphor plate produces different kelvin temperatures. The result is a light that produces very high luminance at reduced draw and heat compared to other lighting formats, not to mention very accurate colour rendition with exceptional CRI throughout the range. The Cineo HS2 features a new power supply, physically smaller in size that now fits on the back of the lighting unit. The old system was a separate unit much the same as a ballast is to a HMI. Inclusive of the power unit is a new digital display controller: “The RDM450 is smaller and lighter weight than the legacy DTZ450 power supply and features completely re-designed electronics for improved reliability. Other new features include digital display and control, remote programming via RDM, both, and fine dimming, smooth dimming and strobe capability. The RDM450 can be attached directly to the HS2 head for one-piece operation or operated remotely up to 300 feet from the fixture.” The HS2 is a very well built one-piece fixture, featuring 80/20 mounting slots on the sides for easy mounting to the yoke and other accessories. It has a new and improved hinged top to access the phosphor panels for quick one-handed switch outs. The size, weight, and output are identical to the legacy HS fixture. The Cineo HS developed an industry nickname of the ‘Holy S**t’ due to its fantastic brightness output to power draw. Having used one on set in the past I can say they’re an impressive fixture, absolutely no flicker at high frame rates and 500W bares no correspondence to its output when comparing to a tungsten or HMI fixture. The HS2 builds on this success making the overall package more refined and easier to use; a self-contained lamp and power supply will much improve its function on set. Here’s a link to the full specification list of the Cineo HS2. Here’s a video from NAB 2015, showing the brightness of the Cineo lights:Read more
Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes! In episode 20 of ON THE COUCH, I talked to professional photographers Kamil Tamiola, Tom Barnes and Lucas Gilman. We had a very engaging discussion about their work and the present and future of photography, filmmaking and imaging in general. Thanks to one of our main sponsors G-Technology, we were able to assemble a full couch of “G-Team” brand ambassadors (including yours truly) for this taping in our beautiful suite during Photokina 2014 in Cologne. Asked about their current projects, Kamil talked about his campaign for Phase One which he is shooting on their medium format digital cameras in extreme altitudes on top of the highest peaks of this planet. He mentioned how much he is actually relying on advances in technology when it comes to resolution and especially dynamic range – having extremely overblown highlights as well as dark shadows in just one image. Watch Kamil’s full behind the scenes promo video for his Mont Blanc Phase One Campaign at the bottom. Tom Barnes is best known for his portraits of bands and musicians, and has a large body of work in that field and many years of experience. He talked about about a production for Channel 4 called “Don’t Stop the Music”, produced by Jamie Oliver’s production company, which tries to get children into learning musical instruments again after public funding in the UK for that was cut. Lucas Gilman is also known for his extreme outdoor and nature photography recently shot the campaign for the new Nikon D810 DSLR in some beautiful locations. See the Behind-the-scenes video at the bottom of this post. Lucas mentions the built-in timelapse function in the Nikon D810 which sounds actually quite amazing for filmmakers, because it takes a lot of work away from post production, being able to assemble those timelapses right in camera. The first part of our discussion focused on the photography revolution that took part over the past 10 years with digital technology really becoming the massively dominant way of taking photos, with film fading away much quicker than anyone anticipated. We talked about how jobs changed because of the technology and how photography has gotten anywhere … also turning a professional photographer’s world upside down. We touched on how this revolution is still taking place in filmmaking and cinematography, and how we are currently experiencing that megapixel hype that the photography industry is already done with – there, now it’s about dynamic range and color rendition and not only the higher megapixel counts at all costs. In part 2 of this episode to be published next week, we will talk about photographers who are moving into video and cinematography, and what they need to be aware of. Also, we talk more about advances in camera technology and what that actually means creatively. Watch all other episodes of ON THE COUCH so far by clicking here!Read more
We thank our sponsor B&H who has made cinema5D’s news coverage of IBC 2012 possible. Get your gear through B&H to support this platform: www.bhphotovideo.com Arri is one company that keeps being successful at what they do. Their stuff just works and is extremely reliable. They offer some of the best quality in our field of work and come up with new devices every year. Here’s a new lighting fixture that I found very intriguing. The L7-C is an LED light that is built to imitate the characteristics of a typical fresnel lens. So it gives you the nice varying beam at a very low weight. What is special about the L7-C is that you can tune in any color you desire which makes using gels obsolete and gives you full control over your image in a very simple and cost effective way.Read more
Just a quick introduction right outside the RAI center in Amsterdam where the IBC 2011 exhibition will start tomorrow morning. B&H has provided these exclusive phone numbers for you if you have questions or require assistance: US: +1 877 502 5839 and INTERNATIONAL: +1 212 465 0114Read more
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