Efficient wall chargers for batteries from bebob are practical charging stations for the company’s complete battery portfolio: V-Mount, A-Mount and B-Mount batteries.

Easy to mount on the wall and cascadable, the new 4 or 8-channel wall chargers from bebob are perfect for storing and charging batteries that are currently not in use. Although aimed at rental companies, they are also ideal for customers with larger stocks of batteries.

The wall-mounted chargers are available in five versions, with different mounts: for normal-sized A-Mount (Gold-Mount compatible), V-Mount and B-Mount batteries as well as for Vmicro and Amicro batteries. The wall chargers for the latter can charge eight batteries in parallel instead of four.

The 4-channel or 8-channel Li-Ion parallel chargers with wall mount each provide 168 watts of output power and a total of 16.8 volts or 10 amps (four channels at 2.5A or eight channels at 1.25A). For extra fast demand, bebob says, “parallel charging of two batteries with 5A is also possible. For example, two V45micro batteries can be charged to 100 percent in less than one hour – or two B480s to 80 percent in slightly over five hours. For eight micro batteries, the times are correspondingly longer, depending on the capacity – for eight V45micros, it takes just under four hours to charge them to 100 percent.”

Thanks to the AC loop-through connection, several wall charging stations can be connected in series – with a standard 16A AC fuse, this can be up to 15 pieces. A charging indicator shows the charging status through different colours. The different wall chargers weigh approximately four kilos each and have a maximum circumference of 270 x 89.7 x 410 mm. A practical carrying handle is attached for transport.

The recommended retail prices for the wall chargers are between 1,090 and 1,690 Euros/1,190 and 1,845 US Dollars. The chargers are immediately available from all established bebob dealers.

This week on Editors on Editing, Glenn Garland interviews the four editors from the hit show, The Bear: Joanna Nagel, Adam Epstein, Naya Imani, and Megan Mancini.

The group discusses their experiences working on the show and the challenges and joys of editing collaboratively to develop characters and tell stories. They also explore the importance of music and sound design and how that helps their own editing process. They also mention the courage and skill required to make editing decisions and discuss the collaboration with the director. Different editing techniques are used to enhance storytelling and bring out the emotions of the characters.

The podcast also outlines various aspects of the show, such as its setting in Chicago, the importance of supporting characters, and the use of a Super 8 aesthetic in a particular episode. The editors aim to ensure that every character is fully understood and has their moment to shine, which they reveal throughout the course of the conversation.

Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

With its pioneering omni-directional obstacle sensing and the flagship DJI O4 video transmission technology, the Mini Pro 4 marries professional-grade capabilities with lightweight design.

Weighing under 249g , the Mini 4 Pro is meticulously engineered for effortless portability. Its lightweight design not only ensures ease of transport but also aligns with drone regulations in a majority of countries and regions, granting you the freedom to take flight with almost no limitations. Those are essential goals as the regulations for flying drones are… not applied to drones under 250 grams.

Yes, many of the federal drone regulations do not apply to drones like the DJI Mini 4 Pro. Still, it should be noted that all drones flying for commercial purposes in the United States under Part 107 must be registered. And even if flying drones recreationally, you’ve to register them with FAA and abide by certain rules… like not flying it above 400 feet on uncontrolled areas and always keep your drone within your line of sight.

The lightweight design of the drone not only ensures ease of transport but also aligns with drone regulations in a majority of countries and regions, granting you the freedom to take flight with almost no limitations.As Ferdinand Wolf, Creative Director at DJI says “The Mini 4 Pro perfectly marries professional-grade capabilities while keeping its hallmark lightweight design, offering unmatched freedom and adaptability,” adding “this drone emerges as the ultimate all-rounder, designed to elevate your creative toolkit.”

Professional-grade post-production control

In terms of image quality, the Mini 4 Pro offers, as DJI claims, “cutting-edge imaging with a 1/1.3-inch CMOS sensor, New Image-Processing Platform and dual native ISO fusion—a hallmark of cinema-grade technology. Its f/1.7 aperture, 48MP image resolution, 4K/60fps HDR video, and Slo-Mo shooting at 4K/100fps capture moments in breathtaking detail. 2.4μm pixels  and an enhanced noise reduction algorithm in Night Shots video mode delivers clear, cleaner footage even in low-light conditions.”

Additionally, the company continues, “the Mini 4 Pro empowers your creativity with True Vertical Shooting, optimized for social media and smartphone playback. A 60° large-angle tilt for fluid camera motion unleashes cinematic possibilities, while digital video zoom bolsters your storytelling abilities by magnifying photos up to 2x and videos up to 4x.”

DJI notes that “the Mini 4 Pro allows you to achieve professional-grade post-production control with 10-bit D-Log M recording, granting access to more than a billion colors. No matter where you publish your content, HLG ensures the natural colors and brightness remain true-to-life without adjustment or format conversion due to its high dynamic range. Preserve intricate nuances with 48MP RAW and SmartPhoto technology , an ingenious fusion that harmonizes HDR imaging, scene recognition, and more, resulting in images that truly captivate.”

Edit with LightCut

The Mini 4 Pro not only offers three intuitive methods for capturing shots—Spotlight, Point of Interest, and ActiveTrack 360°, which allows users to bypass obstacles and achieve smoother, more stable tracking thanks to omnidirectional obstacle sensing—but also enhances creative possibilities with innovative features. By harnessing the follow intelligent features, users can achieve professional-level results with every flight:

• MasterShots
  Delivers dynamic camera movement templates tailored for portrait, close-up, and long-range shots, ensuring you nail every shot!
• QuickShots
  Provides Dronie, Circle, Helix, Rocket, Boomerang, and Asteroid modes for more stylish results.
• Hyperlapse
  Provides Free, Waypoint, Circle, and Course Lock modes with unlimited shooting time, and supports compositing while shooting.
• Panorama
  Supports shooting 180°, Wide Angle, Vertical, and Sphere panoramic photos to capture magnificent landscapes.
• QuickTransfer
  Quickly transfer photos and videos to your smartphone without linking the remote controller. Your creations will be instantly ready to share.

Video shooters will also appreciate that the footage captured can be edited with LightCut (available for iOS and Android), which streamlines video editing through wireless connection and AI technology, allowing one-tap generation of captivating videos by merging ActiveTrack, MasterShots, and QuickShots footage. The app automates sound effect matching and template application for efficient, high-quality production, while preserving smartphone storage by eliminating the need to download footage. Real-time sound effects enhance aerial creations, transitioning from “silent” to “vibrant.” An array of aerial shot templates, from nature to cityscape and tilt-shift effects, allows for effortless video creation by importing aerial footage, according to DJI.

Discover the new SkyPixel

With the launch of the new drone DJI also invites users to discover the new SkyPixel, “a revolutionary digital platform aimed at elevating the world of aerial photography. With an array of cutting-edge features, including a vast database of fly spots and expert fly tips, this reimagined SkyPixel empowers drone enthusiasts of all levels to master the art of aerial photography with ease.”

The platform is the place to go to stay well-informed about nearby fly spots and local regulations, ensuring safe and worry-free takeoffs for pilots of all experience levels. Join a global community of photographers, explore over 30 million stunning aerial masterpieces, and engage with like-minded enthusiasts worldwide. SkyPixel is where creativity knows no bounds, and the sky is your canvas.

The Mini 4 Pro is available to order from store.dji.com and authorized retail partners, with shipping starting today, in a series of configurations, starting with the basic  DJI Mini 4 Pro (DJI RC-N2) pack, which retails for $759, up to the DJI Mini 4 Pro Fly More Combo Plus (DJI RC 2), which retails for $1,159. All the information about the new packs is available from DJI.

Introduced as “the best camera  cages to maximize your rig”, the new Falcam and Ulanzi cages fit like a glove to the cameras they are designed for, be it Sony’s a6700 or the GoPro Hero.

With prices starting at $69.99, the Ulanzi Falcam F22 and F38 Quick Release Camera Cage for Sony A6700 is compatible with both F22 and F38 quick release mount systems, thanks to the multi-hole complete interface, which completes the cold shoe and other interfaces present and the 1/4″ threaded hole.

Designed to fit the Sony A6700, the cage does not block the hot shoe and is compatible with Sony’s microphones ECM-W2BT/IECM-B1M/ECMB10. Ulanzi claims that there is no blocking of buttons, battery compartment access, or screen flip. The F38 quick release interface is reserved on the left side for quick switching between horizontal and vertical shots.

For the GoPro Hero 12/11/10/9  Ulanzi presents the G9-5 Metal Cage, priced at $49.95, which the company says is specially designed to keep your camera away from dust, scratches, knocks or dumps. The cage comes with a 52mm filter adapter where you can mount filter lens or polarizing lens. With two cold shoe mounts, on top and right side, you can mount microphone or LED video light on it, for video shooting. Designed so access to the battery compartment is viable with the cage installed, to change the battery, the G9-5 Metal Cage is also compatible with GoPro Tripods, thanks to a GoPro type mount on the bottom. A 1/4″-20 thread is left on the bottom after taking off the mount.

For the Sony A7RV Ulanzi has the Falcam F22 & F38 & F50 Quick Release Camera Cage, with a starting price of $99.99. Compatible with Sony a7RV (A7R5)/A1/a7 IV (A7m4), the cage, which offers a comfortable grip feel doesn’t block buttons, hot shoe battery compartment opening and closing and screen flipping.

Compatible with the full ecosystem of Falcam’s quick release products (F22/F38/F50), the accessories can be freely expanded to meet the quick release needs of multiple scenarios. The multi-hole complete interface includes a 1/4″ threaded hole, Arri positioning hole, cold shoe, F22, F38, and F50 interfaces, as well as a shoulder strap hole, on the bottom and side plate to meet the need for multi-mode shoulder strap connection and keep the lens straight down.

The DJI Osmo Action 4/3 camera models also get a new cage, for $59.95. With 1/4″-20 threaded holes for attaching other accessories, like microphones and lights, the cage for DJI Osmo Action 3 and Action 4 allows for easy switch between horizontal and vertical shooting mode, includes a quick release lock, with a bottom folding GoPro port, 1/4″-20 threaded holes and DJI Action port structure. Again, Ulanzi claims, the cage does not cover the Type-C, battery door, speaker hole, switch button making for a smooth operation and easy replacement of the battery.

Finally, there is the Ulanzi Falcam F22 & F38 & F50 Quick Release Camera Cage V2 for Sony ZV-E1, which costs $99.99. Debuting a new color ribbon silk silver versus the classic gray, it opens, Ulanzi claims, a new era of dual color, endowing ZV-E1 with different personal styles. The rest is the classic stable fit, fully surrounding design, with multiple 1/4″-20 thread and Arri positioning thread, and the option to mount articulating arms and secondary monitors on your rig.

Compatible with the full ecosystem of Falcam quick release gear, the accessories can be freely expanded to meet the quick release needs of multiple scenarios such as stabilizers, tripods, and sliders. The ergonomic aluminum alloy construction  features Quick Release Mounting and a cold shoe mount that allows you to attach a shotgun microphone or fill light.

If you happen to log into Blackmagic Resolve 18.6 and all your databases and projects are gone don’t panic. You might then log into the Blackmagic Cloud server and get a Project library is currently disabled message. Still, don’t panic like I did.

It would appear that if you are subscribed to the Blackmagic Cloud they might be requiring a resubcribe to their cloud service now that we are at Resolve 18.6 and there are a lot of new cloud workflows and tools that they are enabling. I did not get any kind of message about this which would have been nice since just losing everything inhibits mild to major panic.

Here’s what to do.

If you launch Resolve and your Cloud Project Libraries are gone, don’t panic. Launch your web browser.

Sign into the Blackmagic Cloud and head to the second tab, the Project Server.

Hit the circle i on the database to open up infomation about that database. You Project Library is hopefully disabled. Hit the switch to turn that library back on.

You should then be presented with an upgrade plan option. Hit Upgrade and reenable your account. I was able to leave the same level of plan I had before.

Once that is done you’ll see Resolve enabling the project library. 

This is still a bit panic endusing as you’ll see the library empty as the projects are reenabled.

Once the Blackmagic Cloud has had a chance to churn, hopefully everything comes back as it was before this Upgrade.

This is a great place to remind you how to manually backup a Resolve Cloud database. Hit that info circle i and there is a BackUp option.

I wasn’t the only one to have a panic attack when this happened. Thankfully the good world of Twitter was able to help. When I search for the specific phraces Project library is currently disabled on the Google there were zero results.

Thanks to Colin Brooker for the quick reply on this.

Yeah, I saw this. Since it’s out of beta now, I had to resubscribe when I logged in the other day.

For some reason it turned off the cloud library when I did that and I had to go to make account to re-enable it

— Colin Brooker (@EditBrooker) September 25, 2023

The new PODs from Shoulderpod are designed so you stop struggling with gear that doesn’t work with your smartphone and can fully focus on what’s important: telling your story.

Shoulderpod, the European specialist in smartphone video equipment trusted by more than 130.000 professionals from around the world has helped journalists, newsrooms and broadcast corporations make professional videos with their smartphones and are suppliers of the Mobile Journalism kit used by more than 650 BBC Reporters. Now the company is taking a new step to make the capture of video with smartphones easy for anyone, with the introduction of the POD from Shoulderpod.

POD stands for Professional-Oriented Design. A POD is a smartphone video-setup built to solve a common problem faced by a specific group of professionals. Enrique Frisancho, founder at Shoulderpod told ProVideo Coalition that “after 9 years of supplying video-equipment to the best newsrooms around the world, we realized that video is such a powerful communication tool that it should be accessible to any professional with a story to tell.”

The problem is that building a video-kit for your smartphone can be a real challenge, given the huge number of accessories available out there. That’s why, he continues, “at Shoulderpod we’ve done all the hard work of designing, testing and selecting only the best components so you don’t have to. We want you to stop struggling with gear that doesn’t work, so you can fully focus on what’s important: Telling your story.”

Compatible with iPhone and Android devices

The PODs are designed for professionals who want to make great videos without having to become video experts. That includes:

• Journalists
  Staff or freelance reporters who want to be completely autonomous for conducting interviews or covering breaking news as they unfold.
• Business owners
  Small or medium business owners who want to fully unlock the power of video to promote their brand and start growing their business faster.
• Communication managers
  PR or communication managers from public or private institutions who want to deliver their message effectively to all their stakeholders.

Compatible with iPhone and Android devices, the PODs from Shoulderpod are supported by a series of cables and adapters for being plugged through either Lightning or USB-C connectors. Shoulderpod introduced three PODS: the Power POD, the BBC Mojo POD and the XLR Reporter POD. Although the company offered PODs are a tested combination of parts designed to seamlessly work together for a specific task, users are encouraged to test new configurations and adapt any POD to their unique workflow. For example, it is possible to use other microphones than those suggested, if they have an analog 3.5mm TRS output jack for using the C2000 or C2001 microphone cables.

Nothing is more distressing than setting up your gear for a shooting session, only to discover that your phone’s battery is almost dead. The new Power POD allows you to charge your smartphone while shooting video. The model built around the Shoulderpod G2, introduces  a new accessory, the Z3 3D-printed clamp, which has been exclusively designed to fit the G2 cold shoes tightly while holding our 5000 mAh rechargeable battery firmly in place.

3D printed accessories are more affordable

The simple accessory solves one problem of the original Shoulderpod G2, and invites users to say goodbye to messy setups and enjoy the experience of shooting video with a neatly organized solution. There is also an external battery suggested, a compact, lightweight, and high-capacity 5000 mAh rechargeable power bank, to keep your smartphone charged while shooting videos. Keep  a couple of extra batteries in your bag and you’ll be ready to keep shooting. Shoulderpod says that for added convenience, you should use the C1 or C2 short cables to neatly charge your Android or iPhone devices.

The Z3 3D-printed clamp is one of many accessories added to the new POD offering from the company. It’s not alone, as there are various 3D-printed parts: Z4, Z5, Z6 and Z7. Shoulderpod opted for 3D printing as it allows the company to offer custom-designed products to a small group of customers at an affordable price.  This is done by avoiding the high cost of tooling and injection molding, which only make sense for large production runs.

The reliability of 3D printed materials is now on par with traditional manufacturing processes and can even meet automotive and aerospace specifications. While surface quality has drastically improved during the last years, it is important to understand that surface quality of 3D printed parts is not yet as smooth as an injection-molded or machined part would be, but this is only a small price to pay for having access to products that can radically improve our workflow.

The BBC Mojo POD

Shoulderpod has a series of cables and adapters for Android and iPhone users on smartphones with USB-C connection, but the company also shares information about the adapters and cables specific for those iPhone users who have devices with a Lightning port. The specific needs for different configurations are all explained on Shoulderpod’s website; USB-C splitters, to plug a  mic + battery simultaneously, a 3D-printed clamp, Z5, for mounting the Belkin USB-C splitter on your Shoulderpod G2 video grip, a USB-A to USB-C charging cable, and a 3.5mm mic cable for USB-C, to plug external mics to your device. It’s all clearly explained for each different POD configuration.

The BBC Mojo POD replicates the kit used by hundreds of BBC reporters. Plugging two microphones simultaneously while monitoring the actual recording is a challenging task even for the most experienced mobile journalists. To help the BBC address this issue Shoulderpod  developed a MOJO solution that not only solves the problem, but also provides an incredibly neat and reliable setup.

Th BBC Mojo POD allows you to build the solution you want with only the parts you need. The suggested configuration includes the Shoulderpod G2, the heart of your video setup, and a 3.5mm audio interface, RODE Ai-Micro, that allows you to connect 2 microphones + headphones to your smartphone Android or iPhone. This means you can capture high-quality audio from one or two independent sources while monitoring in real-time through your headphones.

Plugging XLR microphones to a smartphone

Another 3D-printed clamp, Z6, for mounting the Rode Ai-Micro audio interface on your Shoulderpod G2 video grip is suggested. In terms of microphones two are suggested: the Rode VideoMic NTG is a broadcast-grade directional microphone or, if you want to go wireless, the Rode Wireless Duo, which features two wireless microphones and a receiver, enabling simultaneous recording of one or two sound sources on independent channels, all without the hassle of dealing with microphone cables.

The third configuration available is the XLR Reporter POD, which is designed to avoid the challenges of plugging XLR microphones to a smartphone. Shoulderpod picked the iRig PRE HD, a portable interface designed for capturing broadcast-grade audio from any XLR microphone directly to your smartphone. It features adjustable gain control, a 48V Phantom-power switch, and a 3.5mm headphone jack for real-time monitoring. For added convenience, it can be easily mounted on your G2 grip using our Shoulderpod Z7 cold-shoe accessory.

With the introduction of the POD concept Shoulderpod invites smartphone users interested in using their devices creatively to “upgrade your smartphone to storymode in 3 easy steps”. A guide on their website helps users to pick the right combination, and a chat button invites users to pose questions to the team regarding some of the options, so each user can build the perfect setup for their needs.

Audio mixing is a second thought for many editors. On projects with a higher budget, the final mix is often sent out-of-house or across the hall to an audio mixer or studio. But for many editors delivering local commercials, corporate marketing presentations, web videos, or social media content, the final mix comes down to what they do within their editing application. So it helps to understand the basics of mixing and mastering.

Modern audio delivery specs are designed to comply with averaged (integrated) loudness standards measured in LUFS (loudness units full scale). Those vary from one service, platform, or network to the next. A common rule-of-thumb is -14 LUFS for most web-based streamers and -23 LUFS for broadcast. Personally, I stick to the -23 average even for web video deliveries, since -14 is intended for commercial music.

Most NLE software today includes some type of metering plug-in that can measures LUFS values. I’ll refer to Premiere Pro for much of this discussion, however the tools and methods will apply to most audio and video editing applications. In Premiere, you can measured LUFS with either the loudness meter or Radar meter plugins. If you prefer VU meters, then the free plug-in from TBProAudio is a solid choice.

The last step in any mix is the mastering stage. In its simplest form this boils down to compression and limiting. This is just as necessary with any video as it is with a hit record. In the case of Premiere Pro, once you have the mix nicely balanced, then move to the mix track in the track mixer panel and apply these effects. For me, that’s usually a multiband compressor, a limiter, and the loudness meter – in that order.

Compressors are designed to constrain the dynamic range of your mix. They commonly have four main adjustment values: attack (how quickly it reacts), release (how soon it lets go of the signal), threshold (the dB value at which the compressor kicks in), and ratio (the change in output above the threshold). A ratio of 4:1 means that with 4 dB of input above the threshold, you’ll get 1 dB out. Depending on the hardware unit or software plug-in, there may also be input, output, and make-up gain controls. The reason to add a limiter plug-in after the compressor in Premiere Pro (or any other application) is to catch any transients or peaks that make it through the compressor.

There are many great compressor plug-ins, but the downside is that a single-band compressor will react to the entire signal. If you used a piece of driving music, then some frequency ranges will trigger the compressor more than others. For instance, a driving bass guitar or kick drum. Depending on the settings, this can cause the compressor to audibly pump more than you wanted. If you use a multiband compressor instead of a simpler, single-band compressor, then you can split the signal into several frequency ranges and control each separately.

FabFilter Pro-MB Multiband Compressor

Adobe includes a decent set of native compressors and limiters. But, they are not as versatile as many third-party products on the market. When it comes to other developers, I’m a big fan of FabFilter Software Instruments. They make a range of audio plug-ins, which sound great and feature intuitive, easy-to-use interfaces. VST, VST3, Audio Units, AAX Native, and AudioSuite formats (both 64-bit and 32-bit) can be installed. So they work in all of the standard NLE or DAW applications.

In this scenario, the first plug-in to add onto the mix track (or “2-bus” in audio parlance) would be the FabFilter Pro-MB multiband compressor. The Pro-MB functions like a combination of an EQ, a compressor, and an expander. You can split the signal from one to six adjustable bands and each can be soloed or muted. The crossover points between bands can be snapped to each other, or split to work as independent ranges. Each crossover slope can be adjusted. Since extreme changes at the crossovers can introduce phase anomalies, Pro-MB includes three phase modes – linear, minimal, and dynamic (default).

The Pro-MB offers four compression modes: upward and downward compression, plus upward and downward expansion. Compression squeezes a larger range of dynamics into a smaller space. If you compress with a negative range value then the compressed signal is lowered in volume. This is the way you typically see a compressor work. Upward compression (a positive range value) adds gain to the compressed section pushing the level up. The expansion mode takes a smaller dynamic range and expands it. If you use a negative range, the expanded section will be lowered, thus increasing the perceived dynamics around the threshold. A positive value will add gain if the signal drops below the threshold.

This may sound rather complex if you don’t mix audio every day, but it’s really quite intuitive, thanks to the graphical display and built-in analyzer. The Pro-MB comes with a healthy set of presets and you can start out with a simplified approach. In fact, even some mastering engineers stick to just three bands.

Like an EQ, you can isolate frequencies and do a filter sweep to hone in on the range you’d like to adjust. Solo a band and grab the the dot at the center of that region. Move it up or down (changes the output gain), left or right (changes the frequency range), while listening to the audio. Then, dial in the width of the band and lower the dot to attenuate that frequency range. Doing this with multiple bands enables you to sculpt your mix for the best possible results.

Of course, there’s plenty more that you can dive into, but these features are of more interest to mixers working on music projects. For example, expand the control panel by clicking the expert tab to reveal mid/side controls. You can also use Pro-MB on individual tracks, such as dialogue. Let’s say you need to get rid of some low-end in a voice-over recording. Apply the plug-in to that track. Set it for just a single band, extend the left boundary to the edge and now this band gives you a shelf control. Adjust your settings to compress and attenuate the low frequencies. As you can see, the Pro-MB can be a Swiss Army Knife for many audio situations.

FabFilter Pro-L2 Limiter 

Back to the mix bus. The last processing step is to add a limiter. My preferred tool is the FabFilter Pro-L2. This is intended to catch peaks that get through the compression step. It’s also where you would usually make final level changes. The Pro-L2 includes built-in metering, so you can easily see if you are meeting the target LUFS range. Set it to true peak detection, set your maximum output, and then adjust the gain and attack/release values. There are several style modes, which alter the roll-off as the signal approaches the point when you hit the limit. The safe mode is best in a broadcast environment. The analyzer displays how the signal is being limited.

Both of these plug-ins sound great, even with heavy adjustments. They also include lookahead and oversampling. Most of the time you won’t hear much difference. Depending the complexity of the mix and the horsepower of your computer, heavy oversampling can impact performance. I’m running a 2020 iMac and haven’t experienced any issues whatsoever.

Neither of these tools is a substitute for correctly mixing your clips and tracks. The intent is just to sculpt the final sound. When working a mix you’ll want the right processing balance between compression and limiting. So it’s best to do the bulk with Pro-MB and then stick to final tweaks with Pro-L2.

One last thought. If you need to hand off your project files to a client or another editor, then plug-in compatibility might be of concern. My recommended solution is simply to bounce out a WAV or AIF file of the mix with this processing applied. Import that file back into your project. Copy the sequence, strip off all audio and place the mix file back onto track one. Now you have a compatible deliverable that includes your final mix.

I purchased a new iPhone 15 Pro yesterday, and while it’s a relatively modest update from the 14s, one big addition for video folks is the ability to shoot video straight to an externally plugged-in USB-C drive. This is made possible because the iPhone 15s now have USB-C as their connection port. The Lightning connector is gone.

While the iPad has had USB-C connectors for a while now, this is new to the iPhone, and Apple has a support document to help you understand all of the different things that you can do with USB-C and the iPhone. While a lot of that was possible with Lightning, a lot more is possible with USB-C. You can now charge small devices with an iPhone 15, like AirPods. You’ll probably just need a lot of extra cables and adapters, depending on what you might want to charge.

The document I was most interested in was an updated About Apple ProRes on iPhone as it now has a section called Manage files on an external storage device. That’s where you can learn about shooting ProRes video directly to external USB-C storage. The bullet points to be aware of:

The video updated to the iPhone 15 Pro is perhaps the biggest feature of this year’s iPhone. Iain Anderson has already published a piece on PVC about shooting log video on the iPhone so give it a read to learn more.

Observations when working with external USB-C storage on the iPhone 15 Pro

While seeing if this direct recording to USB-C storage actually worked, I made a few notes and I thought I would share them here.

You just have to plug in external storage, and the phone will see it. Like on an iPad, you can go directly to the Files app to browse the device.

When app conditions are met, you’re in ProRes video recording mode, and a USB-C drive is plugged in, you get a little USB-C indicator on the screen.

I let a ProRes HD 30 fps clip record for about 10 minutes to the external drive, and neither the phone or the drive got very hot. The iPhone got much, much hotter when it was first set up by transferring data from my old phone and an iCloud backup.

A text interrupted and stopped my 10-minute recording, so be aware of THAT potential killer.

ProRes video files are recorded directly to a DCIM > 100APPLE folder on the external storage. That’ll feel familiar to many video pros out there.

The recent clips indicator in the video recording viewer will reflect the external storage (and not the Photos app) when it is plugged in and working. That’s great, so you can tap and browse the clips on the external storage. You can also delete those clips you don’t want.

I tried six different USB-C drives and six different cables and they all worked. Including a Thunderbolt cable.

The absolute best thing is that I can let my son shoot his YouTube videos right to my drive (sometimes) and bypass this.

But it will be great to have him shoot to drive and then plug that right into an iPad and edit. And updated to Final Cut Pro supports iPhone 15 video.

But it is just ProRes.

The USB-C addition to the iPhone 15 is exciting stuff. And the YouTubers have been exploring this more than I have!

 

The  use of digital humans in the filming industry may not be as digital as some believe, as capturing the performance of a human actor and then using tools like MetaHuman Animator may be the best option.

When last June ProVideo Coalition shared the news that MetaHuman Animator, from Epic Games, was finally available, we mentioned that to show how it all worked, Epic Games shared a short film, Blue Dot, created by Epic Games’ 3Lateral team in collaboration with local Serbian artists, including renowned actor Radivoje Bukvić, who delivers a monologue based on a poem by Mika Antic. The performance was filmed at Take One studio’s mocap stage with cinematographer Ivan Šijak acting as director of photography.

Now Epic Games has revealed more about the process, information that arrives as the discussion about the use of digital humans or digital actors extends to an industry that has strong links to the movie industry: video games. In a recently published article, Starfield, Baldur’s Gate 3, videogames, AI and IBC2023, we mention how Baldur’s Gate 3 has set a new high bar, by exploring the use of cinematic cut-scenes in ways never tried before.

Baldur’s Gate 3, from Larian Studios, sets new records, with 174 hours of cinematic video capture – more than the whole Game of Thrones TV series –  and the use of 248 human actors, that not only recorded the voices for the game but also put on a mocap suit for their movements to be recorded for Baldur’s Gate 3 cut-scenes. As Aliona Baranova, Performance Director on Baldur’s Gate 3, wrote in Twitter (now X) that “ALL the NPCs and not just the companions put on a mocap suit and their movements, gestures and physical choices were recorded & sent along with the audio files for the animators to use in game. Which is why the performances feel so *alive*”.

Digital actors can not perform

The experience Baldur’s Gate 3 offers those who play the game is unlike anything else, and raises a question: will fully digital actors ever replace humans? The answer is NO, and it’s not just the human actors who say it. In fact, Epic Games, in the article revealing how Blue Dot was made, now notes that “In the world of computer graphics, creating realistic digital humans has been something of a holy grail for a couple of decades now. Many have achieved the goal of making a still image of a digital human that is indistinguishable from reality. But often, it’s when these characters are called on to perform—especially if they are required to be rendered in real time—that the ‘Uncanny Valley’ creeps in.”

So, all the technology serves one purpose: to capture the visual aspects of real human emotions, in such a way as to faithfully translate it to a digital actor… that is based on the mocap registration of a human actor. That is probably the right way to go,  and that’s where the recently announced MetaHuman Animator comes in: the tool which allows you to use a smartphone to capture an actor’s movements brings stunning fidelity to cinematics. MetaHuman Animator is one more tool from a toolset that includes MetaHuman Creator, that made the creation of realistic digital humans accessible to everyone. Then, with Mesh to MetaHuman, that takes the technology a step further by enabling you to create a MetaHuman based on a sculpt of a character or a scan of an existing person.

To push MetaHuman Animator to its limits during its development, the Serbia-based 3Lateral team collaborated with local artists and filmmakers to produce Blue Dot, the short film about which ProVideo Coalition wrote before, which brings traditional filmmaking techniques to digital productions.

Create cinematics of stunning fidelity

The film demonstrates how MetaHuman Animator unlocks the ability for teams to create cinematics of stunning fidelity and impact by using a creative on-set process typical of traditional filmmaking to direct and capture a performance. What’s more, the quality of animation delivered straight out of the box was so high, only a small team of animators was required for final polishing.

To get the project underway, Bukvić’s likeness was captured at 3Lateral, using the company’s custom 4D scanning techniques. While the 3Lateral team created a bespoke MetaHuman rig from this data, the animation data created by MetaHuman Animator from a captured performance can be applied to any digital character whose facial rig uses the control logic corresponding to MetaHuman Facial Description Standard—including those created with MetaHuman Creator or Mesh to MetaHuman.

Even though the piece was to be entirely digital, Šijak and his team drew heavily on their traditional filmmaking experience throughout the process. For added realism, real-world movie cameras, complete with dolly tracks, were brought into the mocap studio. These were tracked, along with Bukvić’s body, and of course, his face. All this enabled the team to precisely recreate the camera motions in Unreal Engine, with Bukvić’s MetaHuman acting directly to the camera.

Lighting setup recreated digitally in Unreal Engine

To design the lighting exactly as they would for a live-action shoot, they brought in physical lights and adjusted them to get the look they wanted on Bukvić. With the chosen lighting setup recreated digitally in Unreal Engine, they could quickly preview how the lighting was working with Bukvić’s animated MetaHuman while the actor was still on the motion capture set, and get another take right away if required. And of course—unlike with physical lighting—the lighting could be tweaked after the fact.

It’s the immediacy of these results and the iterative process that this facilitates between artists, animators, and actors—combined with the fidelity of the capture—that makes MetaHuman Animator such a powerful tool for creating cinematics. Animation studios can now work with an actor on set, using their creative intuition to direct a performance that will faithfully translate into the animated content to create emotional cinematic pieces.

“You cannot distinguish the quality of the output that was done through this technology or shot on set with a real camera,” says Šijak. “The camera work and the performance of the actor and everything that gets the audience involved in the shot, it’s there. Nothing’s lost.”

A comment on YouTube about the BTS video says it all: “soon movie studios would have to clearly specify that their films are either live-action or animated because we would not be able to tell the difference just by looking at it.

Follow the link to read the whole story “Behind the scenes on Blue Dot: MetaHuman Animator brings stunning fidelity to cinematics”.

The iPhone 15 Pro and Pro Max came out just a few hours ago here in Australia, and I thought I’d jump in quickly to see what’s improved with regard to video. The new Pro models add ProRes HQ direct-to-SSD capture, in Apple Log, up to 60fps. But HDR and Log should be able to capture about the same amount of color information, right — so what’s fundamentally changed? Turns out, quite a bit.

You could shoot ProRes on the iPhone 14 Pro, but only internally, and only in the HDR color space. Leaving image quality for the moment, only being able to record internally was a huge problem. With about 20GB free on a 256GB iPhone 14 Pro Max, the phone refused to record in ProRes at all, and with 50GB free, I could record for just 2-3 minutes. These hard limits are a problem well before you try to transfer the movies to a computer for editing.

ProRes does avoid compression artifacts that are apparent in some HEVC clips, but artifacts haven’t been the biggest issue. To date (in my pixel-peeper’s opinion of course) all iPhone video has had that “phone” quality: oversharpened, noisy, too much of the image in focus due to the small sensor, never as good as a “real” camera when viewed on a big screen. Using a phone is a trade-off: far more convenient, amazing dynamic range, good enough for many purposes — just not a day-to-day professional A-cam. 

But things change eventually. A video from YouTuber Matti Haapoja made me reconsider the 15 Pro’s image quality:

There are shots in there which look as good as a real camera, not just good for a phone, and which stand up on a 4K screen. To be fair, I’ve seen other reviews in which the footage does not look as good, and clearly Maati has his grading workflow sorted out nicely, but from my tests this morning, it looks like the new Apple Log format is not applying the same level of sharpening that the standard HDR does — even in ProRes — on the iPhone 14 Pro. There’s less noise too.

You will need to be comfortable with a Log workflow to make the most of this footage, though. If you start with Final Cut Pro 10.6.9’s new Apple Log Camera LUT, it’ll still need a little work to look “normal”, and you may also need to recover some of the highlights. If you’d prefer to grade from the original Log, you can use the Info Inspector in the Settings view to disable the built-in Camera LUT. For maximum control over a Log image, use Color Curves in FCP, Curves in Lumetri in Premiere Pro, or curves in the Color tab in DaVinci Resolve.

Now of course, most professionals don’t just need a good image. Many of us need reliability, lens flexibility, the battery life and thermal management to be able to shoot all day, to connect external audio, to quickly offload media files. You still won’t get all of that on a phone, and pro-level cameras have a bit of breathing room yet.

So — if this is appealing, how do you mount an SSD to your phone? Rigging is an obvious solution, but then your phone is no longer “the camera you always have with you”. Here’s another way: attach an SSD to a magnetic base of some kind, like a MagSafe charging plate. Now, you can snap the SSD to your phone when you need it and detach it when you don’t — the best of all worlds. Note that only ProRes HQ video (not photos, not H.264 or HEVC videos) can be recorded direct to SSD.

If you want more control than Apple’s Camera app, check out the new Blackmagic Camera app. The latest v1.0.1 allows Log recording on an iPhone 15 Pro or Pro Max, and also allows other flavors of ProRes. My early tests seem to show that using Log does skip sharpening in the same way as the regular Camera app, but further testing is needed to see what else is going on. It’s worth noting that the field of view is wider in the Blackmagic Camera app — presumably Apple uses this for stabilization.

Conclusion

Although turning up to a shoot with just my Phone wouldn’t impress my clients, and it won’t be my A-cam this year, the iPhone 15 Pro does come a lot closer to being a usable option for real jobs. It lets you offload files very quickly indeed, and the quality, in 4K ProRes Log, is indeed a real step up from the last generation. If you ever use an iPhone as a B-cam, this is a great year to upgrade.

With the recent release of Bigscreen Beyond VR headset and the expected arrival of the Somnium VR1 headset, Varjo has surprised everyone with a 50% reduction in price of its Aero V headset.

With the goal to make “true-to-life Virtual Reality experiences available to all”, Varjo has taken a significant step to make their popular VR headset Varjo more affordable, by cutting 50% of the price. Yes, you still need to find the money to buy the lighthouses and controls that work with the headset, as it is tied to Steam’s technology, but it’s no doubt a step in the right direction.

The Varjo Aero VR headset, which is the company’s most affordable product, is very popular among driving and flight sims users, but spending $2000 – plus more than $500 for the Steam lighthouses it needs to work – is well beyond what most people is willing to pay, especially when some specialist websites use affordable VR headsets like the Pico 4 VR and suggest they are good enough… and affordable.

But we’re on the verge of some new arrivals to the market of VR headsets, with Bigscreen’s Beyond shipping since the start of September to customers in the United States with international shipments beginning in mid to late Q4. The PCVR headset, designed by the company behind the Bigscreen app, used to watch movies in VR, is designed as a solution for watching movies.. in a big screen, at home, but can also be used for anything else VR related.

Bigscreen Beyond

Bigscreen Beyond is the world’s smallest VR headset, with Micro-OLED displays with 2560 x 2560 pixels per eye, custom pancake optics, SteamVR tracking – all in an unbelievably small form factor weighing just 127 grams. And for ultimate comfort, each headset is custom-built for each customer using a 3D Face Scan. The price is $1,000, which might explain Varjo’s price drop. After all, both headsets depend on the SteamVR hardware ecosystem.

The availability of Bigscreen Beyond VR headset may not be the only reason why Varjo is dropping the price on its Aero VR headset. Somnium VR 1, the European Virtual Reality headset that some say will never come to the market is still on schedule to be available in 2023, and the company behind the product say a website for reserving the product will be available before the end of September.

Somnium VR1

Adding to the list of specifications that make the Somnium VR1 an exciting proposal is the latest announcement from the team behind it: “Our commitment to pushing the boundaries of virtual reality is evident in our latest mixed-reality modules (featuring 2x 12 Mpx cameras with a native resolution of 2x 4056×3040) , designed to empower developers, sim racers, and flight simulation enthusiasts. By integrating cutting-edge software capabilities, we aim to provide an unparalleled mixed-reality experience.”

Although the price for the Somnium VR1 has not  been announced, a note from the developers suggests it won’t force “you to choose between food on the table or a Somnium VR1 headset”. If the Somnium VR1 costs less or round $1000, then the reasons for the unexpected drop in price of the Aero VR headset are… explained. How this will affect the upcoming headset from Apple, and all the other VR headsets promised for this year, no one knows. One thing is sure. Prices in VR are dropping,  and Varjo’s announcement is a good example of what’s coming. Maybe this – a price drop – will help to make the use of VR headsets more popular.

As the new free update for Serif’s Affinity Photo 2, Affinity Designer 2 and Affinity Publisher 2 is  made available, the company announces an upcoming update that will represent a further ambitious step forward.

The release of version 2.2 represents the second major free update since the Affinity V2 launch last November. The three apps that are part of the creative suite, Affinity Photo 2, Affinity Designer 2 and Affinity Publisher 2, have picked up a series of awards and gained rave reviews since launching on Mac, Windows PC and iPad, and continue to gain traction as more photographers and graphic artists discover them.

CEO Ashley Hewson says: “Once again we’re putting out a free update that continues making additions and improvements to some of Affinity’s most popular tools and reinforces the constant optimization of workflow for our growing number of users.

“We’re also hard at work on some genuinely exciting developments that we think will not only deliver some highly-requested features, but also start to map out the future for Affinity and keep us at the forefront of the conversations which are grabbing headlines in the creative software space.

“It’s a great time to be an Affinity user, and for new customers who might be thinking of taking their first steps with us, our unmatched 30-day free trial offers the ability to really get to grips with the software and put it through its paces.”

The update now made available once again applies simultaneously to all three Affinity products on all three platforms, so updated features are immediately available on Mac, PC and iPad. This ensures Affinity users have the very latest, totally-compatible version of the software on their device without waiting for different platforms to receive the update.

A further ambitious step forward

Affinity 2.2, available now to buy or download free for existing owners, introduces many new features and improvements across all three products and platforms, including cross references, custom text variables, long press tool shortcuts, no FX and grayscale view modes, OCIO v2 support, data entry options, and much more.

For new customers, individual Mac or Windows PC versions are available for a one-off payment of $69.99 each, while the iPad apps are $18.49 each.

The value-for-money Affinity Universal License offers all three products on all three platforms for $164.99, with a 25% discount on the Universal License for users upgrading from Affinity V1.

Free 30-day trials are available for all products.

As version 2.2 is made available, the second since the launch of the Affinity V2 last November, the company is preparing for the anniversary of the launch with another huge update, which will see its product portfolio take a further ambitious step forward.

Follow the link o find out more about Affinity and the 2.2 update.

High Dynamic Range video, or HDR, is the reason this entire series on color management exists.  So it’s pretty important.

Up until 2008, there was a pretty clear distinction between shooting on film, and shooting on video.  Video cameras recorded regular, “normal” video – the same standards that were used for television. For a long time, video cameras recorded analogue PAL & NTSC signals.  In the 1990s digital formats such as miniDV offered many advantages over analogue formats, but the actual images being recorded were still the same standard as broadcast TV.

Even when television made the huge, global transition to digital, high definition broadcasts in 1998, video cameras still recorded the same type of signal that was used by broadcasters, what we would now call “Standard Dynamic Range”.  What you recorded with your video camera was what you saw on your TV screen.

But in 2008, the RED company launched their first digital camera and changed everything.  The Red One camera didn’t record regular video, it introduced the concept of raw video files that offered much greater dynamic range.  Suddenly, a future where video cameras could compete with film for detail, dynamic range and latitude seemed possible – something considered heretical by film connoisseurs.

Since then, every camera manufacturer has introduced digital video cameras that recorded video in some format other than Rec.709, offering higher dynamic range and greater latitude.  If you haven’t come across log files, or raw video files, then it’s only a matter of time.

Understanding HDR video, what it is and how to use it, is essential for all After Effects users, even if it’s not something that is affecting your daily work right now.

Covering all aspects of High Dynamic Range video in one article isn’t possible without running longer than Oppenheimer, so this is the first of a few articles that will examine the topic.

This is part 19 in a long series on color management.  If you’ve missed the other parts, you can catch up here:

Part 1: The honeymoon is over

Part 2: Newton’s Prisms

Part 3: It’s all in the brain

Part 4: Maxwell’s spinning discs

Part 5: Introducing CIE 1931

Part 6: Understanding the CIE 1931 chromaticity diagram

Part 7: Introducing gamma

Part 8: Introducing Colorspaces

Part 9: The theory of a color managed workflow

Part 10: Using After Effects built-in color management

Part 11: Introducing OpenColor IO

Part 12: Introducing ACES

Part 13: OpenColorIO and After Effects

Part 14: Combining OCIO with After Effects

Part 15: Logarithmic file formats

Part 16: RAW video files

Unscripted: Looking at ACES and OCIO in After Effects 2023

Part 17: Linear Compositing

Part 18: Bit Depth

AND – I’ve been writing After Effects articles and tutorials for over 20 years. Please check out some of my other ProVideo Coalition articles.

Now that Generative AI in Photoshop has moved out of beta and into the current shipping version, here’s a quick tutorial on how to create a simple “set extension” or “scene replacement” on a video clip using that powerful feature.

To pull this off you’ll need a locked down shot (e.g. shot on a tripod) with no camera movement whatsoever. Most of the scene should also be still, except for your main subject, which needs to remain in the part of the frame that will not be replaced. These are significant restrictions, but with the right shot, the effect can be quite impressive.

All that you need to do is export a still frame of the video clip from your NLE – ideally one in which the moving subject is filling the largest area of the frame – and then open that frame in Photoshop 2024. Create a selection around the area within which the subject moves, feather it a bit for a smooth transition, invert it so that everything except for the the subject is selected, and then use the Generative Fill palette to replace your current setting with whatever you can dream up. You’ll get 3 versions to choose from, and you can run it repeatedly to get the best results. Some results can look really odd and distorted; others can look quite realistic. The key part is that the AI will often create a convincing blend between the real video and the artificially created image (remember that border cannot have any movement in it).

From there, disable the background layer and export the generated image with a transparent area for the video subject as a .png file to preserve the transparency, import that image into your NLE of choice (I’m using Final Cut Pro in this example but this process will work the same in any NLE) and composite it on top of the video clip. Instant set change! You may need to perform a little color correction if you experience a gamma shift, and of course the AI generated image doesn’t move at all so your choice of subject matter is paramount – but for the right shot it’s pretty darn cool. By the way, you could use a real photo instead of an AI generated image for the set replacement: just restrict your selection in Photoshop to the boundary between the video still frame and the new image in order to generate a smooth transition between the two. It’s all in the video above, and takes under 5 minutes – check it out.

Filmsupply Editfest is kicking off on September 5! It’s an annual 30-day editing competition providing editors with the opportunity to break through as storytellers and showcase their talent as editors through an original Title Sequence, Advertisement, or Movie Trailer. Participants will compete to create the best edit in their category to win their share of $65K in prizes and feedback from Filmsupply’s panel of industry-leading judges.

Editors will have access to 40 clips from Filmsupply’s cinematic footage catalog, along with a curated Musicbed playlist to help create their original edit for one of the three categories. Submissions will be judged by a panel of the best and brightest in the business.

To get started on your Filmsupply Editfest submission, download the free Starter Kit. Submissions close October 3 at 12:00 pm CST, giving you a full month to bring your creative vision to life.

Voting for People’s Choice runs from October 10 until October 20. The winners in each category will be announced on October 30.

This Year’s Filmsupply Editfest Prizes

This year’s winning editors will split over $65K in prizes. Here’s what’s up for grabs:

• $2,000 Musicbed Credit
• $2,000 Filmsupply Credit
• $10,000 Filmsupply Grant
• Complete ACIDBITE 
Acid Collection
• FilmConvert Nitrate
• 1 Loupedeck CT
• 1 Year of Boris FX Suite
• 1 Year of WeTransfer Premium Membership
• 1 Year of Saturation.io

The People’s Choice winner receives:

• $2,000 Musicbed Credit
• $2,000 Filmsupply Credit
• Complete ACIDBITE 
Acid Collection
• FilmConvert Cinematch
• 1 Loupedeck Live
• 1 Year of Boris FX Suite
• 1 Year of WeTransfer Premium Membership
• 1 Year of Saturation.io

Meet This Year’s Editfest Judges

This year’s panel of Filmsupply Editfest judges include:

• Sara Bennett—VFX Supervisor, Co-founder of Milk VFX (Ex-Machina, Sherlock, Doctor Who)
• Natalie Wozniak—Head of Editorial at The Mill LA (Lays, BMW, Pepsi)
• Tyrone Rhabb—Editor, represented by ArtClass (Fitbit, ESPN, Red Bull)
• Sophia Lou—Editor, represented by Cartel (The Farmer’s Dog, Smartwater, Ford)
• Jet Omoshebi—Senior Colorist at Goldcrest Post (The Witcher, Underworld, White Noise)
• Ryan McKenna—Head of Editorial at The Mill NY (LEXUS, Budweiser, Microsoft)
• Urs Furrer—Senior VFS Supervisor, Lead Compositor, Glassworks Amsterdam (Apple, Toyota, Xbox)
• Emilie Aubry—Editor, represented by Work Editorial (Nike, Spotify, Beats, adidas)
• Dallas Taylor—Owner and Creative Director, Defacto Sound (Alfa Romeo, Puma, HBO, Netflix)
• Claire O’Connor—Music Supervisor (Extra, Starbucks Baya)
• Luigi Rossi—Freelance Filmmaker/Producer (Samsung, Bank of America, Air Jordan)

Final cuts are scored based on the following: Concept, Storytelling, Emotion, and Technicals. After the panel of judges have reviewed submissions, Filmsupply will announce the winners in each category and unveil the People’s Choice recipient.

Those who are interested in submitting their edit to Filmsupply Editfest can do so here. Submissions are open now and will be accepted until October 3, 2023 at 12:00 pm CST.

For more information about Filmsupply Editfest, visit the official website.

With a design inspired by Nikon’s iconic FM2 film camera, the new Nikon Z f  features cutting-edge technologies, that meet the needs of creators pursuing their individual forms and styles of expression.

It may look like an old, pre-digital camera, but it’s not, and when it comes to video, Nikon says that the new model offers “video performance that responds to diverse video production needs”, as the  Z f supports in-camera, 10-bit H.265 recording, allowing users to record full-scale video with minimal peripheral devices, and without the need for an external recorder.

There is more, though, as the camera also supports recording of 4K UHD video using 6K oversampling (14K UHD/30p, 25p, 24p recording is only available at an image area setting of [FX]), enabling creation of high-resolution video. The camera is also capable of recording up to approx. 125 min. of 4K UHD/60p video for scenes that require longer recording times, as well as being equipped with convenient video recording capabilities and functions inherited from the Z 9, including the ability to adjust ISO sensitivity in steps of 1/6 EV and display of a red frame during video recording. What’s more, increased compatibility with products released by accessory manufacturers expands the accessory options available to users and contributes to comfortable video shooting. Nikon has some footnotes regarding the conditions of use above that you should read before using the camera.

Six Premium Exterior color options

So, now that the video section of the camera is covered, it’s time to look at its  heritage design inspired by Nikon’s iconic FM2 film camera. The magnesium-alloy body has an elegant glossy finish for a more authentic look and feel, and the dials, shutter-release button, and power switch are made of brass for a high-quality feel. It features a Nikon logo used in the 1970-80s as well as carved letters and numbers on the top of the camera. The passion of this heritage design is present in the details.

As for the grip, consideration for a well-balanced look is maintained alongside stability when used with a full-frame lens. In addition, the feel of shutter-release button operation was given meticulous consideration. What’s more, artificial leather with a refined look and texture has been adopted, the color of which users can choose to customize from one of six Premium Exterior color options, enabling users to personalize their camera to further match their individual style.

Inside the classic body what you’ll find is a full-frame sensor and the same EXPEED 7 image-processing engine as the mirrorless flagship Nikon Z 9, enabling advanced still-image and video recording. In addition to realizing outstanding operability and a sophisticated design, the Z f features cutting-edge technologies, including exceptional AF and VR performance, that meet the needs of creators pursuing their individual forms and styles of expression.

Nikon says that the camera offers a variety of functions that expand possibilities for imaging expression. In addition to the conventional [Monochrome] Picture Control, the Z f has been equipped with [Flat Monochrome] and [Deep Tone Monochrome] Picture Controls, each with unique tone characteristics. A dedicated [B&W] position has also been added to the photo/video selector (B&W photo mode), which enables immediate switching to black-and-white photo mode by simply rotating the selector, expanding users’ possibilities for imaging expression. The camera is also equipped with a variety of other inspiring functions and features, including Creative Picture Controls, which enable more creative imaging expression, as well as Z f pixel-shift shooting, which supports the creation of high-resolution photos by merging multiple NEF (RAW) files, a feature that the Z f is the first to support.

Video recording in shutter-priority auto mode

Here is a list of features of the Nikon Z f full-frame mirrorless camera:

• The first Nikon camera to support video recording in shutter-priority auto mode. When this mode is selected, the user selects the shutter speed, and the camera adjusts the aperture.
• [3D-tracking] (photo mode only) and [Subject-tracking AF] (video mode only) have been added to AF-area mode options.
• Pixels used to create images and those used for AF achieve the optimal exposure for each process, making it easier to focus on the intended subject, even when that subject is silhouetted against backlighting or the scene is dimly lit or dark.
• The range of coverage and number of focus points used in auto-area AF mode have been increased for better focus acquisition performance with distant or moving subjects.
• Options available for custom wide-area AF mode have been increased, improving effectiveness for scenes with multiple subjects.
• Adoption of the EXPEED 7 image-processing engine reduces noise in flat portions of subjects and increases image quality.
• The first full-frame Z series mirrorless camera to be equipped with a vari-angle monitor.
• Vertical-orientation image playback and <i> menu display during playback provide efficient support for vertical shooting.
• The first Z series camera to support Touch Fn for adjustment of camera settings while framing pictures in the viewfinder.
• The high processing ability of the EXPEED 7 image-processing engine enables High-Speed Frame Capture+ (C30), which achieves high-speed continuous shooting at up to 30 fps.
• Equipped with a Pre-Release Capture function capable of recording images buffered up to one second before the shutter-release button is fully pressed.
• Provides a skin softening function and a portrait impression balance function for users to better achieve the portraits they intended.
• Features a Rich Tone Portrait Picture Control that better captures details of the subject’s complexion.
• Utilizes deep learning technology to identify the scene when capturing still images in auto shooting mode, realizing optimal exposure control in accordance with the scene.
• Supports the HEIF format, which records high-quality still images while reducing the amount of file data.
• Superior dust- and drip-resistance enables worry-free shooting, even in harsh environments.
• Equipped with two memory card slots, one supporting SD cards and the other Micro SD cards.
• Dual coating has been adopted to protect the image sensor from dust.
• Supports the merging of NEF (RAW) images shot with pixel-shift shooting, with use of NX Studio Ver.1.5.0. The functions of Picture Control Utility 2 have been consolidated so that adjustment, application, and management of Picture Control can be completed within one app.

The new Nikon Z f will be available in mid-October 2023 for a suggested retail price of $1999.95 for the body only, with the retro-styled NIKKOR Z 40mm f/2.0 SE for an SRP of $2239.95, or with a NIKKOR Z 24-70mm F/4 S lens for an SRP of $2599.95. The additional color options will be available as body-only for an SRP of $2099.95 exclusively from the Nikon Store.

Following hot on the heels of the new Ninja models announced last month, Atomos introduces the new Shogun series, with AtomOS 11, that delivers a host of new features.

The original Shogun revolutionized the film industry and the equipment of filmmakers around the world, giving them unprecedented recording capabilities for their cameras and a boost in the quality of their creative work. Now Atomos introduces a new generation of Shogun monitors, the new Shogun and Shogun Ultra. Both devices incorporate a completely new operating system – AtomOS 11 – that delivers a host of new features, including EL Zone exposure referenced colorized image, ARRI False Color, and new scheduled playback and recording tools.

Both monitors were on display at IBC2023, Amsterdam, at the Atomos booth (11.D25). The new Shoguns include more codecs as standard: 6K Apple ProRes RAW (8K with Shogun Ultra), Apple ProRes, DNxHD as well as H.265, which was previously available only as a paid option. Atomos says that “for better consistency, Shogun and Shogun Ultra have the same differentiating features as the new Ninja and Ninja Ultra.”

4K camera to cloud mode

The key differences between the new Shogun and Ninja lines are the former’s brighter, 2000nit 7-inch screen, plus its fully integrated connectivity. Because Shogun has both 12G-SDI and HDMI inputs and outputs, it can be used for cross-conversion, unlike a Ninja fitted with Atomos Connect. Shogun has more power options too, with NP battery slot and an integrated 2.1mm locking jack DC input socket. Shogun Ultra is ideal for use with cinematic cameras and can record full-quality files to Apple ProRes RAW up to 4K 60p while at the same time recording HD 60p to H.265, and supporting automatic matching filenames, timecode and record trigger from many popular models of ARRI, Canon, RED and Sony cameras.

Both Shogun and Shogun Ultra models have the new 4K camera to cloud mode that lets you record and upload much higher quality bitrate H.265 video with higher framerates and customized parameters. The files are lightweight enough for camera to cloud workflows, but more than good enough quality for immediate use on social media, sports reporting or news gathering.

Both Shogun units can take advantage of Atomos RemoteView – a brand new technology where you can share live views from your Atomos screen with other Atomos monitors, as well as with iPads, Macs and Apple TVs wirelessly. You can monitor what’s happening on-set and look through any connected camera taking the shot, from anywhere in the world. RemoteView is a major new feature for production teams, with features never seen before at this price point.

Shogun monitors have Wi-Fi 6E

Shogun Ultra features lower latency cloud connectivity and higher throughput, thanks to Wi-Fi 6E integration. Once again, Atomos is leading the way by incorporating this cutting-edge Wi-Fi standard into its cloud-enabled products.

“With both our Ninja and Shogun lines we are bringing new functionality to market, and at the same time making our different product offerings easier to understand,” said Trevor Elbourne, CEO of Atomos. “Ninja and Shogun offer matched performance, but the main differentiation is in screen size and brightness – 5-inch, 1000 nit versus 7-inch, 2000 nit – and cloud connectivity – modular or integrated.”

“We want to offer our customers a clearer choice of price point versus performance, exactly as we do with new Ninja and Ninja Ultra,” added Elbourne.

AtomOS 11 will also be made available for free to existing Shogun Connect users via a firmware update. Going forward, Shogun Connect will be superseded by Shogun Ultra.

Both Shogun and Shogun Ultra will be shipping from early October 2023, priced at $999/€999 and $1,199/€1,199 respectively, excluding local sales taxes.

Quietly introduced during Summer, the new PRO Light Cineloader bags from Manfrotto ensure you are ready to shoot by fitting fully rigged cameras inside, enhancing on-set efficiency and while changing location.

Announced last July, without much fanfare, the new PRO Light Cineloader collection continues to expand Manfrotto’s offer for professional photographers and videographers. The new collection is specifically designed to meet the evolving needs of the video and cine industry: it adapts and scales-up to meet the demands of any professional workflow, offering the most robust protection in a versatile and adaptable solution, ideal for any professional assignment.

Available in three sizes which offer a new hybrid approach to protection by combining soft and hard materials, the reinforced side walls and thermoformed protective top lid enables stackability in a flexible – but robust – bag. With generous depth and length, Cineloader bags allow cameras to be stowed fully rigged and ready, enhancing efficiency on set and during location changes. The different sizes suggest different needs and uses, and Manfrotto says the bags are ideal “whether you’re a freelance videographer that needs to pack a whole studio into one bag a video journalist that needs to run to the scene of the latest news stories or part of the video crew shooting the next web series…”

The three bags in the collection

Sizes of the PRO Light Cineloader collection of bags are as follows:

Cineloader Small 12L

The Pro Light Cineloader Small is the lightest and most compact in the range. Ideal for video-journalists on the move, or for the one-man-band that loves a light setup. Tested for a 10kg payload, which offers plenty of options to pack it full of useful camera equipment. Price: $219.99.

Cineloader Medium 25L

The most cross-functional in the range for dimensions and space, the Pro Light Cineloader Medium is the ideal choice for video-journalist crews, or one-man band videographers who need to carry a lot of gear to set. Tested for 15kg payload, this bag is designed to perfectly fit a fully rigged camcorder plus accessories. Price: $279.99.-

Cineloader Large 39L

Tested for a payload of 25kg, 4 big modular dividers, seven pockets with internal organization. These are just some of the key features available with the Pro Light Cineloader Large. Developed to carry the whole video studio in one bag, the Cineloader Large can hold an EFP camcorder, plus accessories, tools, audio, and lighting equipment. It is the ideal choice for video and ENG crews looking for a professional solution to carry everything needed for high-demand assignments. Price $319.99.

Manfrotto adds that the laboratory tested M-Guard protection system is fully customisable to meet the demands of every professional assignment, changing from a camera to a drone bag or safely fitting audio or even cargo equipment.

Known for its focus on connecting industry members with the art and craft of filmmaking, Cine Gear Expo Atlanta starts in two weeks. It’s a key opportunity to catch up and network with friends and colleagues.

Held on the grounds of the South’s premiere motion picture lot, Trilith Studios Atlanta in Fayetteville, the 2-day Expo is the ideal place for Atlanta’s production community to enjoy sharing techniques, tools and trade secrets. Cine Gear Expo aims to create an environment where Atlanta’s professional artists, filmmakers, and content creators can mingle with a breadth of industry folks from equipment makers, rental houses, guilds, trade journals and associations, to filmmakers of all types.

The organizers say that “Cine Gear Expo Atlanta 2022 was such a smashing success, we’re returning for 2023. Thousands of industry professionals will surge to attend this year at Trilith Studios in Fayetteville, Georgia. A focal point of Southern filmmaking, Cine Gear 2022 drew thousands to the studio which houses productions like Black Adam and Francis Ford Coppola’s Megalopolis. Visitors met with equipment exhibitors from across the globe, attended panels and workshops from the International Cinematographer’s Guild, the ASC, and numerous tech brands, and partied at the Friday night Southern Cine Soirée.”

The Southern Cine Soirée

The same excitement surrounds the 2023 edition, which promises to be the stage for many new developments in key areas of the industry. Guests can visit exhibits and get hand’s-on gear from technology innovators including A.C. Lighting, Ascend, Airstar America, Astera, Aputure, Blue Shape, Carl Zeiss, Creamsource, DR-2/Jago, Cartoni, Canon, Fiilex, Nanlux, Panasonic Lumix, OConnor, Manfrotto, Flanders, Anton Bauer, Litepanels, Riedel, Small Rig, and more. Also on hand will be industry guilds and trade organizations including the American Society of Cinematographers, IATSE Local 479, and the ICG Local 600.

Attendees have their choice of 2 days of presentations covering filmmaking insights, techniques, and technology by distinguished organizations and industry leaders including: ASC’s Dialogue with ASC Cinematographers, panels from International Cinematographers Guild, IATSE Local 600, Canon and Panasonic’s Lumix. Visitors won’t want to miss a special interactive experience from venue host Trilith Studios and Prysm Stages on Stage 22.

Cine Gear Expo Atlanta runs October 6, 10 am to 6 pm and October 7, 10 am to 5 pm. Following the show on Friday night, Cine Gear kicks up their Southern Hospitality and invites attendees to the Southern Cine Soirée.

For more about Cine Gear Expo and to see the growing lineup of exhibitors, demos and seminars, visit: www.cinegearexpo.com. For complementary online registration visit Free Registration.

For the IBC 2023 conference Adobe announced new AI and 3D features to Creative Cloud video tools, including Premiere Pro Enhance Speech for faster dialog cleanup, and filler word detection and removal in Text-Based Editing. There’s also new AI-based rotoscoping and a true 3D workspace in the After Effects beta, as well as new camera-to-cloud integrations and advanced storage options in Frame.io.

This is all part of a new general release for Creative Cloud. Firefly is proven and legal, and now out of beta (with a new Firefly web application) and Firefly-powered generative AI capabilities now natively integrated into Photoshop, Illustrator, and Adobe Express. Creative Cloud, Firefly, and Express Premium plans take a step into a brave new world of Generative Credits – and a moderate price increase. Generative Credits limits will start November 1, 2023, the same time as Creative Cloud plan increases in North America, Central America, South America and Europe.

The new features for After Effects have already been available and progressing in the After Effects beta. Essential Properties in the Properties panel was formally released in the August 2023 release (version 23.6). The new 3D workspace is a true 3D workspace that lets users import, texture, light, shade and render high-quality 3D models inside of After Effects.

For details, see Feature Focus: Major changes to 3D model rendering and lighting and a new 3D FAQ by Tim Kurkoski. Beta features in AE’s quirky 3D space like Image-Based Lighting and Extract and animate cameras and lights from 3D models are ambitious, so we’ll see what’s working by the usual releases for Adobe Max, October 10–12. Here’s a tidbit from Adobe and a take from Jake In Motion, MAJOR updates for 3D in After Effects! 

A new, AI-enhanced Roto Brush is also available in the After Effects beta app, enabling users to cut out objects from footage faster and more accurately than ever. The Next-Gen Roto Brush was introduced by Catie Bass in Next-Gen RotoBrush: Now Available in the After Effects Beta! Here’s the Adobe teaser, and something from Olufemii.

Adobe’s top priority for Premiere Pro seems to be retaining customers by delivering tools designed with the editor in mind. This year, the Premiere team spoke with more than 1,000 professional editors to solicit feedback.

New AI features in Premiere Pro include Automatic filler word detection in Text-Based Editing and the new Enhance Speech feature to remove noise from voice recordings with a single click. The Premiere Pro timeline now up to 5x faster, with additional improvements in beta for simplified color preferences, improved tone mapping, new project templates, custom export locations, audio type tagging, and more.