Sony’s Innovative New Sensor Will Shoot 6K Video at 240fps & 2K at 16,000fps


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November 20, 2014

by Robert Hardy, nofilmschool

Sony 6K Sensor 16,000fps

Innovation in digital sensor technology has seemingly moved at a snail’s pace over the past few years. However, a leaked document with details about an upcoming Sony sensor suggests that we should be preparing for a massive leap forward in the very near future.

Early information about the new sensor, which was leaked on the the Chinese technology site cnBeta, states that the sensor will come in at a size of 1.5″ — a rough equivalent to Micro 4/3 — and that it will be able to record 6K video at up to 240fps and 2K video at an astounding 16,000fps.While those numbers are impressive, it’s the way in which this new sensor is designed that makes it truly innovative. Instead of using the traditional bayer method of color interpolation, where there are individual pixels for the red, green, and blue channels, the new sensor has pixels that can sample each of the three colors using a technology called Active Pixel Color Sampling. Essentially this means that the new sensors only need 1/3 of the pixels in order to output the same resolution. At 4.85 megapixels, a number that seems minuscule compared to many modern cameras, this new sensor will be able to output data roughly equivalent to a 15 megapixel sensor.

Sony 6K Sensor 16,000fps

Another implication of the Active Pixel Color Sampling technology is that these sensors can have much larger pixels than traditional sensors, which in theory, means that we might be seeing low-light performance in the future that exceeds even that of the venerable Sony A7s.  At a sensor size resembling that of Micro 4/3, it’s hard to say where this particular sensor will end up. Many have already speculated that it’s heading for a new line of Xperia smartphones, although at that size, it seems doubtful. What seems more like likely is a line of high-end mirrorless cameras. Additionally, it seems probable that the Active Pixel Color Sampling technology is moderately scalable, and that this 1.5″ sensor is only the first in an entirely new generation of sensors that may end up in all of, or at least most of Sony’s cameras, including future variations of their cinema line. Add to that the fact that Sony sells sensors to third party camera manufacturers, and it’s entirely plausible that this technology will be widely available within a few years.For further reading on this new sensor, head on over to Image Sensors World.

Monetizing Your Web Video


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November 19, 2014

There are many different approaches to publishing content online… but without a source for funding you can’t go for very long. In this course successful digital publisher Rich Harrington will walk you through many different options to monetize content. Learn what it takes to sell your content in several online stores, explore sponsorship options, and also learn about companion sales. If you’ve always wanted to get your show or film out there, this class will help you see a return on your hard work.

Presented by Richard Harrington, PMP
CEO and Founder | RHED Pixel

(Click on screen to advance slides)
A certified instructor for Adobe, Apple, and Avid, Rich is a practiced expert in motion graphic design and digital video. His producing skills were also recognized by AV Multimedia Producer Magazine who named him as one of the Top Producers of 2004. Rich is a member of the National Association of Photoshop Professionals Instructor Dream Team, and a popular speaker on the digital video circuit. He is also an instructor at the American University in Washington, D.C. As both an on-camera trainer, and a writer for major magazines such as DV, Photoshop User, and Layers, Rich is on the forefront of the digital video revolution. Rich is an internationally published author. His book, Photoshop for Video, was the first of its kind to focus on Photoshop’s application in the world of video. He is also a contributing author for Final Cut Pro On the Spot, After Effects On the Spot, Broadcast Graphics On the Spot, After Effects at Work, and Understanding Adobe Photoshop. A Masters Degree in Project Management fills out Rich’s broad spectrum of experience.

FCP X: When to Use Optimized, Proxy, or Native Media


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November 18, 2014

by Larry Jordan






There are three different types of video media used by Final Cut Pro X:

  • Camera native
  • Optimized (ProRes 422)
  • Proxy (ProRes 422 Proxy)

Camera native media can use a wide variety of codecs, though only one codec is allowed per media file. Codecs include:

  • DV
  • HDV
  • H.264
  • ProRes

And those are just some of the more popular varieties of the hundreds of codecs that are currently in the market. So, which media format should you use? And how can you tell which one FCP X is using? Answering that question is the purpose of this article.


Camera Native Files. The file format shot by your camera and captured to a card, hard disk or tape for editing. These files have four key parameters:

  • Codec
  • Frame size
  • Frame rate
  • Scanning – Progressive or Interlaced

Of these four, the most important is the codec.

Codec. The mathematics used to convert light and sound into numbers the computer can store. Some codecs are optimized for small file sizes, others for image quality, still others for effects processing. Codecs are, generally, determined by the camera manufacturer and, essentially, determine file size, image quality, editing efficiency, color space and all the other elements that go into an image. It is impossible to overstate the importance of the video codec in video production and post.

NOTE: Codecs are also referred to as video formats, though that is a less precise term as “video formats” can also include elements outside the codec such as image size or frame rate.

Transcode. To convert media, either audio or video, from one format to another.

CHOOSE WHICH TO USE… (click here to continue reading)

(Click here for a larger PNG version of this image.)

Mac User? Time to Update Your Raw Support (6.01)

Originally posted on Photofocus:

If you’re a Mac user, a new camera update has recently shipped (version 6.01). OS X Yosemite provides system-level support for digital camera RAW formats. In order to use these files, youcan access them through Aperture oriPhoto on your Mac. You can also browse at the system level looking through folders.Supported by Digital Camera RAW Compatibility Update 6.01
  • Canon EOS 7D Mark II
  • Fujifilm X30
  • Nikon D750
  • Panasonic LUMIX DMC-LX100

Launch the software update by choose Apple Menu > Software Update and choose the Digital Camera Raw Compatibility Update from the Updates tab.

This Post Sponsored by:

Drobo. A family of Safe, Simple, and Expandable storage systems for capture in the field, editing in the studio, or backup and archive.

Adobe Transform your photography. Organize, edit, enhance, and share your images on your desktop or mobile device with the world’s best photography tools: Adobe Photoshop CC and Lightroom. Get…

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Rebuilding the INTERSTELLAR Black Hole, Yourself


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November 17, 2014

by Shanks FX and PBS Digital Studios,00005a57ffffa5a8-nd/channels4_banner.jpg

(Thanks to Scott Jeschke for posting)

Watch us rebuild the INTERSTELLAR black hole with all “In-Camera” elements.

I’ve been looking forward to seeing INTERSTELLAR for some time now, and figured this would be a very timely & fun topic to tackle.

“The black hole featured in Christopher Nolan’s newest film is a simulation of unprecedented accuracy.” says Wired Magazine

Astrophysicist Kip Thorne provided the visual effects team at Double Negative the data and equations they needed to create a scientifically correct black hole.

Check out this sweet featurette about creating their black hole…
(the inspiration behind this episode)

Also, I was lucky enough to hangout with Christopher Nolan at last years SLAMDANCE film festival. I was on the Jury and we were both backstage as he was waiting to receive the “Founder’s Award”. (we are both Alums)

Oh how I wanted to show him all the silly “In-Camera” effects that we create but just didn’t feel it was the right thing to do in that setting.

Don’t think we can provide any complex mathematical equations for my effects like Astrophysicist Kip Thorne did.

Everybody go see INTERSTELLAR , and see it on 70mm IMAX film if you can, here is a list of the theaters that are presenting it on actually 70mm film.…

This episode featured some older episode techniques. Here are the links if you want to check them out…

Creating the Cosmos –

Steel Wool for Warp Speed –

Star Trek Transporter –

In Association with PBS Digital Studios

MoviePro – Edit and record 3K video on iOS


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November 14, 2014


MoviePro for iOS is another interesting app that enhances your iPhone’s (and iPad’s) camera. Thanks to this $4.99 program you get a few additional features – mainly new resolutions – you can not only select 1920×1080 to as low as 320×240, but also various aspect ratios, such as square 1:1 for Instagram and anamorphic widescreen aspect ratios like 2.75:1, 2.55:1, 2.40:1. But most importantly you can record in 3K resolution (3072×1728 at 30fps) on iPhone 5s/iPhone 6 & 6+ at 120 Mbps bit rate! If this is not enough for you, you can also record 720p at 240 fps on iPhone 6 & 6 plus! Of course the app also offers you the possibility to change the bitrate to lower settings, for example 50 Mbps and lower ones to save disk space. Supported frame rates are 30p, 25p, 24p, and 1 fps. According to many reviews the app is solid, so if you want to take a look at it, follow this link.

Additionally MoviePro gives you a few editing features (via description):

“Includes two video editors. Mini Editor is an individual clip editor while the full Editor can operate on multiple clips & manage projects,

  • Copy clips from Camera Roll in the library,
  • Trim, Rotate, Compress, Slow/Fast motion adjust resolution & aspect ratio is Mini Editor,
  • Full Editor : Merge, Split, Trim, Reorder clips, insert transitions, titles, select title color & font, title position, insert logo from Photo Library, scale & position logo,
  • Save compositions as Projects in Editor 2 and export them to Photo Library
  • In Full Editor, Videos added from Photo Library or recorded with app are only linked and not duplicated. Please do not delete the original clips therefore.”


Customer Reviews

Performs Great- iPhone 6+ Feedback

The built-in camera app from Apple is a solid performer for a system app. MoviePro takes the solid performance of the system app and provides a bevy of features that are very welcome. Choosing a higher (or lower) resolution is a much needed option provided by movie pro. Also, the ability to black out the screen while recording is fantastic and useful.

I have an iPhone 6+ and the interface for the app is obviously made for the iPhone 5- it looks horrible, very blurry, upscaled on the larger screen.

Also, if I lock focus and exposure then go to the options screen, the focus and exposure are reset but still locked (so now you have to unlock, allow them to readjust and relock- extra steps that if forgotten can waste a lot of time).

The zoom controls are great as is the result (ultimately what matters). I’m not sure if the app takes advantage of the 6+’s hardware stabilization or that happens automatically but would like for that to happen.

What I’d like to see in future update and I’d change to 4-5 star rating:
- interface for iPhone 6 aspect ratio
- locked lens -> options bug fixed
- slow mo / time lapse options from system app
- hardware stabilization option(?)



Everything works very well. I have used this app to record over an hour of video at a time (nonstop) multiple times. The feature that I found the most useful was that ability to easily adjust the resolution, frame rate, and quality of the recording and make presets of these factors. This allowed me to record everything that I needed to on the limited amount of disk space on my iPod. I also like the ability to pause and resume the recording instead of having to stop the recording each time.


Great app for iPhone 6 Plus

This is the only app that records 3K at 100mb/s, that’s pro camera stuff. Very nice, but I would like to add some suggestions, the exposure changes are much too often and harsh so maybe tone it down how it is in the stock app. And also for the iPhone 6 Plus add support for its built in optical image stabilization with the software stabilization this app provides, it would add almost as good stable shots as the stock camera app.


Boris Continuum Complete 9

Originally posted on digitalfilms:

df_BCC9_3WayClrBoris Continuum Complete has been the flagship effects package for Boris FX. With each new version, the company makes it better, faster and even more useful. They have recently released BCC 9 for Avid Media Composer, Sony Vegas Pro, Adobe After Effects/Premiere Pro, FCP X/Motion and DaVinci Resolve. This has been a two-year effort to build upon BCC 8, which was initially released in 2012.

Boris Continuum Complete 9 sports over 30 new effects, including 23 new transitions. In total, BCC 9 versions for Avid Media Composer, Adobe After Effects and Premiere Pro each offer over 230 filters, including 3D extruded text, particle effects, image restoration tools, lens flares, keying and compositing and much more. Specific new filters include a lens vignette, 2-strip color process, sharpening, lens correction, grunge, edge grunge, a laser beam effect, an improved pan & zoom filter with perspective and a one-stop chromakey “studio”.

df_BCC9_DmgdTVDissWhile new…

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New: Blackmagic Design Revolutionizes the Visual Effects Industry with Fusion 7


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November 13, 2014

By Michele Yamazaki, Toolfarm

You may have heard the news that Blackmagic Design acquired Eyeon a couple of months ago. Today they announced that Fusion 7 will be available for free and they have slashed the price on Fusion 7 Studio, which includes everything in the free version of Fusion 7, plus lots of extra high end features: optical flow tools for advanced retiming, stabilization and stereoscopic 3D production, support for third party OpenFX plug ins, and more.

Blackmagic Fusion 7

Blackmagic Design announced this week that Fusion 7, the world’s most advanced visual effects and motion graphics software, is now available completely free of charge.

Fusion 7 for Windows can be downloaded from the Blackmagic Design website now.  They are currently working on a mac version, TBD.

Previously getting access to high end visual effects tools such as Fusion cost thousands of dollars, so it was more restricted to elite Hollywood visual effects artists. Now with Fusion 7 being available free of charge there is no limit to block anyone from creating world leading visual effects. Blackmagic Design believes this will revolutionize the industry and consumers will be able to watch dramatically better feature films and television shows in the future.

Also announced was Fusion Studio 7, a complete bundle of VFX and motion graphics solutions with collaborative tools and unlimited network rendering for creative teams and larger facilities. Fusion 7 Studio drastically reduces the cost of setting up multi user studios. Fusion 7 Studio will be available for $995 from Blackmagic Design resellers worldwide.

Fusion has been one of Hollywood’s leading visual effects and motion graphic tools for over 25 years and has been used on thousands of feature film and television projects, including blockbusters like Maleficent, Edge of Tomorrow, Sin City: A Dame to Kill For, The Amazing Spider-man 2 and The Hunger Games, as well as hit television shows like Battlestar Galactica, Orphan Black and many more.

The free of charge Fusion 7 is a fully featured solution and is not limited in it’s features. It has a massive visual effects and motion graphics toolset that can be used for both personal and commercial work. Fusion 7 features an infinite 3D workspace and an easy to use node based workflow for quickly building unlimited effects. Customers get advanced 3D compositing, paint, rotoscope, retiming, stabilization, titling, an amazing 3D particle generator and multiple keyers, including Primatte. Fusion 7 also lets customers import and render 3D geometry and scenes from other applications as well as create their own elements from scratch.

The $995 Fusion 7 Studio includes everything found in the free Fusion 7 software, plus adds extra high end features such as optical flow tools for advanced retiming, stabilization and stereoscopic 3D production, support for third party OpenFX plug ins, and distributed network rendering so customers can render jobs on an unlimited number of computers at no additional cost! Fusion 7 Studio also includes Generation, a studio wide multi user workflow and collaboration tool that helps creative teams manage, track and review versions of every shot in a production. Customers can also move projects from the free Fusion 7 software to a workstation running Fusion 7 Studio and take advantage of workflow collaboration and unlimited distributed network rendering.

Unlike other software, Fusion 7 Studio doesn’t require annual maintenance fees, subscriptions, a connection to the cloud, or per node render license costs. That means customers don’t get tricked into hidden or on going costly payments for software they’ve already purchased.

“Visual effects software has been expensive for way too long and it’s time that this changed. Consumers are screaming for more exciting movies and television programs and so we need to do everything we can to help our customers create stunning visual effects,” said Grant Petty, Blackmagic Design CEO. “Now, with the free version of Fusion, everyone from individual artists to the biggest studios can create Hollywood caliber visual effects and motion graphics! When combined with DaVinci Resolve Lite, customers can get the world’s most advanced tools for editing, grading, 3D compositing, visual effects and motion graphics, all absolutely free!”

Availability and Price

Fusion 7 software for Windows is available for download now from the Blackmagic Design web site free of charge. Fusion 7 Studio will be available for $995 at all Blackmagic Design Resellers. Existing Fusion 7 customers and customers on a current Fusion support plan can upgrade to Fusion Studio at no additional charge by contacting Blackmagic Design.


This Ingenious Cord-Taping Thingamajig Will Make Your Head Explode!


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November 11, 2014

by BuzzFeed Staff

One of the most annoying parts about prepping for a film shoot is taping down all of the cords. But, some geniuses have solved that problem for you, if you’re willing to drop $200.

GaffGun / Via


If You're A Filmmaker, This Ingenious Cord-Taping Thingamajig Will Make Your Head Explode
Gaff Gun / Via

And when it’s done, it looks so perfect and neat.

If You're A Filmmaker, This Ingenious Cord-Taping Thingamajig Will Make Your Head Explode
Gaff Gun / Via

They even compared it to the old-fashioned way, and while the Gaff Gun took just 10 seconds…

If You're A Filmmaker, This Ingenious Cord-Taping Thingamajig Will Make Your Head Explode
Gaff Gun / Via

The do-it-yourself way took 4:50!

If You're A Filmmaker, This Ingenious Cord-Taping Thingamajig Will Make Your Head Explode
Gaff Gun / Via


OK Go Deconstruct Their Drone-Filmed Video


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November 10, 2014

by , Billboard

OK Go, 2014.

When OK Go were dreaming up the eye-popping, retro-futuristic video for “I Won’t Let You Down” off their fourth LP, Hungry Ghosts (out Oct. 14 via OK Go’s own label), the inventive alt-pop foursome visited Tokyo’s Robot Restaurant, a 12-floor underground theater with robots roller-skating to heavy metal music.

“It was the best hour of my life,” bassist Tim Norwind tells Billboard, laughing.

The innovative clip, released recently on NBC News’ Today show, raises this humans vs. machines theme literally sky-high. Filmed by a camera on a drone, the band members ride motorized scooter chairs made by Honda, which paid for the film. Accompanied by dozens of elaborately choreographed dancers in perfect synch, “I Won’t Let You Down” takes OK Go’s history of innovative videos — starting with their groundbreaking treadmill hi-jinks in 2006′s “Here It Goes Again” — to the next level.


For what may be OK Go’s best video yet, frontman Damian Kulash, 39, enlisted film director Morihiro Harano. He linked the band with Honda’s ad agency and eccentric Japanese choreographer Airman, who distinguishes himself with an “enormous hat that makes him look like he’s in Mars Attacks,” says Kulash. Check out our breakdown of the video below.

As the jubilant opening bars kick in, OK Go splays limbs a la Gene Kelly in Singin’ in the Rain while spinning in a circle atop the seated Segways that feel, like Tokyo, very “2075,” Nordwind says. “A lot of times in our videos, we play with using pieces of technology in ways that feel warm and human,” he adds.

After the song’s first chorus, OK Go leaves the building and the camera shoots up into the sky to give a bird’s-eye view of the umbrellas twirled by the band and a troupe of dancers in knee-high socks and pleated skirts. How does the camera do that? Why, on a drone, naturally (called an octocopter, according to Harano).

In this shot assembled into a precise sunburst shape, Kulash says the dancers “were like automatons. One of [Airman's] deputies would shout something to this whole battalion of Japanese schoolgirls, and they’d run like they were in military school, and nail it every time. It was a real treat to behold.”

This sequence — the video was done in one continuous shoot taking approximately 50 to 60 tries to get it right — opens with abandoned warehouse in the city of Chiba, about 45 minutes outside of Tokyo. The video was then filmed in double-time to evoke Hollywood choreographer Busby Berkeley‘s signature manic style.

To coordinate everyone moving in synchrony to the parking lot for the final setup, Harano set up enormous speakers and played “I Won’t Let You Down” at half-speed, which “allowed for more precise movements even with the complicated choreography,” he says.

To capture all those Japanese schoolgirls flashing colored umbrellas in the shapes of lyrics and OK Go members’ faces in perfect synchronicity, Harano used a specialized drone camera controlled both by GPS and by hand from an altitude of nearly half a mile.

The video hazily pans out over the city of Tokyo for an extra 30 seconds of silence, which the director says was inspired by the Beatles’ outros. “You know how, in some of their albums, a bonus track starts to play,” he says. “I wanted something that packed a bit more entertainment even after the main part was over.”



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