Blackmagic Design announced that the multi-film project, “The Found Lederhosen,” created for the 2021 HPA Tech Retreat Supersession, used DaVinci Resolve Studio and URSA Mini Pro 12K for several of its five segments. This included the use of DaVinci Resolve Studio running on Amazon Elastic Compute Cloud (Amazon EC2) and Amazon Simple Storage Service (Amazon S3) for editing of the short film “La Inquilina.”
“The Found Lederhosen” plays a key role on day one of the Supersession, a two-day interactive exploration of the workflows and technology of multiple productions taking place around the globe. The “Found Lederhosen” filmmakers, led by Joachim “JZ” Zell, will highlight real world examples of the tools, tech, workflows and more than 200 artists who worked remotely to complete the short films during the worldwide COVID 19 quarantines.
Filmmakers from London, Dubai, Mongolia, Mexico City, Brisbane and Hollywood all volunteered to create the films specifically for the event and in illustration of remote collaboration and the rapid forward movement of technology. During the Supersession, JZ will highlight how these filmmakers worked to keep themselves safe while redefining creative, connected, remote, collaborative and cloud-based workflows.
“’The Found Lederhosen’ brought together seven movies, six cities, five audio mixes, four color spaces, three uses of cloud storage services and two transmitters. It was a huge effort, and it shows exactly what can be accomplished in new remote workflows,” JZ said. “The virtual post workflows of these films were even more global in scope than the productions, bringing together post artists from all over the globe who collaborated like they were in the room next door. A huge part of what made this possible was DaVinci Resolve.”
“La Inquilina” DP and Producer Sandra De Silva De La Torre and her team used DaVinci Resolve Studio for numerous parts of the post production workflow, including dailies, editing, audio editing, color correction and delivery. They used DaVinci Resolve Studio, running on Amazon’s EC2 G4 instances in conjunction with Amazon FSx for shared file storage, to edit the film, allowing for seamless collaboration between Editor and Colorist Diego Yhamá, who was based in Colombia, and Sandra, who was based in Mexico City.
“Connecting virtually using DaVinci Resolve Studio’s collaboration tools running on AWS was an extremely powerful workflow for post production on ‘La Inquilina,’” said De Silva De La Torre. “Due to the current circumstances with the pandemic, the opportunity to be part of the HPA’s project and collaborate remotely with filmmakers around the globe was very appealing to me. It is amazing to know that there were many crews in different parts of the world creating a story for the same purpose: to test and understand new workflows that not only further support our actual situation, but that also provide access to a new level of connectivity for filmmakers around the world.”
DaVinci Resolve Studio was also used on “KINTSUGI,” the London and Mongolian based film done for “The Found Lederhosen.” Produced by award winning filmmaker and actress Bayartsetseg Altangerel (Bayra Bela) and edited by Lithuanian based Aleksandras Brokas, the film follows three foreign art students during level 4 lock down in London. DaVinci Resolve Studio was used for editing, color correction and audio mixing by using DaVinci Resolve’s collaboration features to connect the director and producer in London with Brokas in Lithuania.
“Resolve’s collaboration features let us easily work edits back and forth, and the headache I was expecting with this post production process never happened. We had initially started editing with another NLE, but Aleks convinced us to do everything in Resolve, which made getting the film done efficiently and meeting our creative visions,” said Bayartsetseg. “We used Resolve in London to edit dailies and sent the files directly to Aleks, and were able to skip conforming. Grading and prep for Dolby Vision was done in London and sound mixing was done in Taiwan using Resolve. A true global team.”
For the Dubai film “Neo-Bedouin,” cinematographer Marc Paskui and Director Abeer Abdullah shot the pandemic inspired Sci Fi/Fantasy thriller using the URSA Mini Pro 12K. “The camera resolution gave us much needed confidence on set in making creative choices, especially when the shot would involve visual effects,” said Abdullah. “I also knew with Blackmagic’s color science I could achieve the look I wanted, even when forced to shoot in low light or difficult conditions, as we faced shooting in the Dubai desert.”
“The mission of The Found Lederhosen is to show that any project can be done anywhere and to show the leading-edge workflows that make this possible,” JZ said. “With the global need, it was natural that so many of the filmmakers used Resolve because it is the most widely used post tool out there.”
The ability to use DaVinci Resolve Studio as a common platform to create and use the best people anywhere was a key part of making “The Found Lederhosen.” DaVinci Resolve Studio’s ability to work in a wide array of formats and specs was also important, since the filmmakers were shooting with different camera systems but all had to finish in ACES and Dolby Vision.
“With the films, we had to have the ability for the filmmakers and post artists to exchange information and create together anywhere at any time. Resolve is everywhere, used by the biggest group of artists,” JZ continued. “So it was a great platform for us to rely on.”
“The workflow used by ‘La Inquilina’ using Resolve running on AWS in particular was a great example of what a powerful new remote workflow could do. The filmmakers and post artists, which were spread between LA, Mexico and Colombia, had the flexibility, adaptability and scalability to create in high quality. The freedom of interaction that combining AWS and Resolve brought was amazing,” JZ said.
Everything’s coming up mogrts!
For their March meet-up, Adobe Video Community is all about Motion Graphics templates which enable creators to step-up and stand-out with dynamic visual treatments. Learn about the latest enhancements with a product demo on Media Replacement in Motion Graphics templates. Then meet the team as Jason Levine is joined by Senior After Effects Product Manager, Victoria Nece and Motion Graphics Quality Engineer, Dacia Saenz for a discussion on the development of this unique feature set. Catch a customer spotlight from Motion Designer, Jake Bartlett sharing his creative workflow for making mogrts.. And stick around for Q&A with everyone.
Date and Time: March 31st at 12pmPT (UTC -8)
This virtual event is part of a monthly series — Adobe Video Community Meet-ups — and will go live on Wednesday, March 31st at 12pm PT (UTC-8). AVC Meet-ups feature product demos, conversations and Q&A with Adobe product teams, and spotlights on exciting customer projects and creative workflows. Each event is streamed to Adobe Video YouTube and Facebook channels on the last Wednesday of each month.
Next Thursday, March 18th, The Telly Awards‘ new reel will be available, which features a curation of work by Telly winners, judges and partners including Square, PBS Digital Studios, and more.
Please RSVP to receive access to the password-protected reel to view at your own leisure. Plus, mark your calendars to join them on Wednesday, March 24th at 1pm ET for a virtual conversation with selected producers behind the work.
• Dushane Ramsay, Sr. Brand Strategist, Square
• Shruti Rya Ganguly, Founder, Honto 88
• Daphna Awadish, Animation Director & Illustrator
Many of the projects featured in this reel have been honored at The Telly Awards, as one benefit of entering the competition is the chance to have your work curated in their annual screening program.
Also, they have extended the entry deadline to enter The Telly Awards. The new deadline, and last chance to participate in this year’s competition, is on Friday, April 2nd at tellyawards.com .
To keep pace with increasing demand for high-end post-production, creative professionals require streamlined and versatile solutions to convert their at-home laptops and computers into powerful remote workstations. The ability to output deep color, high frame rate, HDR or SDR video is the goal, whether producing blockbuster visual effects, color grading, editing or audio mixing. To power high-quality and reliable video output, AJA has introduced T-TAP Pro, a compact, silent and portable Thunderbolt™ 3-connected device that simplifies 4K/UltraHD and 2K/HD/SD monitoring and output over 12G-SDI and HDMI 2.0 from compatible Mac or PC computers. Ideal for a range of production and post scenarios, the versatile device provides high-end video monitoring, including support for auto HDR playback, HFR and large raster workflows.
AJA developed T-TAP Pro to meet the evolving needs of production professionals who require high-quality video output from any location, whether working remotely during pandemic shutdowns or in-studio with new safety protocols enforced. T-TAP Pro simplifies output of pristine 4K/UltraHD or HD/SD signals from a wide range of editorial, graphics, color or audio creative applications, including Apple® Final Cut Pro®; Adobe® Premiere® Pro, After Effects®, Audition®, and Character Animator®; Avid® Media Composer® and Pro Tools®; and more. Using the flexibility of the lightning fast Thunderbolt 3 connection – ubiquitous on modern PC and Apple laptops or desktop computers – T-TAP Pro supports the most demanding creative processes with ample support for the massive amount of bandwidth required to handle professional uncompressed 4K video, audio and data. Featuring the latest 12G-SDI and HDMI 2.0 connectivity for working with 4K/UltraHD over a single cable, the device enables output of high-end content to a wide range of professional and consumer monitors and devices, all with the highest 10-bit and 12-bit uncompressed quality.
T-TAP Pro features extensive audio support, with up to 16-channels of SDI or 8-channels of HDMI embedded audio output. An integrated 3.5mm stereo analog audio connection provides a convenient method for monitoring audio, enabling editors or digital artists to plug in headphones directly to the device or connect to an external analog audio mixer. The front-panel VU meter also displays a quick visual guide of audio levels.
T-TAP Pro directly supports HDR workflows across a number of HDR formats, including HLG (Hybrid Log Gamma), PQ and HDR10. New AJA Desktop Software v16 extends support to T-TAP Pro and offers the latest HDR over SDI with VPID signaling. The included AJA Control Panel software features a redesigned HDR tab with simultaneous SDI and HDR auto capture and playback, including new HDR metadata detection for ease of use for critical monitoring applications. With T-TAP Pro and the appropriately captured/rendered HDR files, AJA Control Room can automatically detect the HDR format and T-TAP Pro can automatically adjust output accordingly via both 12G-SDI or HDMI.
Third-party integration of T-TAP Pro from partner companies using AJA’s SDK, like ColorFront and Drastic, further extends the use of the device with streaming and cloud-based workflows. This enables creatives to monitor and output material locally from video sources across the planet, whether coming from set or being shared between post creatives, from edit to VFX and onto grading and finishing.
Sony Electronics Launches FX3 Full-Frame Camera with Cinematic Look and Enhanced Operability for Creators
Sony’s Most Compact and Lightweight Cinema Line Camera for Creators Who Strive for New Cinematic Freedom
Sony Electronics Inc. today announced the FX3 (model ILME-FX3) camera that combines the best of Sony’s industry-leading digital cinema technology with advanced imaging features from Alpha™ brand mirrorless cameras to make Sony’s coveted cinematic look accessible to more creators.
As the latest addition to Sony’s Cinema Line, the FX3 delivers a cinematic look and professional operability and reliability in a camera that is accessible to early-career creators, as well as suitable to be used alongside Sony’s VENICE, FX9 and FX6 cameras. The new model provides outstanding image quality and usability for small scale and one-person shooting. The FX3 boasts industry-leading autofocus capabilities, 5-axis in-body image stabilization with Active Modev, handheld shooting design and advanced heat dissipation for extended recording times. All this is combined in a compact, lightweight body that provides the performance and mobility to meet the growing demands of today’s content creators.
“The FX3 is the perfect tool for content creators looking to enter the world of cinematography,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “It combines everything our customers love about Sony’s video capabilities in our Alpha lineup with a new body optimized for videography. We are excited to add to Sony’s Cinema Line and continue to support the world’s creators with the best tools possible.”
The FX3 boasts Sony’s industry-leading image sensor technology to achieve high processing speeds and outstanding image quality. The full-frame, back-illuminated Exmor R CMOS sensor (approximately 10.2 effective megapixel count for video recording and approximately 12.1 effective megapixels count for stills) and the BIONZ XR image processing engine team up to ensure high sensitivity with low noise. The standard ISO range is 80 to 102,400 (expandable to 409,600when shooting video), and dynamic range is an impressively wide 15+ stopsiv.
In response to a growing need for more expressive depth, the FX3, along with FX9 and FX6 Cinema Line cameras, allows users to create a cinematic look without post-production using the S-Cinetone color matrix. Inspired by the color science used in Sony’s flagship VENICE camera, S-Cinetone delivers natural mid-tones, plus soft colors and smooth highlights that are essential to create a cinematic look.
Creators can record in 4K at up to 120 frames per secondii. Extraordinarily smooth slow-motion imagery (up to 5x) at QFHD (3840 x 2160) resolution with autofocus provides new expressive capability.
Designed for Comfortable Solo-Shooting
Sony’s most compact and lightweight Cinema Line camera is ideal for handheld shooting, gimbal and drone-mounted work. It weighs just 1.58 lbs. (715 g), including the battery and memory cards, and the body is only 5.11 in x 3.33 in x 3.06 in (129.79 mm x 84.58 mm x 77.72 mm). The camera grip has been carefully designed to provide optimum flexibility, stability and comfort for long shoots.
Designed for mobility and efficiency, the FX3’s body features five 1/4-20 UNC threaded mounting points to easily attach compatible accessories while remaining light enough for handheld shooting and making it easy to set up and carry. The supplied XLR handle securely attaches to the body via the Multi Interface Shoe without any special tools and provides three additional threaded mounting points for accessories. Optional accessories such as external monitors, recorders, wireless microphones, or other add-ons can be securely attached.
To enable 4-channel 24-bit audio recording, the supplied XLR handle includes two balanced XLR/TRS audio inputs and an additional 3.5mm stereo 2-channel jack. With an optional XLR or TRS microphone connected, the XLR adaptor on the handle takes care of the A/D (Analog to Digital) conversion and DSP (Digital Signal Processing), and transfers the digital audio data directly to the camera for outstanding audio quality. Because the XLR adaptor is integrated into the handle and does not require any additional cables or batteries, it offers easy set up. If the handle is not being used, the FX3 includes a 3.5mm stereo mic input on the camera body.
The FX3 provides Fast Hybrid autofocus (AF) by using the 627 points focal plane phase-detection system during movie recording. The camera is further enhanced with Touch Tracking (Real-Time tracking) where simply touching the desired subject on the monitor screen initiates auto focus and tracking on that subject. Precise and smooth focus is maintained with Real-time Eye AF – technology that pinpoints the eye even when subjects are looking down or up at steep angles. Additionally, other AF features have been included and refined in response to feedback from professional users, including AF Transition Speed, AF Subject Shift Sensitivity, intuitive control and AF support when focusing manually. These AF features have been implemented in the FX3 to ensure stable, flexible and precise focusing in any situation and are easy to operate for solo shoots.
The FX3 features 5-axis optical in-body image stabilization – highly effective for handheld shooting. A high precision stabilization unit and gyro sensors have made it possible to provide an Active Modev that is dedicated to movie shooting in each format, including 4K. In-body image stabilization means that effective stabilization can be achieved with a wide range of E-mount lenses, including those that do not include stabilization on their own. Alternately, the FX3 records image stabilization metadata that can be adjusted during post-production using Catalyst Browse/Prepare.
Expandability and Operability for Content Creators
FX3 is designed to optimize professional operability. The controls frequently used in movie shooting such as ISO, iris, and white balance adjustment are located on the grip and on the top of the body for easy access. In addition, 140 functions assignable to 15 custom keys allow for ultimate efficiency.
The zoom lever located on the top of the grip not only controls compatible powered zoom lenses, but also allows Clear Image Zoom to be used with unpowered zoom and prime lenses – reducing the number of lenses required for many projects. This lever also enables smooth zooming that is difficult for manual zoom-ring control.
Recording lamps (tally) are provided on the top, front and back of the camera, so that the operator and talent can easily confirm recording. A side-opening vari-angle touch-panel LCD monitor allows for easy operation and is suitable for gimbal-mounted shots, complicated angles, handheld operation and more. Flexible Exposure Mode allows the FX3 to have a similar Auto/Manual switch operation as other FX series cameras for iris, shutter speed and ISO, which can be set independently.
Creators need more than just refined features and performance; they also need reliability and durability. The FX3 combines a fan for active cooling with effective heat dissipation resulting in uninterrupted 4K 60p recording without thermal shutdowni. The newly developed fan provides high-efficiency cooling by drawing air into the camera via the bottom panel and exhausts via the side.
The new camera also features a dust and moisture resistant design and durable magnesium alloy chassis. Moreover, USB PD (Power Delivery) supports fast charging for uninterrupted recording.
The FX3 is compatible with several recording functions including S-Log3 gamma and S-Gamut3.cine, which record in a high dynamic range and wide color gamut. It also supports internal recording in XAVC S™ (MPEG-4 AVC/H.264 Long GOP) and XAVC S-I (MPEG-4 AVC/H.264 Intra) formats in 4K (QFHD) and FHD, and XAVC HS™ (MPEG-H HEVC/H.265, 4K only) format. 4K 60p video in 10-bit 4:2:2 or 16-bit RAW format can be output to an external device via the FX3 full-size HDMI Type-A jack.
The FX3 also offers two fast, future-oriented media slots that contribute to unprecedented shooting freedom by being compatible with either CFexpress Type A or SDXC cards. The same data can be simultaneously recorded to both cards for backup and a “relay” mode will automatically switch to the second media card when the first media card becomes full during recording.
The new camera has been developed with advanced connectivity features to better assist professional creators with high-speed wireless LAN functionality (2.4 GHz or 5 GHz band) and wired LAN connection via a compatible USB-to-Ethernet adaptor. The FX3 supports video and still file transfers to a specified remote FTP server. It also allows for remote shooting from a personal computer using the Imaging Edge Desktop™ application’s “Remote” function via Wi-Fi or Superspeed USB 5Gbps connection over USB Type-C® terminal.
About Cinema Line
Cinema Line is a series of cameras that have a filmic look – cultivated from Sony’s long experience in digital cinema production – plus enhanced operability and reliability that respond to the wide variety of creators’ high demands.
Cinema Line includes the digital cinema camera VENICE, highly acclaimed in the feature and episodic production industry, the professional camera FX9, which is popular for documentary and drama production and the FX6, for “grab-and-shoot” content creation. With the addition of the new FX3, the most compact camera in the series, Sony offers a robust line up of versatile creative tools for all types of visual storytellers.
Pricing and Availability
The new FX3 full-frame Cinema Line camera will be available March 2021 for approximately $3,900 USD and $5,000 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
Exclusive stories and exciting new content shot with the new camera and Sony’s other imaging products can be found at www.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire fans of Sony’s technology for content creation and photography.
This virtual event is part of a monthly series — Adobe Video Community Meet-ups — and will go live on Wednesday, February 24th at 12pm PT (UTC-8). AVC Meet-ups feature product demos, conversations and Q&A with Adobe product teams, and spotlights on exciting customer projects and creative workflows. Each event is streamed to Adobe Video YouTube and Facebook channels on the last Wednesday of each month. Please help spread the word to your friends, colleagues, and community.
Go-live time: February 24th at 12pmPT https://youtu.be/MgDfPgcVgVoWe can’t wait to connect there and then!
Blackmagic Design announced the Blackmagic Pocket Cinema Camera 6K Pro, a new more powerful model that includes features for high end digital film. This new model includes a brighter 1,500 nit adjustable HDR touchscreen screen, built in ND filters, larger battery, plus support for an optional electronic viewfinder. This model also includes latest generation 5 color science, Super 35 HDR image sensor with 13 stops of dynamic range, dual native ISO of 25,600 and a popular EF lens mount.
Blackmagic Pocket Cinema Camera 6K Pro is available immediately from Blackmagic Design resellers worldwide for US$2,495.
The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high end digital film features into a miniaturized, handheld design. Made from lightweight carbon fiber polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at their fingertips. Because it’s an advanced digital film camera, the sensor is designed to reduce thermal noise allowing cleaner shadows and higher ISO. Plus the large 5 inch LCD makes it possible to get perfect focus at 4K and 6K resolutions.
Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects.
The Blackmagic Pocket Cinema Camera 6K Pro includes additional pro features such as built in 2, 4 and 6 stop ND filters, adjustable tilt HDR LCD with a bright 1500 nits that’s ideal for use in bright sunlight. It also includes two mini XLR audio inputs and a larger NP-F570 style battery.
Whether users are shooting in bright sunlight or in almost no light at all, the 13 stops of dynamic range with dual native ISO up to 25,600 provide stunning low noise images in all lighting conditions. Plus the 6K models feature a larger Super 35 sensor that allows shooting with a shallow depth of field and anamorphic lenses. All models let customers shoot up to 60 fps in full resolution or 120 fps windowed. An amazing sensor combined with Blackmagic color science means customers get the same imaging technology as the most expensive digital film cameras.
The 6K models feature an EF lens mount so customers can use lenses customers already own from other cameras such as DSLR, URSA Mini Pro or even the original Blackmagic Cinema Camera. Customers can use commonly available photographic lenses that provide incredible creative choice and wonderful feature film quality lens effects. The active lens mount lets customers adjust focus and iris from the buttons on the camera or the touch screen.
The Blackmagic Pocket Cinema Camera 6K Pro features high quality, motorized IR ND filters that let customers quickly reduce the amount of light entering the camera. Designed to match the colorimetry and color science of the camera, the 2, 4 and 6 stop filters provide customers with additional latitude even under harsh lighting. The IR filters have been designed to filter both optical and IR wavelengths evenly, eliminating IR contamination of the images. Activation buttons are located on the rear of the camera body, placed within easy reach of their thumb from the multi function hand grip. User selectable filter settings can even be displayed as either an ND number, stop reduction or fraction on the LCD.
The Pocket Cinema Cameras feature dual native ISO up to 25,600, which means they’re optimized to minimize grain or noise in images, while maintaining the full dynamic range of the sensor. The native ISO of 400 is ideal for scenes with on-set lighting. The gain is set automatically as customers adjust the ISO setting, so it’s easy to capture great images when customers don’t have time to set up lights.
Blackmagic Pocket Cinema Camera records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. Developers can download and use the free Blackmagic RAW SDK to add support into their applications. Best of all media files work on all operating systems plus customers can format media cards and disks in HFS+ for Mac and ExFAT for Windows.
Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. The Pocket Cinema Camera 6K Pro LCD monitor is a more advanced HDR display that can be tilted up and down so it’s easy to monitor their shot from any position. Plus the 6K Pro model’s HDR display features 1500 nits of brightness, ideal for use in bright sunlight.
Featuring the same generation 5 color science as the high end URSA Mini Pro 12K, the new Pocket Cinema Camera 6K Pro delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful color in every shot. Customers get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, for better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.
The Pocket Cinema Camera 6K Pro supports an optional viewfinder to make outdoors and handheld shooting accurate and easy. Customers get an integrated high quality 1280 x 960 color OLED display with built in proximity sensor, 4 element glass diopter for incredible accuracy with a wide -4 to +4 focus adjustment. A built in digital focus chart ensures customers get perfect viewfinder focus setup. Customers can also view critical status information such as frame guides. The Pocket Cinema Camera Pro EVF connects quickly to the Blackmagic Pocket Cinema Camera 6K Pro via a single connector. The viewfinder has a 70 degree swivel range and comes with 4 different types of eyecups for both left and right eyes.
Blackmagic Pocket Cinema Cameras feature a mini XLR input with 48 volts of phantom power for connecting professional microphones such as lapel mics and booms. The 6K Pro model features 2 mini XLR connections, allowing customers to record 2 separate audio tracks using 2 mics, without an external mixer. The four built in mics have an extremely low noise floor and are shock and wind resistant, capturing great sound in any location. There’s also a 3.5mm audio input for connecting video camera microphones, along with a built in speaker for playback and a 3.5mm headphone jack.
The Blackmagic Pocket Cinema Camera 4K and 6K use removable LP-E6 type batteries while the 6K Pro model uses larger NP-F570 batteries. A locking DC power connector is used so customers won’t have to worry about losing power during a shoot. Plus the included AC plug pack can power the camera and charge the battery simultaneously. Even the USB-C expansion port can trickle charge the battery, so customers can use portable battery packs, mobile phone chargers or laptops. The optional battery grip lets customers add extra batteries to dramatically extend the power of the camera so customers can keep shooting all day.
All Pocket Cinema Camera models include a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high end feature films, episodic television shows, commercials and more. DaVinci Resolve features the new cut page with intelligent editing tools and innovative new features designed to help customers quickly find the footage customers want, edit it together and output it fast. In addition to the new cut page, customers also get DaVinci’s legendary professional editing, advanced color correction, audio post and visual effects tools, all in a single software application.
“With the new Pocket Cinema Camera 6K Pro, we wanted to include all the high end features from digital film cameras into a Pocket Cinema Camera design,” said Grant Petty, Blackmagic Design CEO. “This means you get an extremely portable digital film solution but with all the advanced features like the amazing ND filters, optional viewfinder and bright HDR touchscreen. We think our digital filmmaker customers will love it!”
Availability and Price Blackmagic Pocket Cinema Camera 6K Pro is available now for US$2,495, excluding local duties and taxes, from Blackmagic Design resellers worldwide.
The Alpha 1 Delivers an Unprecedented Combination of Resolution, Speed and Video Performance, Empowering Professionals with a New High-Resolution 50.1-megapixel Full-frame Image Sensor, High-speed Shooting at up to 30 Frames per Second, 8K 30p Video and More
• New 50.1-megapixel (approx., effective) full-frame stacked Exmor RS™ CMOS image sensor in combination with an upgraded BIONZ XR™ imaging processing engine with eight times more processing power
• Blackout- free continuous shooting at up to 30 frames per second
• Fast sensor readout enables up to 120 AF/AE calculations per second , double the speed of the Alpha 9 II, even during 30fps continuous shooting
• Bright and large 0.64-type 9.44 million-dot (approx.) OLED Quad-XGA electronic viewfinder with the world’s first refresh rate of 240 fps
• Silent, vibration-free electronic shutter
• World’s first anti-flicker shooting with both mechanical and electronic shutter
• Electronic shutter flash sync up to 1/200 sec. for the first time in the Alpha™ series
• World’s fastestv mechanical shutter flash sync up to 1/400 sec.
• 8K 30p 10-bit 4:2:0 XAVC HS video recording with 8.6K oversampling for extraordinary detail and resolution, in addition to 4K 120p 10-bit 4:2:2 movie shooting capabilities
• Wide dynamic range of 15 stops for stills and 15+ stops for video
• Improved Real-time Eye AF (autofocus) for humans and animals, and new Real-time Eye AF for birds , as well as Real-time Tracking that automatically maintains accurate focus
• 5-axis optical in-body image stabilization for a 5.5-step shutter speed advantage
• S-Cinetone color matrix as seen in FX9 and FX6 to deliver expressive cinematic look
• Professional workflow support with the industry’s fastest built-in Wi-Fi, SuperSpeed USB 10Gbps, 1000BASE-T Ethernet and more
Sony Electronics, a global leader in imaging sensor technology and digital imaging, has announced the arrival of the groundbreaking new full-frame mirrorless Alpha 1 camera – asserting their commitment to leading the industry with a stunning combination of innovative new features.
The most technologically advanced, innovative camera that Sony has ever released, the Alpha 1 combines high-resolution and high-speed performance at a level that has never been accomplished in the world of digital cameras. With a brand new 50.1-megapixel full-frame stacked Exmor RS™ image sensor, up to 120 AF/AE calculations per second, 8K 30p 10-bit 4:2:0 video and much more, the Alpha 1 will allow creators to capture what they’ve never been able to before.
“We are always listening to our customers, challenging the industry to bring new innovation to the market that goes far beyond their expectations.” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “Alpha 1 breaks through all existing boundaries, setting a new bar for what creators can accomplish with a single camera. What excites us the most – more than the extensive product feature – is Alpha 1’s ability to capture that which has never been captured before. This camera unlocks a new world of creative possibilities, making the previously impossible now possible.”
The newly developed image sensor is built with integral memory and paired with an upgraded BIONZ XR imaging processing engine, making it capable of shooting 50.1-megapixel images continuously at an astounding 30fps with up to 120 AF/AE calculations per second. The Alpha 1’s shooting capabilities are further enhanced by a 9.44 million dot OLED Quad-XGA electronic viewfinder, with a refresh rate of up to 240 fps , ensuring no black out. Additionally, for the first time in an Alpha series camera, 8K 30p 10-bit 4:2:0 video is available. The Alpha 1 is also capable of 4K 120p / 60p 10-bit 4:2:2 recording and includes S-Cinetone color. The Alpha 1 is also packed with features that support field professionals with faster workflow, including 3.5 times faster wireless FTP transfer speed and more.
Unprecedented Resolution and Speed
Continuous Shooting at Up to 30 Frames Per Second
The Alpha 1 captures moments that would otherwise be lost thanks to its high-speed performance, providing any photographer the speed they require to capture fast-moving objects. High speed readout from the 50.1-megapixel image sensor and a large buffer memory make it possible to shoot up to 155 full-frame compressed RAW images or 165 full-frame JPEG images at up to 30 frames per second with the electronic shutter while maintaining full AF and AE tracking performance .
At an astonishing calculation speed of up to 120 AF/AE per second, the Alpha 1 can maintain focus with high accuracy even for fast moving subjects. It can automatically adjust exposure, even with sudden changes in brightness, with an AE response latency as low as 0.033 secondsii.
Advanced Electronic Viewfinder with the World’s Firstiv Refresh Rate of 240 fps
Complimenting the camera’s ability to capture images at an unprecedented speed, the Alpha 1 viewfinder features the world’s firstiv 240 fps refresh ratexiv, for a super-smooth display. The viewfinder does not black out when an exposure is made to offer an uninterrupted view and allow for seamless framing and tracking, even during continuous shooting. The 9.44 million-dot (approx.), 0.64 type Quad-XGA high-definition OLED display and refined optics deliver the highest resolution in its classiv. It also offers 0.90x viewfinder magnification, a 41° diagonal FOV, and a 25mm-high eyepoint for clear, low distortion viewing from corner to corner.
Sony continues to push the boundaries of autofocus technology with the introduction of the Alpha 1, which can easily track complex, fast-moving subjects with high precision. The camera features 759 phase detection points in a high-density focal plane phase-detection AF system cover approximately 92% of the image area – ensuring accuracy and unfailing focus in environments where focusing might otherwise be difficult.
Sony’s advanced Real-time Eye AF improves detection performance by 30% over the previous systemi, thanks to the powerful image processing engine, BIONZ XR. It ensures accurate, reliable detection, even when the subject’s face looks away. In addition to improved Real-time Eye AF for humans and animals, the Alpha 1 employs high-level subject recognition technology to provide Real-time Eye AF for birdsxi, a first in an Alpha series camera. Optimized algorithms ensure that tracking is maintained even if a sitting bird suddenly takes flight, or the framing suddenly changes .
The Alpha 1 also features AI-based Real-time Tracking that automatically maintains accurate focus. A subject recognition algorithm uses color, pattern (brightness), and subject distance (depth) data to process spatial information in real time at high speed.
Silent, Vibration-free Electronic Shutter
High-speed readout from the new image sensor has made it possible to reduce rolling shutter by up to 1.5 times when shooting stills, compared to the Alpha 9 II. It also offers silent anti-flicker continuous shooting with an electronic shutter for the first timev in the world. The electronic shutter operates silently, without mechanical noise, and is vibration-free. Stress-free continuous shooting is now possible even when shooting in challenging lighting situations with florescent or other flicker-prone types of artificial lighting. And for the first time in an Alpha camera, electronic shutter flash sync up to 1/200 sec is possible. The advantages of the electronic shutter advantages can now come to life even when using flash for broadly expanded shooting versatility.
Dual Driven Shutter System for 1/400 Flash Sync
The Alpha 1 boasts the world’s fastest flash sync speedv of 1/400 sec. with mechanical shutter, making it even easier to capture dynamic action. In addition to a carbon fiber shutter curtain, the Alpha 1 features the newly developed dual driven shutter system utilizing spring and electromagnetic drive actuator, offering high durability and lightness at the same time.
High Resolution Shooting Enhancements
Even with this sensor’s high pixel count, the Alpha 1 offers high sensitivity with low noise, plus 15+ stops of dynamic range for video and 15 stops for stills, for smooth, natural gradations from shadows to highlights thanks to its cutting-edge processing system, throughout a wide ISO sensitivity range of 100-32,000 (expandable to 50-102,400, when shooting stills).
Additionally, the new camera features an evolved Pixel Shift Multi Shooting mode that composites up to 16 full-resolution images. In this mode, the camera precisely shifts the sensor in one pixel or half-pixel increments to capture 16 separate pixel-shifted images containing a total of 796.2 million pixels of data, which are then composited into a 199 million pixel (17,280 x 11,520 pixels) image using Sony’s Imaging Edge™ desktop application. With a flash sync of up to 1/200 sec. in this mode, it is ideal for photographing architecture, art or any other still life subject with a level of detail and color accuracy that is simply stunning.
Professional Video Quality
8K High-resolution Movie Shooting
For the first time in an Alpha camera, the Alpha 1 offers 8K 30p 10-bit 4:2:0 XAVC HS recording with 8.6K oversampling for extraordinary resolution. Combined with Sony’s acclaimed autofocus technology, gradation and color reproduction performance, the Alpha 1 will help the user realize their creative vision with the finest detail. It’s 8K footage can also be used for flexible 4K editing during post-production.
Supporting Various Video Formats for Professionals
The Alpha 1 offers in-camera 4K recording at up to 120 frames per secondviii which allows the user to shoot up to 5X slow-motion video . In addition to supporting 10-bit 4:2:2 recording, this feature can be used with efficient Long GOP inter-frame compression or high-quality Intra (All-I) intra-frame compression.
The Alpha 1 features S-Cinetone, the same color matrix that produces the highly regarded FX9 and FX6 color and skin tones. It delivers natural mid-tones, plus soft colors and gorgeous highlights to meet a growing need for more expressive depth. The S-Log3 gamma curve makes it possible to achieve 15+ stops of dynamic range, while the S-Gamut3 and S-Gamut3.Cine color gamut settings make it easy to match Alpha 1 footage with video shot on VENICE cinema camera, FX9 and other professional cinema cameras.
A unique heat dissipating structure keeps image sensor and image processing engine temperatures within their normal operating range, preventing overheating while maintaining compact body dimensions. This makes it possible to record 8K/30p video continuously for approximately 30 minutes .
Supporting Hand-held Shooting
A high-precision stabilization unit and gyro sensors, plus optimized image stabilization algorithms, achieve up to a 5.5-step shutter speed advantage, maximizing the quality of the high-resolution images derived from the camera’s 50.1-megapixel sensor. The Alpha 1 also features an Active Mode that offers outstanding stabilization for handheld movie shooting. When using Sony’s desktop applications Catalyst Browse or Catalyst Prepare for post-production, an accurate image stabilization function is available which utilizes metadata generated by camera’s built-in gyro.
Other features that the Alpha 1 offers include; 16-bit RAW output to an external recorder via HDMI for maximum post-production flexibility, a digital audio interface has been added to the camera’s Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone, 5.8K oversampled full pixel readout without pixel binning for high-resolution 4K movies in Super 35mm mode and more.
Enhanced Workflow with Network Technologies including Connectivity to 5G Compatible Devices
The Alpha 1 has been designed and configured to support photo and video journalists and sports shooters who need to deliver stills or movies as quickly as possible with advanced connectivity options. It offers several features for fast, reliable file transfers. Industry’s fastestxiii built-in wireless LAN allows communication on 2.4 GHz and 5 GHz bands with dual antennas to ensure reliable communications. 5 GHz includes 2×2 MIMO support (IEEE 802.11a/b/g/n/ac) offering 3.5 times faster wireless FTP transfer speed than the Alpha 9 II – a notable advantage for news and sports shooters who need to deliver with reliable speed. There is also a provided USB Type-C® connector to support fast data transfer when connected to a 5G mmWave compatible device such as Sony’s Xperia PRO and makes high-speed PC Remote (tethered) data transfer available for smooth handling of large image files. The Alpha 1 also has a built-in 1000BASE-T LAN connector for high-speed, stable data transfers, including remote shooting. FTPS (File Transfer over SSL/TLS) is supported, allowing SSL or TLS encryption for increased data security.
In addition to compressed and uncompressed RAW, the Alpha 1 includes efficient lossless compression with no quality degradation, Lossless Compressed RAW. There is also a new “Light” JPEG/HEIF image quality setting that results in smaller files than the “Standard” setting, allowing faster deliver for news and sports photographers who depend on speed. Along with a versatile range of RAW and JPEG formats, the Alpha 1 includes the HEIF (High Efficiency Image File) format for smooth 10-bit gradations that provide more realistic reproduction of skies and portrait subjects where subtle, natural gradation is essential. Images shot on the Alpha 1 can be trimmed in-camera to a desired aspect ratio, size, or position for versatile usage.
The Alpha 1 is also compatible with a variety of apps, add-ons and tools. With Imaging Edge Mobile and Imaging Edge Desktop , professionals can easily transfer RAW files and files that use lossless compression and remotely control Touch Tracking and Touch Focus for convenient AF operation. The Transfer & Tagging add-on (Ver. 1.3 or later) can automatically covert voice memos attached to image files to text captions or transfer the files to an FTP server from a mobile device. Desktop applications Catalyst Browse/Catalyst Preparexxvi allow professionals to browse and manage video clips shot by Sony’s camera. In addition, the Remote Camera Tool can remotely change camera settings and shoot from a computer connected via LAN cable and feature a number of refinements for the Alpha 1: faster transfer, touch response, dual slot and HEIF support, and more.
Reliable and Easy Operability
Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 1 has two media slots that both support UHS-I and UHS-II SDXC/SDHC cards, as well as new CFexpress Type A cards for higher overall capacity and faster read/write speeds. It also features a durable magnesium alloy chassis, long battery life with the Z-battery which can be extended using the optional VG-C4EM Vertical Grip (sold separately), an improved dust removal feature, shutter close function on power-off to protect image sensor, plus dust and moisture resistance that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and USB PD (Power Delivery) support, allowing higher power to be supplied from an external source so that users can record for extended periods with minimal internal battery usage.
A revised menu structure provides easier navigation, and touch-responsive menu operation offers fast, more intuitive control with Touch Focus and Touch Tracking on its 3.0 type 1.44 million-dot (approx.) LCD monitor. For easy customization, a subset of the camera’s shooting settings now changes according to the selected shooting mode, making it easier than ever to use different aperture, shutter speed and other settings for shooting stills and movies.
Pricing and Availability
The Alpha 1 Full-frame Interchangeable-Lens Camera will be available in March 2021 for approximately $6,500 USD and $8,500 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
When: February 25, 2021
Time: 5PM EST / 2PM PST
Online Admission: FREE!!
Sight, Sound & Story: Live – Making it Work: From Editor to Director
Moderator: Jeremy Workman (Magical Universe, The World Before Your Feet)
Panelists: Kirsten Johnson, ASC (Dick Johnson is Dead, Cameraperson, CitizenFour) & Nels Bangerter (Dick Johnson is Dead, Cameraperson)
Inside Episode VII: There can be no more collaborative and intertwined relationship in filmmaking than that between Director and Editor. In documentary filmmaking this is especially so. Join us for a special conversion with Director Kirsten Johnson and Editor Nels Bangerter as they discuss the creative process of documentary filmmaking within the acclaimed films Dick Johnson Is Dead and Cameraperson; as well as other films. Creative Director of Wheelhouse Creative and documentary filmmaker Jeremy Workman will help guide the conversation; as well as show examples of Kirsten and Nels work. Jeremy was also an editing collaborator for the dance sequence in Dick Johnson is Dead and edited the trailer for Cameraperson. This is a free online event where attendees will be able to ask questions live!
In past years, January usually finds ZEISS in Park City, congratulating the teams whose films were selected for the festival as well as celebrating the Art & Craft of Cinematography. While they await the time when everyone can all be together again, they thought they’d take it to Zoom! Join them for a fun week packed with interactive virtual events!
NEW PANELIST ANNOUNCED!
Cinematographer Roundtable Presented by ZEISS
Get to know the cinematographers whose projects are screening at the fest during this exciting panel discussion. We’ll spotlight their official festival selections – talking workflow and creative choices – followed by a live audience Q&A.
Friday, January 29 at 3:00pm PST
JUST ANNOUNCED: Mia Cioffi Henry, Superior
Alejandro Mejia, AMC, Son of Monarchs
Sam Levy, Mayday
REGISTRATION REQUIRED: https://zeiss.zoom.us/webinar/register/WN_dGWXXg5STm66ibKbAEVN_A
Zeiss Virtual Cocktail Hour
Every night during the first weekend of the fest we’ll be raising a glass to all festival filmmakers in celebration of their artistry. Come one, come all. And of course, it’s BYOB!
Friday, Jan 29 @ 6:00pm PST
Saturday, Jan 30 @ 6:00pm PST
Sunday, Jan 31 @ 6:00pm PST
Registration required. Reminder email will be sent 1hr prior to event start each night.
“Creating Lens Flares” Workshop
An educational workshop about the use of flares in cinema and the development of ZEISS Supreme Prime Radiance lenses, which have been utilized by renowned cinematographers such as Rodrigo Prieto, ASC, Tobias Schliessler, ASC, Dana Gonzales, ASC, and Jon Joffin, ASC.
Join us for a unique presentation from ZEISS Ambassador Tracy Page who will show us how to capture images with a pinhole camera (yes, the irony of talking about a lens-less system is not lost on us)!
Everyone who registers for this event will receive their very own Pinhole Camera and a roll of film so they can join in on the fun!
Monday, Feb 1 @ 3:00pm PST
Please note: When you register, you will need to provide a shipping address in order to receive your pinhole camera. Pinhole camera will require some assembly once received, but we know you are up to the challenge!
Blackmagic Design announced that the multi-film project, “The Found Lederhosen,” created for the 2021 HPA Tech Retreat Supersession, used DaVinci
Next Thursday, March 18th, The Telly Awards‘ new reel will be available, which features a curation of work by Telly
To keep pace with increasing demand for high-end post-production, creative professionals require streamlined and versatile solutions to convert their at-home
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We would like offer a big thank you to Paula Lumbard and her
We offer a warm welcome to AJA as they join the LAPPG family
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