I’m working with Blender for quite a while now. Mostly for product visuals. I got a few hours of spare time and started to model a data center. Data Center, because I’m a big tech nerd and i just love the endless rows of servers.
It’s a WIP the picture below was a test, if my layout would work. I think it is. What do you think? Drop me a comment.
Watch my recent work:
My Responsibilites: Concept, Script, Director and Post Production View full article »
This is one fine reel. Pretty awesome aerial shots. Done with ARRI ALEXA and RED EPIC.
The folks over at RedShark wrote a nice article about the upcoming new open source camera Axiom by Apertus and its open module concept. In short terms you will be able to scale your camera up or down in functions and features. Just the way you need it for your production. Thanks to open source, you will also be able to write your own software or modify the existing.
The frustration of locked-down proprietary camera firmware is one that many of us are familiar with. It’s pretty annoying to have a camera that could clearly be capable of all kinds of things but is heavily restricted by the locked-down software it is running. This is of course the origin of the Magic Lantern project, which was borne of the frustration of camera hardware that was capable of doing so much but was restricted by the built in firmware and the policies of the companies involved. It has taken a lot of work by the Magic Lantern team to gain access to the camera and to build an understanding of the way it functions, so that they could run their own software alongside the camera firmware and new features could be added.
Blackmagic Design just announced that they lower the price of their Cinema Camera to $ 1,995. Thats a $ 1,000 drop.
Just to remind you about what camera we’re talking:
- The Blackmagic Cinema Camera is available in either EF or MFT lens mount models.
- Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
- High resolution 2.5K sensor allows improved anti aliasing and reframing shots.
- Built in SSD recorder allows high bandwidth recording of RAW video and long duration compressed video.
- Open file formats compatible with popular editing software such as CinemaDNG 12 bit RAW, Apple ProRes and Avid DNxHD. No custom file formats.
- Includes no custom connections. Standard jack mic/line audio in, BNC 3 Gb/s SDI out, headphone, high speed Thunderbolt I/O technology, LANC remote control and standard DC 12-30V power connection.
- Capacitive touch screen LCD for camera settings and “slate” metadata entry.
- Supports 2.5K and 1080HD resolution capture in 23.98, 24, 25, 29.97 and 30 fps.
- Thunderbolt connection allows direct camera capture via included Media Express software and supports live waveform monitoring via the included Blackmagic UltraScope software.
- Includes a full copy of DaVinci Resolve color grading software.
via Blackmagic Design
Blackmagic Design exposed a new camera at NAB: Blackmagic Production Camera. Just forget the fact that they don’t have fulfilled all their obligations concerning the Blackmagic Cinema Camera yet and look at the specs and facts of the new one.
BMD claims that the BPC is world’s most portable digital film camera that delivers 4K. It comes with a Super 35 sensor, global shutter and the user will be capable of using his or her beloved EF mount lenses. It records lossless compressed CinemaDNG as well as Apple ProRes 422 (HQ) and has a built in touchscreen just like the BMCC.
||21.12mm x 11.88mm (Super 35)
||3840 x 2160
||3840 x 2160, 1920×1080
||3840 x 2160p23.98,
3840 x 2160p24, 3840 x 2160p25, 3840 x 2160p29.97,3840 x 2160p30, 1920 x 1080p23.98, 1920 x 1080p24, 1920 x 1080p25, 1920 x 1080p29.97, 1920 x 1080p30, 1920 x 1080p50i, 1920 x 1080p59.94i
||Focus button turns on peaking.
||Iris button automatically adjusts the lens iris settings so no pixel is clipped in film mode. Scene average auto exposure in video mode.
||EF and ZE mount compatible with electronic iris control.
||5″ and 800 x 480 resolution
||Removable 2.5” SSD
|SDI Video Output
||1 x 6G-SDI 10-bit 4:2:2 with choice of Film or Video Dynamic Range.
|Analog Audio Input
||2 x 1/4” jacks for professional balanced analog audio, switchable between mic and line levels.
via Blackmagic Design
Grant Petty (CEO of Blackmagic Design) just posted an update regarding the current shipping situation of the Blackmagic Cinema Camera on Facebook:
Things are going much faster with EF model camera production, and we have been getting out a very steady stream of cameras to all of our distributors around the world weekly. Though not at the full volume each week we would like, we are getting many more sensors per week than at the time of the January update, and have been very happy with the quality of the sensors coming in.
Also, I know there have been questions regarding the backorder and which regions are getting cameras first. Camera shipments are being sent out evenly between the offices, and will continue to be shipped that way.
With the MFT model, we are still planning on starting to ship some of those once we have gotten through more of the EF backorder.
And glad to see so many of you posting your footage captured on the Blackmagic Cinema Camera. Shots like the ones from “Big Sur” and the “Rebelz” music video that were posted a couple of weeks ago have made their way around all the Blackmagic offices, and it is amazing seeing what our camera can do in the hands of creative shooters.
via BMD (Facebook)
New prices for RED SCARLET-X and RED EPIC-X
Jim announced it some days ago in the REDUSER forum. Now it became reality. We experience a massive price drop conducted by RED DIGITAL CINEMA.
SCARLET-X: $ 7,950 (brain only)
That is about 18 % less than introductory price.
EPIC-X: $ 20,000 (brain only)
That is about 45 % less than introductory price.
EPIC-M: $ 24,000 (brain only)
That is about 39 % less than introductory price.
EPIC-X Monochrome: $ 20,000 (brain only)
That is about 52 % less than introductory price.
Goodbye old lady
The retail of the RED One will be discontinued. It was the first digital cinema camera by Jim Jannard and company. From here on you will only be able to purchase the last battle tested RED One cameras. Price will be $ 4,000.
Salute to the old lady.
The EPIC-X, EPIC-M, EPIC-X Monochrome and SCARLET-X will keep your legacy up.
Sony released the press info for their new CineAlta cameras PMW-F5 and PMW-F55. Both are 4K cameras, that can record RAW material (limited to 2K). You can shoot highspeed with both. The F5 supports frame rates up to 120 fps at 2K. The F55 supports frame rates up to 240 fps at 2K. A nice feature of them is the simultaneous recording of RAW and compressed material on internal SxS-cards and the optional AXS-R5 RAW recorder with matching time codes. This way you get online-/offline-material to which sony provides a workflow for post production.
Along with this neat new cameras comes a new line up of Sony CineAlta PL lenses. It’s the successor to its former line up of PL lenses. Focal lengths go from 20 mm up to 135 mm. Focus rings rotate 240°. Aperture is T2.0 on all lenses.