Blackmagic Design: Blackmagic Design Adds Blackmagic RAW to Blackmagic Pocket Cinema Camera 4K

https://www.blackmagicdesign.com/media/release/20190305-02

Blackmagic Design Adds Blackmagic RAW to Blackmagic Pocket Cinema Camera 4K

New Blackmagic Camera 6.2 update adds Blackmagic RAW to the Blackmagic Pocket Cinema Camera 4K!

Fremont, California, USA – March 5, 2019 – Blackmagic Design today announced Blackmagic Camera 6.2 update which adds support for Blackmagic RAW to the Blackmagic Pocket Cinema Camera 4K.

Blackmagic Camera 6.2 update is available as a free download from the Blackmagic Design website.

Blackmagic RAW, a revolutionary next generation codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is a more intelligent format that gives customers stunning images, incredible performance, cross platform support and a free developer SDK.

With Blackmagic Camera 6.2 update, customers using the Blackmagic Pocket Cinema Camera 4K now have the ability record images using Blackmagic RAW for the first time. This allows them to capture the highest possible quality images in smaller files, giving them much longer recording times with the media they already own. For example, customers can record over 2 hours of full cinematic quality Blackmagic RAW footage in 4K on a single 256GB SD UHS-II card. With Blackmagic RAW 12:1 you can even record 4K DCI images to an SD card, giving you stunning cinematic quality images on incredibly small, inexpensive cards. In addition, Blackmagic RAW gives customers an even faster, more fluid and higher quality editing and color correction workflow in DaVinci Resolve than ever before.

Once the camera has been updated, customers can choose between 3:1, 5:1, 8:1 and 12:1 constant bit-rate recording or between constant quality Q0 and Q5 recording. This lets them prioritize image quality or file size. The constant bit-rate encoding options give customers incredible images at predictable and consistent file sizes. Constant quality Q0 and Q5 use variable bitrate encoding so complex frames are encoded at higher data rates, preserving the maximum amount of detail and quality possible. Blackmagic Design Generation 4 Color Science is used for superior imaging that results in extremely accurate skin tones and gorgeous, lifelike colors. Blackmagic RAW images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range.

In addition, Blackmagic RAW features extensive metadata support, highly optimized GPU and CPU accelerated processing on the desktop and more.

Traditional RAW codecs have large file sizes and are processor intensive, making them hard to work with. Video file formats are faster, but suffer quality problems due to the use of 4:2:2 video filters that reduce color resolution. Blackmagic RAW solves these problems, giving customers the same quality, bit depth, dynamic range and controls as RAW, but with much better performance and smaller file sizes than most popular video codecs. Once files are brought into DaVinci Resolve, additional GPU and CPU acceleration make decoding of frames incredibly fast, so customers get extremely smooth performance for editing and grading.

When the Blackmagic RAW settings are changed in DaVinci Resolve, a .sidecar file can be generated or updated if one already exists. When opened in other software applications that support Blackmagic RAW, the .sidecar file, which contains the Blackmagic RAW settings made in DaVinci Resolve, will be automatically used to display the image. If the .sidecar file is removed then the file will be displayed using the embedded metadata instead. This innovative new workflow gives customers a non-destructive way to change Blackmagic RAW settings while working between different applications.

Blackmagic RAW is much more than a simple RAW container format. Its intelligent design actually understands the camera and the sensor. This means the image data, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW file, giving customers much better image quality, even at higher compression settings, as well as total control over features such as ISO, white balance, exposure, contrast, saturation and more.

In addition, Blackmagic RAW uses Blackmagic Design Generation 4 Color Science for superior imaging that results in reproducing extremely accurate skin tones and gorgeous, lifelike colors that rival those of cameras costing tens of thousands of dollars more. Images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range.

Blackmagic RAW also makes it easy for any software developer to access all this technology. The free developer SDK lets any third party software application add Blackmagic RAW support on Mac, Windows and Linux. The Blackmagic RAW developer SDK automatically handles the embedded sensor profile metadata, along with Blackmagic Design color science, for predictable and accurate image rendering that yields consistent color throughout the entire pipeline.

Blackmagic RAW features two types of file compression. Customers can choose either constant quality or constant bitrate encoding options, depending on the kind of work they are doing. This lets them prioritize image quality or file size. Constant quality uses variable bitrate encoding so complex frames are encoded at higher data rates to preserve detail and maintain the highest possible quality. Blackmagic RAW Q0 has minimum quantization and yields the highest quality, while Blackmagic RAW Q5 uses moderate quantization for more efficient encoding and a smaller file size. Blackmagic RAW 3:1, 5:1, 8:1 and 12:1 use constant bitrate encoding to give customers the best possible images with predictable and consistent file sizes. The ratios are based on the unprocessed file size of a single frame from the camera’s sensor, making it easy to understand the relative amount of compression being used.

The pristine camera native quality of Blackmagic RAW Q0 and 3:1 are perfect for effects heavy feature film and commercial work. Blackmagic RAW Q5 and 5:1 are extremely high quality making them great for episodic television and independent films. Blackmagic RAW 8:1 and 12:1 offer high quality and speed, making it suitable for productions that wouldn’t normally consider shooting RAW. Now, more customers than ever will be able to use high quality Blackmagic RAW images in an incredibly efficient way that was impossible before.

Featuring a fully scalable design and completely modern CPU and GPU acceleration, Blackmagic RAW is optimized for AVX, AVX2 and SSE4.1 enabled processors, multi-threaded, works across multiple CPU cores and is GPU accelerated with support for Apple Metal, CUDA and OpenCL. Frame decoding and image processing is extremely fast, making it super smooth for editing, color correction and visual effects in DaVinci Resolve. Another benefit of media being stored as single files, and not image sequences, is it makes media management easier and file copying much faster.

The free Blackmagic RAW Developer SDK is available on Mac OS, Windows and Linux. This SDK takes care of all the work for developers, so adding support for Blackmagic RAW to third party software applications is easy and fast. Developers get access to GPU and CPU accelerated algorithms for decoding files, along with unique information about the camera’s image sensor so their applications can accurately decode and display the files. The SDK features highly descriptive and flexible metadata options designed to support today’s modern workflows. Metadata is embedded directly in the .braw file or it can be stored in a .sidecar file. Metadata is important because it contains the Blackmagic RAW settings along with information for the slate, iris, focus, focal length, white balance and a lot more. The metadata in .sidecar files can be used on top of the embedded metadata without overwriting it. Blackmagic RAW also supports frame based metadata so customers can access values, such as focus distance, that often change on a frame by frame basis.

“Blackmagic RAW has been incredibly successful since we introduced it last fall on URSA Mini Pro,” said Grant Petty, Blackmagic Design CEO. “The new Blackmagic Camera 6.2 update is exciting because it makes this incredible new technology available to Blackmagic Pocket Cinema Camera 4K customers absolutely free! They get the visually lossless image quality of RAW with the speed of traditional video workflows!”

Availability

Blackmagic Camera 6.2 update is available today as a free download from the Blackmagic Design website http://www.blackmagicdesign.com/support

Press Photography

Product photos of Blackmagic Pocket Cinema Camera 4K, and all other Blackmagic Design products, are available at http://www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to http://www.blackmagicdesign.com

blackmagic_pocket_cinema_camera_4k_bmpcc4k_06_1024px_60pc
Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.

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Lumix G | Experience: Host of new features for Lumix G9, GH5 and GH5s via latest firmware from Panasonic

https://www.lumixgexperience.panasonic.co.uk/news/host-new-features-lumix-g9-gh5-gh5s-via-latest-firmware-panasonic/#.WwYsFS9L2OF

“Panasonic has announced forthcoming firmware updates for the Lumix G9, Lumix GH5 and Lumix GH5s bodies that will add new features and improve the handling and operation of its flagship models. Each of the cameras gets improvements to their AF systems as well as a Focus Ring Lock setting to prevent unintended focus shifts when the lens ring is accidentally turned.

A new method of using the WB, ISO and Exposure Compensation buttons is also introduced to all three cameras, and the GH5 and G9 will now be able to offer 20x magnification in manual focus mode to bring them in line with the GH5s. Another key improvement will be that individual images from high drive bursts will be editable using the in-camera raw processing function, while the G9 and GH5 have improvements to their in-body IS systems.

Black and white fans will be pleased to know that the new L.Monochome D Photo Style that was introduced with the Lumix GX9 will now come to these three cameras, and grain can be added via the Photo Style before shooting or afterwards in in-camera raw processing….”

Commentary

NRR2018160585_00-thumb-1500x790-5556776
Lumix G9 Pro, Lumix GH5 and Lumix GH5S at Panasonic Japan. Where is the professional successor to the pro flagship rangefinder-stye GX8? All Panasonic needs to do is place the internals of the DSLR-style G9 inside a rangefinder-style camera body.

Panasonic Japan and Damien Demolder of Panasonic UK have announced three firmware updates for the company’s current DSLR-style flagship mirrorless hybrid stills/video Micro Four Thirds cameras, the Panasonic Lumix DC-G9, Panasonic Lumix DC-GH5S and Panasonic Lumix DC-GH5, due for release on 30th May 2018.

The three firmware updates bring some welcome updates and improvements to the cameras’ autofocus performance, IBIS aka Body I.S. aka image stabilizer performance, audio recording performance, and a range of “new functions” and “other improvements”.

Further details will be available on the specific firmware update pages on the date of release.

panasonic_lumix_g_vario_14-42mm_f3.5-5.6_01_1024px_60%
The flagship Panasonic Lumix GX8 camera with Panasonic Lumix G Vario 14-42mm f/3.5-5.6 Aspheric II Mega OIS kit zoom lens. As a documentary photographer and moviemaker, having a former career in magazine and newspaper photography, coming from a Leica M-System, Rolleiflex waist-level TLR and Linhof Master Technika 4″x5″ sheet film camera background, digital rangefinder and rangefinder-style cameras like the GX8 with its tilting off-centre EVF are absolutely crucial tools to support my specific way of seeing and creating and there are no substitutes.

Panasonic appears to have abandoned its non-DSLR-style flagship camera, the rangefinder-style stills/video hybrid Panasonic Lumix DMC-GX8, so far as firmware updates are concerned, and that is a very great pity given that the supposed successor to the GX8, the GX9 that is more accurately known as the GX7 Mark III in Japan, is a substantial downgrade on the GX8 and is clearly not aimed at professional photographers.

The last firmware update for the GX8 was released on 20th July, 2016.

The Panasonic Lumix DC-G9 appears to be a fine sports and wildlife stills-oriented camera but rangefinder-style cameras cannot be replaced by DSLR-style cameras.

Panasonic, where is the professional rangefinder-style hybrid successor to the GX8?

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panasonic_lumix_dc-gh5_8-18mm_splashproof_white_square_1024px_60%
Panasonic Lumix DC-GH5 with Panasonic Leica DG Vario-Elmarit 8-18mm f/2.8-4.0 Aspheric zoom lens.

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Panasonic Lumix GH5 Firmware Update Version 2.2, Yet Another Great Reason to Choose Olympus M.Zuiko Pro Lenses?

Panasonic has released version 2.2 of its firmware for the Panasonic Lumix DC-GH5 hybrid Micro Four Thirds/Super 16 stills and video camera, and it contains one item that appears especially useful for users of the Olympus M.Zuiko Pro professional-quality prime and zoom lenses. 

The GH5 may well now recognize the Lens Fn button on M.Zuiko Pro lenses as well as Panasonic’s own Panasonic Leica DG Elmarit 200mm f/2.8 Power OIS telephoto thus enabling your choice from a set of nine lens-related functions that can be allocated to it.  

Panasonic Lumix DC-GH5 Super 16 Micro Four Thirds camera with Panasonic Lumix G X Vario 12-35mm f/2.8 II Aspheric Power OIS standard zoom lens.

As I do not currently have a GH5 I cannot put version 2.2 of the firmware to the test, but am expecting a review loaner to arrive in the very near future and will try it out with M.Zuiko Pro lenses then report back here.

The Panasonic Leica DG Elmarit 200mm f/2.8 Power OIS lens, showing the Fn button on the lens barrel.

Update contents for DC-GH5

  1. Function can be assigned to the Fn button of the interchangeable lens including H-ES200.
  2. Video recording stability in VFR (Variable Frame Rate) mode is improved

Those optional Fn button settings include:

  • Focus Stop
  • AF/AE Lock
  • AF-On
  • Stabilizer
  • Focus Area Set
  • AF-Mode/MF – I have this set as my L-Fn function for magnifying the view through the lens while manually focussing.
  • Preview
  • Off
  • Restore to Default

I have often looked at the L-Fn buttons on M.Zuiko Pro lenses and wondered whether Panasonic would ever add the ability to choose useful lens-related settings to it when using these lenses on Panasonic Lumix cameras.

I hope that the addition of this functionality to the GH5 heralds more such firmware updates for current and recently-released Lumix cameras such as the GX8, GH4 and others.

One can never have access to too many customizable function buttons, I have found.

The Olympus M.Zuiko Pro professional-quality prime and zoom lens family as of November 2017. Note the L-Fn function buttons on the lens barrels.

The addition of lens function button settings on the GH5 and hopefully other Lumix cameras such as the coming G9 makes the Olympus M.Zuiko Pro lens family even more attractive.

Three current top-end Panasonic Lumix cameras with Olympus M.Zuiko Pro lenses attached, each lens having a function button on the barrel. Panasonic, thank you for enabling the L-Fn button in version 2.2 of the GH5’s firmware but please add the same functionality in all future, current and recent Lumix cameras. Image created at Compact Camera Meter at CameraSize.com..

The most attractive feature of the M.Zuiko Pro lenses, besides their remarkable optical and mechanical qualities, is their manual clutch focus mechanism that allows for repeatable focussing in a way that is not permitted by the nonlinear focus-by-wire of other lenses.

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Fujifilm Releases Firmware Updates for X-T2, X-T20 and GFX 50S, Still No Live Zebras for Perfect Exposure when Shooting

Fujifilm has released its firmware updates for the X-T2, X-T20 and GFX 50S APS-C/Super 35 and medium format cameras, along with the new, free Fujifilm X Raw Studio raw convertor and Fujifilm X Acquire 1.7 for settings back-ups, restoration and tethered shooting on Mac or Windows computers, while firmware updates for the X-Pro2 and X100F remain on-course for late December 2017. 

Fujifilm’s support for Super 35 video in the X-T2 flagship DSLR-style mirrorless camera appears partially complete. Looks like we may need to wait for the Fujifilm X-H1 for the arrival of a full set of top-end professional video features some time in 2018.

Of the three Fujifilm cameras in question, I am most familiar with the X-T2 having been lucky enough to have borrowed a review loaner, so will confine my comments here to that but readers interested in the X-T20 and GFX 50S may wish to read up on their firmware updates in my list of links below.

I am currently the proud owner of an X-Pro2 rangefinder camera and am looking forward to late December’s release of the Fujifilm X-Pro2 Version 4.00 firmware for 4K video mode, tethered shooting, new autofocus algorithm and support for Fujifilm Raw Studio and Fujifilm X Acquire.

How to access RGB histograms and overexposed areas blinkies, from page 1 of the X-T2 New Features Guide Version 3.00. But is this the whole story?

Version 3.00 of the X-T2’s firmware does not include the much-requested exposure zebras persistent in shooting mode, one of the two most essential firmware features needed for professional-quality work, along with focus peaking which previous firmware did have.

Instead, Fujifilm has included “overexposed areas blink” aka “blinkies” which is activated by pressing “the function button to which Histogram has been assigned” as per Fujifilm’s X-T2 New Features Guide Version 3.00.

The Guide does not specify whether the RGB histogram and overexposure blinkies can be viewed and remain persistent while shooting photographs or video thus allowing exposure adjustment as the light changes.

Having both the blinkies and the RGB histogram on-screen while shooting as illustrated in the Guide would be distracting to say the least, and blinkies alone while shooting would have been preferable.

Fujifilm’s blindness to zebras persists

Percentage-adjustable exposure zebras as featured on numerous contemporary and recent digital cameras and camcorders would have been even better again, but Fujifilm seems to have a persistent blindness to zebras as I have mentioned in many articles on this website, most recently Fujifilm… I’m Cross Over Your Aversion to Zebras.

This zebra blindness is surprising given Fujifilm’s legendary willingness to listen to its user base as well as its famous Kaizen – “improvement” or “change for the better” – philosophy.

Is there something Fujifilm knows that thousands of professional and enthusiast moviemakers do not?

A cunning plan?

Does Fujifilm have a cunning plan?

Is Fujifilm really serious about fully supporting professional-quality video functionality in its cameras?

Will exposure zebras and other essential pro video features like internal F-Log recording, on-camera headphone ports and many more hardware and firmware functions eventually find their way into a future, more video-worthy version of the X-T2 or one of its descendants?

Or is Fujifilm having a cunning laugh at video functionality while continuing to aim its cameras more at photographers than videographers?

I would love Fujifilm to take some hints out of Panasonic’s and Samsung’s books, and their cameras’ many cutting-edge video achievements, to produce a truly remarkable, market-leading Super 35/APS-C hybrid video/stills camera.

If FujiRumors’ report that the Fujifilm X-H1 will be Fuji’s [sic] first IBIS Camera (no longer X-T2S) is correct, and their rumour accuracy has proven to be high in the past, then will the X-H1 be the very first Fujifilm camera worthy of being attached to Fujifilm’s new Fujinon MK Series X-Mount Ciné zoom lenses, currently only available with Sony E-Mounts as the Fujinon MK18-55mm T2.9 Lens (Sony E-Mount) and
Fujinon MK50-135mm T2.9 Lens (Sony E-Mount).

Leaning elsewhere for video, but…

Right now, I am not holding my breath but am leaning heavily towards Panasonic’s mature Super 16/Micro Four Thirds offerings now and in the very near future for video in combination with Olympus’ M.Zuiko Pro manual clutch focus prime and zoom lenses.

For immersive fly-on-the-wall documentary stills photography on the other hand, nothing beats a real digital rangefinder camera and Fujifilm’s X-Pro2 hits the spot in combination with Fujifilm’s Fujinon aperture-ring-equipped manual clutch focus prime lenses like the Fujinon XF 23mm f/1.4 R, my current favourite documentary photography lens.

More power to Fujifilm’s advanced hybrid rangefinder and fast manual clutch focus prime lens arm, as it were, and I am looking forward to December’s firmware update for the X-Pro2.

I am relishing being able to shoot great 4K video on this wonderful rangefinder camera at long last.

Postscript

FujiRumors has shared a video showing how focus peaking and overexposure blinkies flash when both are switched on.

I hope there is an option to at least turn the flashing off as I would find this  irritating when shooting, just as I did when viewing this video.

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Image Credits

Image concept and quick hack by Carmel D. Morris.

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News Shooter: Atomos Shogun Inferno & Ninja Inferno get AtomOS 8.4 firmware updates bringing easier HDR & 2K 240fps for Varicam LT

http://www.newsshooter.com/2017/10/10/atomos-shogun-inferno-ninja-inferno-get-atomos-8-4-firmware-updates-bringing-easier-hdr-2k-240fps-varicam-lt/

“… One of the fundamental issues with shooting HDR is your camera’s LCD screen isn’t an HDR monitor so you won’t see exactly what you’re getting. A great option is using the Atomos Shogun Inferno or Ninja Inferno for reference as well as recording to an edit friendly, high-quality codec….”

Atomos Facebook Page Notification of AtomOS 8.4 Release, 10th October 2017

We have just released AtomOS 8.4 – a major free update for our Shogun Inferno and Ninja Inferno 4K monitor/recorders with stunning new features.

The AtomOS 8.4 release makes capturing and delivering in HDR as seamless as in standard dynamic range (SDR). It also brings 2K 240fps Raw-to-ProRes and 4K 12-bit CDNG Raw recording to the Panasonic Varicam LT, when coupled with the Shogun Inferno. This adds to the existing Raw support for several Sony and Canon cinema cameras, as well as improving support and enhancements for many more cameras.

The Hybrid Log-Gamma (HLG) HDR output of cameras like the Sony FS5, Z150 and Panasonic GH5 can now be recorded directly to the Inferno series recorders with the correct metadata flags embedded into the Apple ProRes or Avid DNxHR .MOV files. With this metadata the recorded clips can be used seamlessly in an end-to-end HLG workflow, just like Rec709!

These HLG clips can be natively edited in NLEs that support HLG, or uploaded directly to YouTube HDR in HLG to be seamlessly played back on any SDR TV for stunning improvements using the current SDR infrastructure. This is achieved with the metadata flag from the Atomos recording following the file through the NLE, then on through to YouTube HDR upload. Finally, it is then played out from HDR supported devices like the Google’s ChromeCast Ultra and Amazon’s Fire TV with 4K Ultra over HDMI correctly to any SDR or HDR TV! – Atomos makes it simple to produce HDR in HLG today.

For both HLG and PQ formats, the HDR info frames detected on HDMI input can be used to automatically set the gamut and gamma of the Shogun or Ninja Inferno’s own display, making the user experience of shooting in HDR seamless. The HDMI output will also transmit the correct HDR info on loop out to other devices downstream. There is also the useful option to convert regular camera Log inputs from a wide range of cameras to display in HDR using either PQ or HLG, with a choice of output colour gamut – great if you want to connect a HDR TV in the chain.

The AtomOS 8.4 release also allows owners of the Shogun Inferno to use the Panasonic Varicam LT to create gorgeous slow motion footage in 2K at up to 240 fps, direct from the Raw output of the camera. A Shogun Inferno running the firmware also brings 4K 12-bit Raw to CDNG shooting at up to 30 fps and 2K 10-bit Raw to CDNG at 100 and 120 fps. The quality of this footage is astounding and makes the Varicam LT / Shogun Inferno combination an obvious choice for Raw and high speed, but without the costly media, licenses, or proprietary Raw recorders that are usually associated.

Also included is improved support and enhancements for several other cameras:

Users of RED DSMC2 cameras will benefit from the updated support of the IPP2 pipeline. Inferno monitor/recorders can now be set to display the output of the camera or footage shot using the Log3G10 curve with REDWideGamutRGB.

Analogue audio embedding is now supported on loop through, making the Infernos great gaming recorders, perfect for developers and other recording live game play up to 4Kp60 in amazing 10-bit quality.

Audio support with Nikon cameras is also enhanced, which should prove especially useful with the new D850 full frame 4K DSLR which was recently launched.

Support for 2TB drives has optimised providing extra long recording times for 2K/4K high frames and CDNG RAW workflow.

AtomOS 8.4 firmware is available now from the Atomos website. Download it for free here – https://www.atomos.com/firmware/

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News Shooter: Why using recommended recording media is important

http://www.newsshooter.com/2017/10/10/why-using-recommended-recording-media-is-important/

“Why should you use manufacturer-recommended recording media? Well to put it bluntly, because it has been thoroughly tested by the manufacturer whose device it’s to be used in.

I always scratch my head and wonder why so many people choose to use the cheapest recording media they can find. At the end of the day the media you use has all your hard work on it. It really is a ‘false economy’ to spend $10k on a camera and then use a cheap, non-recommended media card, all for the sake of saving yourself a few dollars up-front….”

Advice on SDXC Cards from Paul Leeming

Pro tip with all new cards – set your camera to the hardest possible compression (All-I in this case) at the maximum framerate it supports (30p 10bit 4K) and record until you fill the card (film movement too so the camera has to work harder). Repeat for each new card. Any cards that fail the test don’t get used in a production situation.

If you don’t do this and end up having your failure on set in front of clients, there’s no one to blame but the guy in the mirror.

On a more technical level, do a low level format in your computer as exFAT with 128K or 256K block size before you first put it into your camera. Then allow the camera to do a quick format, which preserves the block size and gives the system a more stable throughput.

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  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera – B&H
  • Panasonic DMW-XLR1 XLR Microphone AdapterB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

Zhiyun: Full Introduction on Zhiyun Crane 2 – Industry-first Integration of OLED Display and Follow Focus

“The Zhiyun Crane 2 three-axis camera stabilizer, while realizing film-grade performance breakthroughs in both motion sensitivity and precision control with newly optimized algorithm system and motor construction, has integrated a tactile and sturdy follow focus controller on its body previously unheard of in the industry. Featuring an OLED display design combined with quick control dial on its panel, you not only can see various stabilizer status at a glance, but can also make various camera & gimbal settings in a twist of fingers.”

Note

Control of follow focus from the Zhiyun Crane 2 via USB cable to camera is currently only available for Canon EOS cameras. Adding this functionality to the Lumix GH5 and other Panasonic cameras requires Panasonic to issue a firmware update to enable it. GH5 users may wish to lobby Panasonic for such an update.

Links

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  • Zhiyun-Tech Crane-2 3-Axis Handheld Stabilizer with Follow focusB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

4/3 Rumors: Panasonic officially released the GH5 firmware update!

http://www.43rumors.com/panasonic-officially-released-gh5-firmware-update/

“The Big GH5 firmware is now available for download at av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index.html.

And the good news is that there is also a firmware update for the GH4, 30mm and 42,5mm lenses…”

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

TCSTV Live: The Firmware Show – Fujifilm X-Pro2, Fujifilm X-E3 and Panasonic Lumix GH5

“We’re looking at the latest firmware for the GH5, Hasselblad X1D and Fuji X-Pro 2!”

On the Fujifilm X-Pro2’s firmware, from 08:59

On camera companies holding back features at launch, from 09:58

On the Fujifilm X-E3 and X-T20, from 26:50

On the Panasonic GH5, from 29:01

Links

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Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Fujifilm X-E3 Mirrorless Digital Camera B&H
  • Fujifilm X-E3 Mirrorless Digital Camera with 18-55mm Lens B&H
  • Fujifilm X-E3 Mirrorless Digital Camera with 23mm f/2 Lens B&H
  • Fujifilm X-Pro2B&H
  • Panasonic Lumix GH5B&H