LUMAFORGE SHARESTATION. SHARED STORAGE FOR CREATIVES
Recorded live at the Amsterdam SuperMeet: September 11, 2016.
Designed exclusively for creative professionals, this is shared storage that works the way you do. Meet ShareStation Studio, Indie, and Jellyfish.
Sam Mestman is the CEO of Lumaforge, maker of the SHARESTATION, a shared storage platform optimized for media and entertainment, and is also Founder of We Make Movies, the world’s first community funded production company. As a professional editor and colorist, he has worked for Apple, ESPN, Glee, and Break Media (to name a few), and has edited or colored hundreds of shorts, features, web series, and just about every other type of content you can think of. He is also one of the world’s leading experts on Final Cut Pro X Workflow, and is the architectintegrations in the world, including Focus, the world’s first studio feature edited with Final Cut Pro X.
Ronny Courtens is a post-‐production veteran with 38 years of expertise in film and television collaboration workflows. He has lived in Darmstadt, London, Paris and Brussels working as an editor and a post-‐production manager for national broadcasters and major post houses. He has travelled around the world producing documentaries, music videos and commercials. But most people know him from his contributions to the Final Cut Pro community, writing FCP X success stories for FCP.co and sharing his deep knowledge of Final Cut Pro with people around the globe. After having used FCP X in a large workgroup setup at the 2012 Olympic Games in London, he decided to take on a new hobby: helping production companies and broadcast facilities set up fast and reliable collaboration workflows with FCP X. With a staff of 200 people producing 300 hours of finished television content each year, Metronome Productions in Copenhagen is one of the major television production companies in the Nordics. Since 2013, the company has been porting their post-production work from Avid/Isis systems to new collaboration workflows built around FCP X.
Filming with URSA Mini 4K & 4.6K; editing RAW with DaVinci Resolve
Recorded live at the Amsterdam SuperMeet, September 11, 2016
This video features 2 distinct demos: (i) shooting RAW with URSA Mini 4K and 4.6K (ii) post=production RAW workflow - editing with DaVinci Resolve.
Klaus B. Pedersen is a Danish cinematographer and the Creative Director behind the Swiss-based creative media agency Gaffa Media. Klaus explains why he chose the URSA Mini 4K and 4.6K cameras and how RAW acquisition influenced his workflow.
Simon Hall is a DaVinci Resolve specialist with Blackmagic Design. Simon clearly explains the post-production workflow using Resolve, which involves creating optimized media (low resolution proxy files) which can be worked with while editing. Editing and color correction is done within DaVinci Resolve and when complete, the original DNG RAW files can be matched back to straight away, enabling output at the highest level of qualityl. The ability to work with low resolution files while editing within DaVinci Resolve is a major break-through in terms of simplifying workflow.
Influence of sensor size on depth-of-field
Sensors come in many different sizes and the size of the sensor has a direct relationship to light sensitivity. Large sensors perform better in low light, and a large sensor creates a more shallow depth of field to the image. The critical factors affecting depth of field is the aperture setting on the lens, the sensor size, and the chosen focal length.
For the cinematographer, understanding the sensor within a camera, is key to producing cinematic images.
It is worth mentioning that the small sensor tends to exhibit more noise than large sensors. Just like 16mm film was more grainy than 35mm motion picture film, a large sensor contains more information than a small sensor and this shows in the low light performance.
There are other considerations which will affect the look and quality, such as recording codec, resolution, and of course lens choice and the aperture you choose to shoot at.
Regardless, sensor size certainly has a major influence on depth of field and low light performance. It is therefore an important consideration when choosing the right camera for the job.
For those filming with smaller sensors it can be difficult, or impossible to suitably throw the background out of focus. This can make producing cinematic looking images difficult, and contributes to what many call the “video look.”
There is a solution to this problem.
By using a dedolight in combination with an imager, one can project an image onto a background, and then throw the background out of focus. The result, when recorded, shows an out of focus background with the foreground subject in focus.
We can therefore simulate the large sensor look with a smaller sensor - this means we can produce cinematic images regardless of sensor size.
As cinematographers our job is to create the look and feel of a scene through all the tools available to us. The tools provided by dedolight, specifically focussing lights in combination with a dedo imager, enables us to project an image on a background, control the focus of the background image, and create truly cinematic results regardless of which camera you are using.
SIGMA CINEMA LENSES
14/10/2016 - The SIGMA CORPORATION has announced that it will enter into the cinema lens market with the release of its SIGMA CINE LENSES, designed specifically for cinematography. The company feels this valuable new lens line could create a fundamental change in digital film production, and provide a new solution for cinematographers.
The Sigma cinema lenses provide:
* Unbeatable value the highest optical performance in its class and outstanding compact design
* Wide range of lenses for professional use
* Optimized for the latest digital moviemaking technology
For the first phase, SIGMA will release two zoom lenses in Japan and the USA for EF and E mount camera systems. Furthermore, another zoom lens and five prime lenses will be released to the market in sequence from 2017 onward. SIGMA plans to develop additional zoom and prime lenses as well as add support for PL mount camera systems. The latest release information will be sequentially updated on its official website.
**High Speed Zoom Line**
High Speed Zoom Line offers the constant aperture of T2 throughout the zoom range, and the optical performance is ready for high-resolution shooting such as 6K – 8K. Furthermore, while offering the highest image quality in its class, the High Speed Zoom Line has a compact construction and offers amazing value.
**FF Zoom Line**
FF Zoom Line is compatible with a full-frame image circle, and the optical performance is ready for high-resolution shooting such as 6K – 8K. It provides a rare option for cinematographers since very few lenses can cater to the requirements of the latest digital cinema cameras’ image sensor, which is larger than Super 35, and expand the range of compatible cameras. This is the cinema zoom lens offering the highest image quality and compact design. This lens is not available in PL mount.
**FF High Speed Prime Line**
The lineup ranges from 20mm to 85mm, and all five lenses are T1.5. They are compatible with full-frame sensors and, while being more compact, can offer superior resolution than other high-end prime sets do. With the five prime lenses from FF High Speed Prime Line, there is no need to change the lighting to shoot a variety of cuts. These lenses bring a consistent level of light to the production and offer greater consistency with regards to the films look and color/contrast before it enters post-production.
Each CINE lens model is weatherproof and has luminous paint markings to aid in changing and operating the lens in the dark. It touts a long focus rotation of 180 degrees and is guided by cams for smooth operation and accuracy. The CINE lens design features standardized essentials such as an 82mm front for ND filters* and a 95mm front diameter for matte box use and standard gear positions for accessories like follow focus. They also include a manual linear iris control and electronic mounts that provide vital camera metadata. Each lens is manufactured and inspected in the SIGMA factory located in Aizu, Japan.