Vistek ProPhotoBlog https://prophotoblog.ca All About the Image Fri, 07 May 2021 21:01:14 +0000 en-CA hourly 1 https://wordpress.org/?v=5.6.3 Kyle Tiernan: Freelance Cinematographer, Z CAM User https://prophotoblog.ca/interviews/kyle-tiernan-freelance-cinematographer-z-cam-user/ https://prophotoblog.ca/interviews/kyle-tiernan-freelance-cinematographer-z-cam-user/#respond Fri, 07 May 2021 20:49:40 +0000 https://prophotoblog.ca/?p=36930 Vistek ProPhotoBlog Kyle Tiernan: Freelance Cinematographer, Z CAM User

Over a series of three posts, we have been interviewing visual creators who have one thing in common, they are all Z CAM users. Our third interview is with Kyle Tiernan, an Alberta based freelance Cinematographer who most recently shot the official video for Canadian singer/songwriter Ruth B‘s song “Situation.” A little about Kyle Tiernan [...]

The post Kyle Tiernan: Freelance Cinematographer, Z CAM User appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog Kyle Tiernan: Freelance Cinematographer, Z CAM User

Kyle Tiernan - Ruth B Situation BTS 3

Over a series of three posts, we have been interviewing visual creators who have one thing in common, they are all Z CAM users. Our third interview is with Kyle Tiernan, an Alberta based freelance Cinematographer who most recently shot the official video for Canadian singer/songwriter Ruth B‘s song “Situation.”

A little about Kyle Tiernan

Kyle Tiernan’s cinematography career has taken him around the world, working on a wide variety of projects and stories that provoke thoughtful questions through his shaping of light.

Kyle’s unique eye for natural light, paired with strong abilities in VFX allows him to tackle a broad spectrum of projects including, the official music video for the Gord Downie song “Always is Mine”, the independent film “Connecting Flights” and “The Creek”, an award winning WW2 short film (all shot using the Z CAM E2-F6 or Z CAM E2-S6 cameras).


Read our interview with Toronto based Director, co owner of Ten Fold Productions and Z CAM user, Jason Dam

So what was it that drew you towards Z CAM?

I was originally drawn to Z CAM back in the fall of 2019, and like many other cinematographers, who are always on the hunt for “the perfect camera”, I was looking for something that was full-frame format and also full of functionality.

Kyle Tiernan with Z CAM
Kyle Tiernan

At first, I was a bit hesitant before deciding to purchase the E2-F6 as it was a smaller and lesser known company, so instinctively I figured their quality control or customer service would be hindered because it wasn’t on the same level as Sony, ARRI or Canon etc.

However, I came to quickly realize that this wasn’t the case at all, as I was instantly in direct email contact with the C.E.O. of Z CAM, Kinson Loo, right from day one of my purchase inquiry.

I was an early adopter and received a preorder unit, but after using this camera for over a year, it has exceeded my expectations, and its functionality is unmatched in the cinema camera world.

The amount of frame rate options, aspect ratios for anamorphic shooting, codec and lowlight capabilities are very impressive.

I shoot a wide variety of content and to me the E2-F6 is the swiss army knife of cine cams.

Editor note: As part of our conversation, we asked Kyle to talk about some of the projects that he’s worked on using the Z CAM, the first of which is below.


Kyle Tiernan Project 1 – Tinlicker & Helsloot “Because You Move Me” Music Video

Tell us a little about this project.

I wanted to touch on this project as I think it tested the Z CAM in not only harsh environments but also the fast paced nature of this shoot.

Because You Move Me BTS 2I was contacted by Toronto Director, Chris Evans, who reached out to me the day before they were flying out to Alberta to shoot this music video. They wanted to work with me on a short notice so I packed up my gear and headed out to Abraham Lake, Alberta.

What Challenges if any did you encounter?

Due to the shorter days during the winter we were hard pressed for time as we had to shoot the entire music video over the course of 1.5 days.

The wind on the day of the shoot was intense, it was very cold and we shot most of it on the open frozen lake. I operated a Steadicam system which was quite difficult to operate in the high winds and also balancing on the wind polished ice.


Tinlicker & Helsloot “Because You Move Me” Official Music Video – (Shot on E2-F6 with Atlas Orion Anamorphic glass)

How did using Z CAM gear make the shoot easier or better?

One benefit with the F6 was being able to shoot in different aspect ratios so that we could use a S35 Anamorphic lens on the full frame sensor while still getting excellent results.

Kyle Tiernan - Because You Move Me BTS 1As we lost light earlier than expected, I was able to pump up the ISO on the F6 to higher levels, even up to 20000 without losing noticeable quality.

I would have been weary taking other cameras to try and get the same quality out of the low light shots I captured. The form factor of this camera has really helped for these remote shoots. Its light weight and relatively small form factor are quite ideal, I definitely could not have shot this project with an Alexa classic that’s for sure.

Was there a particular shooting style or theme you trying to accomplish?

The Director wanted a high energy but also sort of melancholy feel for this video. We opted to do a lot of handheld shots to get a modern / realistic tone, accompanied by various Steadicam shots to keep the flow of the song going.

How did the shoot meet or exceed your vision expectation?

I think we are all pleased with the outcome of this spontaneous project and it has been well received so far.


Read our interview with Quebec based Director of Photography and Z CAM user, Marc-André Bilodeau

What is the Z CAM (and any other) gear you have used on projects?

I own the Z CAM E2-F6, and also purchased an E2-S6 from Vistek specifically to use as a B-Cam on a feature film we shot in July of 2020.

I also own the TurboMount EF and PL Mount Adaptor lens mounts, in addition to the flagship timecode adapters for both cameras.

I personally own a few Rokinon Cine primes as well. I love the look of the 35mm XEEN for standard run and gun and corporate shoots. However I will almost always rent an Atlas anamorphic or other primes for specific projects.


Vistek is the exclusive Canadian retailer for Z CAM cameras and accessories, click here to visit our website for more information.


What can you tell us about your ZCAM related workflows? Do you use any of the following? And if so, what are the benefits?

I shoot everything in the ProRes codec and the recent firmware update that adds ProRes to every frame rate was a huge benefit, especially in terms of editing workflow.

Before, I had to use H.265, and though it looks great, the editing workflow was drastically hindered due to modern hardware limitations of being able to process H.265 on the fly.


Kyle Tiernan Project 2 – Ruth B – “Situation” Official Music Video

Tell us a little about this project.

The nature of this shoot was something that was intended to be of the highest studio quality, so with the success of the Gord Downie music video that we shot 90% of in studio, I figured I would let the Z CAM shine once again.

What Challenges if any did you encounter?

Kyle Tiernan - Ruth B Situation BTS 2This shoot was meticulously planned with Director Annie Bercy who compiled a detailed shot list of what she expected for this shoot.

Annie wasn’t able to be on set for this shoot as she resides in California, so we set up a live feed straight from the Z CAM E2-F6 to a zoom call so she could direct via the internet.

This worked surprisingly well, the latency on the wireless video feed was also quite good.


Ruth B – “Situation” Official Video – (Shot on Z CAM E2-F6, with Rokinon XEEN glass)

How did using Z CAM gear make the shoot easier or better?

For some of the shots we had to get in really close inside of a telephone booth, though we still had a full rigged up Z CAM, the form factor allowed us to get inside of the phone booth to get the shots we needed.

Was there a particular shooting style or theme you trying to accomplish?

Ruth B Situation BTS 1We were trying to accomplish a very modern and soft look overall for this music video. I asked for the art department to create a false window behind the bed to act as a soft hair light for Ruth to perform in front of.

The highlight roll-off of the E2-F6 allowed me to still capture detail in the blinds without blowing out the window completely, resulting in a much more realistic looking window.

How did the shoot meet or exceed your vision expectation?

This was my favourite music video to shoot, I was very pleased with the final result and the performance of the E2-F6.


Do you have any comments / advice / tips & tricks for exposure, using profiles or LUTs or editing colour correction?

One trick I have been using to speed up things during a shoot is the ability to have custom profiles.

With the touch of two button presses I can have custom profiles changed. I do this by setting up all of my settings in camera the way I like it, C4K, ProRes HQ, Histogram enabled, 23.976, 180 degree shutter etc, and then I save this profile in the menu. I then enable a custom profile button (f2) to load the custom profiles with the touch of a button.

This helps when you need to get a high frame rate shot quickly as it enables you to switch between different frame rates very efficiently.

Is there anything else you’d to share with aspiring Z CAM users?

For someone coming from a mirrorless background and wanting to take the next step with their filmmaking or even for the experienced cinematographer, I think there is a lot of underrated functionality and features the E2-F6 can provide.

What (if any) upcoming jobs are you looking forward to shooting with your Z CAM gear?

I am currently planning a short documentary where I will be documenting the most remote Inuit settlements in northern Canada. I plan on shooting this in summer 2021 if all goes well.


Image Credits: Kyle Tiernan, all images and videos used with permission.


 

The post Kyle Tiernan: Freelance Cinematographer, Z CAM User appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/interviews/kyle-tiernan-freelance-cinematographer-z-cam-user/feed/ 0
Atomos announces Ninja V+ & Ninja Stream, H.265 update for Ninja V https://prophotoblog.ca/video-accessories/atomos-announces-ninja-v-ninja-stream-h-265-update-for-ninja-v/ https://prophotoblog.ca/video-accessories/atomos-announces-ninja-v-ninja-stream-h-265-update-for-ninja-v/#respond Thu, 29 Apr 2021 19:11:27 +0000 https://prophotoblog.ca/?p=36935 Vistek ProPhotoBlog Atomos announces Ninja V+ & Ninja Stream, H.265 update for Ninja V

Atomos has announced two new monitor/recorders, the Ninja V+ which supports 8Kp30 ProRes RAW as well as the Ninja Stream supporting 4Kp60 HDR with Wi-Fi, Ethernet and USB-C connections. They also announced H.265 (HEVC) codec support for older Ninja V models via a paid upgrade. Ninja V+ The Ninja V+ features a new stealth grey [...]

The post Atomos announces Ninja V+ & Ninja Stream, H.265 update for Ninja V appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog Atomos announces Ninja V+ & Ninja Stream, H.265 update for Ninja V

NINJA V+ | Ninja Stream | Ninja V

Atomos has announced two new monitor/recorders, the Ninja V+ which supports 8Kp30 ProRes RAW as well as the Ninja Stream supporting 4Kp60 HDR with Wi-Fi, Ethernet and USB-C connections.

They also announced H.265 (HEVC) codec support for older Ninja V models via a paid upgrade.

Ninja V+

The Ninja V+ features a new stealth grey bezel colour and the same compact 5″ footprint and 1,000-nit, 10-stop HDR screen as other Ninja V models.

8Kp30 ProRes RAW

NINJA V+ Front View
Atomos NINJA V+

It also features beefed up processing power, which is needed to support its exciting new ability, the continuous recording of 8Kp30 and 4Kp120 in Apple ProRes RAW*.

*As of the announcement date, the ability to record in 8K RAW is only supported by the Canon EOS R5, but it will be supported by more cameras in the future.

4Kp120 ProRes RAW

Currently, 4Kp120 recording ProRes RAW is also possible when shooting with either the Z CAM E2 or E2-M4 with additional support for more cameras to come.


Atomos Ninja V+ pricing & availability can be found on vistek.ca by clicking here


H.265 (HEVC) Codec

Also added is the ability to record using the 10-bit H.265 (HEVC) codec allowing for high quality compressed recordings with small file sizes.

Note: Starting in May, existing Ninja V and Ninja V ProKit users will also be able to add the H.265 codec via a paid firmware upgrade.

Ninja V+ ProKit
Ninja V+ ProKit

SDI Support

It will also support 4Kp120 ProRes RAW recording mode from the SDI RAW output of Sony’s FX6 and FX9 (with the XDCA-FX9 extension kit) cameras*. However, you will need the (sold separately)  AtomX module with RAW activation. *Support will be added in in May 2021.

Alternatively, you can purchase the Ninja V+ ProKit which includes the monitor along with the AtomX module and other useful accessories such as a D-Tap cable, battery eliminator, sunhood and power supply.

Key Features:

  • 10-bit HDR
  • 4K 60p Video
  • H.265 (HEVC)
  • HD 60p up to 120p
  • Apple ProRes
  • 8K 30p / 4K 120p RAW
  • 4K 60p RAW
  • RAW over HDMI
  • AVID DNx

Atomos Ninja Stream – Social Distance Production Tool

Ninja Stream
Atomos Ninja Stream

Atomos hasn’t released the full details about the Ninja Stream as of yet, but they do say that it was “designed specifically to overcome the challenges of today’s socially distanced productions.”

It features built-in Wi-Fi, ethernet and USB-C connectivity supporting simultaneous recording to both ProRes and H.264/5 proxy (with shared file names and timecode), while sending a video feeds to web-based platforms, smart devices or other Ninjas.

It also supports up to 4Kp60 HDR and will be able to live stream content via Wi-Fi and Ethernet 1Gbe at up to 300m without the need of a computer.

Note: Atomos says that more information about the Ninja Stream will be released on their website on Thursday, May 6, 2021.


 

 

The post Atomos announces Ninja V+ & Ninja Stream, H.265 update for Ninja V appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/video-accessories/atomos-announces-ninja-v-ninja-stream-h-265-update-for-ninja-v/feed/ 0
Blackmagic 7.3 firmware update for Pocket Cinema Cameras https://prophotoblog.ca/firmware-update/blackmagic-7-3-firmware-update-for-pocket-cinema-cameras/ https://prophotoblog.ca/firmware-update/blackmagic-7-3-firmware-update-for-pocket-cinema-cameras/#respond Mon, 26 Apr 2021 20:55:45 +0000 https://prophotoblog.ca/?p=36924 Vistek ProPhotoBlog Blackmagic 7.3 firmware update for Pocket Cinema Cameras

Blackmagic’s latest 7.3 firmware update, now available for their 4K, 6K and 6K Pro Pocket Cinema Cameras, adds a slew of new and improved features including, new monitoring options and improved autofocus for the 4K, 6K and 6K Pro models. It also adds support for generation 5 colour science, LCD screen dimming and Blackmagic RAW [...]

The post Blackmagic 7.3 firmware update for Pocket Cinema Cameras appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog Blackmagic 7.3 firmware update for Pocket Cinema Cameras

Blackmagic Design Pocket Cinema Camera 6K Pro

Blackmagic’s latest 7.3 firmware update, now available for their 4K, 6K and 6K Pro Pocket Cinema Cameras, adds a slew of new and improved features including, new monitoring options and improved autofocus for the 4K, 6K and 6K Pro models.

It also adds support for generation 5 colour science, LCD screen dimming and Blackmagic RAW Q1 and Q3 constant quality recording to Blackmagic Pocket Cinema Camera 4K and 6K models.

4K DCI Blackmagic RAW recording has also been added to Blackmagic Pocket Cinema Camera 6K.

For the full list of improvements for all cameras, keep reading below.

What’s new in Blackmagic Camera Update 7.3

Pocket Cinema Camera 4K, 6K and 6K Pro

  • Upgrades the luminance histogram to RGB histogram.
  • Adds colour channel clipping indicators.
  • Adds false colour guide display.
  • Adds LCD screen calibration settings.
  • Improves auto focus and active lens control.
  • Improves focus peaking visibility.
  • Fixes an issue with importing LUT’s and Presets.


Pocket Cinema Camera 4K and 6K

  • Adds support for Generation 5 colour science.
  • Adds support for LCD screen dimming for power conservation.
  • Adds Q1 and Q3 Blackmagic RAW recording options.

Blackmagic Design Pocket Cinema Camera 6K Pro – Vistek Canada 

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.


URSA Studio Viewfinder

  • Fixes bug that can cause image misalignment.
Blackmagic-URSA-Mini-Pro-12K
Blackmagic URSA Mini Pro 12K

What’s new in Blackmagic RAW 2.0

  • Adds support for Blackmagic URSA Mini Pro 12K.
  • Adds support for dual card recording.
  • Updates to Blackmagic Generation 5 Colour Science.
  • Adds DaVinci Wide Gamut and DaVinci Intermediate gamma support.
  • Adds support for Nikon Z 6II and Z 7II Blackmagic RAW clips captured by Blackmagic Video Assist.
  • General performance and stability improvements.

Download FW update 7.3 for Pocket Cinema Cameras from the Blackmagic Design Support Page


The post Blackmagic 7.3 firmware update for Pocket Cinema Cameras appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/firmware-update/blackmagic-7-3-firmware-update-for-pocket-cinema-cameras/feed/ 0
RØDE Connect: Free software for podcasting and streaming audio https://prophotoblog.ca/audio/rode-connect-free-software-for-podcasting-and-streaming-audio/ https://prophotoblog.ca/audio/rode-connect-free-software-for-podcasting-and-streaming-audio/#respond Thu, 15 Apr 2021 19:49:45 +0000 https://prophotoblog.ca/?p=36911 Vistek ProPhotoBlog RØDE Connect: Free software for podcasting and streaming audio

RØDE Connect is a free software solution for podcasting and streaming when connected to the RØDE NT-USB Mini microphone. Developed specifically for podcasters and streamers, RØDE Connect software gives users the ability to connect up to four NT-USB Minis to a single computer. Note: The RØDE Connect software is only compatible with the NT-USB Mini [...]

The post RØDE Connect: Free software for podcasting and streaming audio appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog RØDE Connect: Free software for podcasting and streaming audio

RØDE Connect and NT-USB MINI Microphones

RØDE Connect is a free software solution for podcasting and streaming when connected to the RØDE NT-USB Mini microphone.

Developed specifically for podcasters and streamers, RØDE Connect software gives users the ability to connect up to four NT-USB Minis to a single computer. Note: The RØDE Connect software is only compatible with the NT-USB Mini Microphone.



With an intuitive recording interface inspired by the RØDECaster Pro it features broadcast-style faders, level metering, mute button, multi-channel recording and more.

It also offers seamless integration of external audio sources providing dedicated output controls for streaming apps like OBS or Xplit it easy to route audio for livestreaming, including chat applications, gameplay sound, mic audio and more.



Expanding the native features of the NT-USB Mini, RØDE Connect software opens up access to four different processors, the NT-USB Mini’s built-in Compressor as well as Noise Gate, Aphex Aural Exciter and Big Bottom which are normally found on the RØDECaster Pro.


Click here to learn more about the RØDECaster Pro’s latest firmware update

RODE Connect Recording Interface
Recording Interface

The RØDE Connect software also helps to streamline control over microphone audio with external applications by offering dedicated output controls for streaming apps such as OBS or Xplit.

It also supports two “virtual” channels (virtual and system) providing an easy way to connect remote callers via communication apps such as Zoom with mix-minus signal routing applied automatically.

These virtual channels can also be used to add sound effects, music and pre-recorded interviews to your broadcast.

RØDE Connect Software Key Features:

  • Connect up to four NT-USB Minis to a single computer – no complex routing required
  • Completely free to download with versions for both Mac and Windows
  • Access to the NT-USB Mini’s powerful digital signal processing including a noise gate, compressor and the legendary APHEX Aural Exciter and Big Bottom
  • Fully featured recording interface, complete with broadcast-style faders, level metering, mute buttons and more
  • Virtual channels for seamlessly connecting remote guests, integrating streaming applications, adding music beds and much more
  • Automatic mix-minus on every channel for crystal clear, echo-free audio

Download the free RØDE Connect software directly from RØDE here.


NT-USB Mini Microphone Accessories

RØDE Colours
RØDE Colours

In addition to the launch of RØDE Connect, RØDE has also released three new accessories for the NT-USB Mini microphone. These new accessories include:

RØDE Colours: 4 piece kit of colour coded caps (to match the channel colours in RØDE Connect) for the microphone itself as well as colour coded rings for RØDE USB-C and USB-A cables.

SC17 (USB-C to USB-C): 1.5m long cable for connecting the NT-USB Mini to any computer.

SC18 (USB-C to USB-A): 1.5m long cable for connecting the NT-USB Mini to any computer.


Image Credits: RØDE Microphones

The post RØDE Connect: Free software for podcasting and streaming audio appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/audio/rode-connect-free-software-for-podcasting-and-streaming-audio/feed/ 0
DJI Air 2S: DJI’s latest 1-inch sensor “all-in-one” solution drone https://prophotoblog.ca/aerial-imaging-platforms/dji-air-2s-djis-latest-1-inch-sensor-all-in-one-solution-drone/ https://prophotoblog.ca/aerial-imaging-platforms/dji-air-2s-djis-latest-1-inch-sensor-all-in-one-solution-drone/#respond Thu, 15 Apr 2021 18:06:04 +0000 https://prophotoblog.ca/?p=36896 Vistek ProPhotoBlog DJI Air 2S: DJI’s latest 1-inch sensor “all-in-one” solution drone

The DJI Air 2S features a 1-inch CMOS sensor, capable of capturing up to 20-megapixel images or 5.4K/30fps and 4K/60fps video, DJI’s latest autonomous functions and a compact body weighing less than 600 g. The Air 2S features a number of improvements including the above mentioned sensor, Spotlight 2.0 tracking capabilities, and upgraded APAS 4.0 [...]

The post DJI Air 2S: DJI’s latest 1-inch sensor “all-in-one” solution drone appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog DJI Air 2S: DJI’s latest 1-inch sensor “all-in-one” solution drone

DJI Air 2S

The DJI Air 2S features a 1-inch CMOS sensor, capable of capturing up to 20-megapixel images or 5.4K/30fps and 4K/60fps video, DJI’s latest autonomous functions and a compact body weighing less than 600 g.

The Air 2S features a number of improvements including the above mentioned sensor, Spotlight 2.0 tracking capabilities, and upgraded APAS 4.0 obstacle avoidance and detection system.

DJI Air 2S UnfoldedSize wise, the Air 2S is slightly smaller than the Mavic Air 2, but actually weighs about 30 g more, so like the Air 2, you will need to register it and hold a valid Drone Pilot’s license before you are legally able to fly it in Canada.

Note: Altex Academy offers drone training resources/courses including prep for Transport Canada’s “Written Exam for a pilot of small Remotely Piloted Aircraft Systems”.

Imaging

The one-inch sensor (double the size of 1/2″ sensor found on the original Mavic Air 2) offers a larger pixel size of 2.4μm thus capturing more information and detail, resulting in higher quality photos and videos.

The camera is mounted on a 3-axis gimbal stabilized by RockSteady EIS and features a 22mm (35mm equiv.) fixed-aperture f/2.8 lens with an 88º FOV.

It can capture 20MP stills, including timed photos, Auto Exposure Bracketing (in 3 and 5 brackets) and panoramas.

As with all DJI Drone, the Air 2S features a number of “smart modes” for stills capture, including SmartPhoto, HDR and Scene Recognition.

  • SmartPhoto mode uses deep learning and analysis technology to detect which settings are the best to capture a particular scene, and automatically create the most appealing image. This includes HDR, Hyperlight, and Scene Recognition.
  • HDR mode merges several images together using Hyperlight to enhance imagery in low-light environments.
  • Scene Recognition identifies common settings such as snow, sky, or grass making automatic adjustments to create what DJI refers to as “the best possible image.”

Video

Video can be captured at up to 5.4K/30p, 4K/60p or 1080p/120p at 150 Mbps with an H.264 or H.265 codec and there are three different pre-loaded colour profiles available: Normal (8 bit), D-Log (10 bit) or HLG (10 bit).

Subjects can be zoomed in on at up to:

  • 4X at 4K/30p
  • 6X at 2.7K/30p
  • 4X at 2.7K/60p
  • 6X at 1080p/60p
  • 8X at 1080p/30p

The Air 2S also boasts 8GB of internal storage in addition to being able to store to a separate memory card.

Pre-Programmed Flight Modes

DJI says that the Air 2S “has the most programmed flight modes and image capture modes of any DJI drone of its size” including those found on the previous version as well as introducing a new MasterShots mode.

  • With the new MasterShots mode active, the Air 2S will autonomously plan a flight path, choose from three different image capture modes, including Proximity, Portrait or Landscape, and start recording classic aerial footage.
  • FocusTrack allows pilots to select a subject by drawing a square around it on their mobile device and then choose from Point of Interest 3.0, an autonomous flight path around the subject, ActiveTrack 4.0, a tool that seamlessly tracks the subject and keeps it in the frame; or Spotlight 2.0, where the drone movement is controlled by the pilot while it locks the subject into the frame.
  • QuickShots modes include Rocket, Circle, Dronie, Helix, Boomerang and Asteroid.
  • Hyperlapse: See the world sped up from the air and in motion with the Hyperlapse option in resolution up to 4K. Content captured in 4K resolution and lower can apply digital stabilization for an added layer of smoothness.

The Air 2S offers 31 minutes of maximum flight time and utilizes newly upgraded four-way directional obstacle sensors to help keep the drone from colliding with objects.

The obstacle sensors, (front, rear, bottom and top), incorporate binocular zooming technology that help them to recognize incoming objects from further away at faster speeds.

It also uses four high-grade antennas and the latest version of DJI’s OcuSync transmission tech, O3, to deliver a stable feed at a maximum distance of up to 12km even in areas with a high number of signals.


DJI Mavic Air 2S Drone – Vistek Canada

Capture It All Featuring a 1-inch CMOS sensor, powerful autonomous functions, and a compact body weighing less than 600 g, DJI Air 2S is the ultimate drone for creators on the move. Take this all-in-one aerial powerhouse along anywhere to experience and record your world in stunning detail.

The post DJI Air 2S: DJI’s latest 1-inch sensor “all-in-one” solution drone appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/aerial-imaging-platforms/dji-air-2s-djis-latest-1-inch-sensor-all-in-one-solution-drone/feed/ 0
New Canon RF Lenses: RF 100mm f/2.8, RF400mm f/2.8 & RF600mm f/4 https://prophotoblog.ca/gear/new-canon-rf-lenses-rf-100mm-f-2-8-rf400mm-f-2-8-rf600mm-f-4/ https://prophotoblog.ca/gear/new-canon-rf-lenses-rf-100mm-f-2-8-rf400mm-f-2-8-rf600mm-f-4/#respond Wed, 14 Apr 2021 18:43:04 +0000 https://prophotoblog.ca/?p=36880 Vistek ProPhotoBlog New Canon RF Lenses: RF 100mm f/2.8, RF400mm f/2.8 & RF600mm f/4

In addition to today’s development announcement of the EOS R3, Canon has also announced three new RF lenses, the RF 100mm f/2.8 L Macro IS USM, RF 400mm f/2.8 L IS USM and RF 600mm f/4 l IS USM. Canon RF 100mm f/2.8 L Macro IS USM Designed for both advanced photo enthusiasts and professionals, [...]

The post New Canon RF Lenses: RF 100mm f/2.8, RF400mm f/2.8 & RF600mm f/4 appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog New Canon RF Lenses: RF 100mm f/2.8, RF400mm f/2.8 & RF600mm f/4

New Canon RF Lenses

In addition to today’s development announcement of the EOS R3, Canon has also announced three new RF lenses, the RF 100mm f/2.8 L Macro IS USM, RF 400mm f/2.8 L IS USM and RF 600mm f/4 l IS USM.

Canon RF 100mm f/2.8 L Macro IS USM

Designed for both advanced photo enthusiasts and professionals, the RF 100mm is not only Canon’s first RF lens “designed specifically for macro photography”, but is also the “world’s first medium telephoto macro lens with a maximum magnification of 1.4x.”

Canon RF 100mm
RF 100mm f/2.8 L Macro

The lens features a new spherical aberration (SA) control ring which Canon says will “allow users to change the character and appearance of the bokeh and obtain a softer focus effect with a simple turning of the ring to the desired result.”

It also features Optical Image Stabilization offering up to five stops of shake correction or up to eight stops of correction when paired with a camera featuring In-Body Image Stabilizer.

There is also a feature called Hybrid IS that is supposed to help compensate for angular and shift camera shake during macro shooting.

The Dual Nano USM autofocus motor provides high-speed, smooth and quiet operation.

Finally, the customizable control ring allows for easy adjustment of exposure compensation, shutter speed, aperture or ISO.

Canon RF 100mm f/2.8 L Macro IS USM – Vistek Canada

The RF 100mm f/2.8 L MACRO IS USM Lens is the world’s first* medium telephoto AF Macro lens with a maximum magnification ratio of 1.4x. At its minimum focusing distance of 0.86 ft. / 0.26m, the RF 100mm f/2.8 L MACRO IS USM is capable of capturing detailed images while being remarkably versatile in operation. Whether capturing details of food, jewelry, or traditional macro shots, the RF 100mm f/2.8 L MACRO IS USM is a highly effective lens for macro photography.


Canon RF 400mm
RF 400mm f/2.8L IS USM

Canon RF 400mm f/2.8L IS USM and Canon RF 600mm f/4L IS USM

Canon states that both the RF 400mm f/2.8L IS USM and RF 600mm f/4L IS USM lenses were designed to be optically identical to their EF counterparts.

These lenses aren’t cheap, but are ideal for sports, wildlife, birding and other types of photographers who have deep enough pockets to be able to afford them.

The RF400mm features a minimum focusing distance of 8.2 feet while it’s bigger sibling’s the RF 600mm, is 13.8 feet.

Canon RF 600mm
RF 600mm f/4L IS USM

Both lenses share many of the same features listed below:

  • Optical Image Stabilization with up to 5.5 stops of shake correction. Including three IS Operation Modes — still subjects, panning, and irregular movement.
  • Proprietary Canon lens coatings, Super Spectra Coating (SSC), and Air Sphere Coating (ASC) that help to minimize ghosting and flaring.
  • Optimized lens placement and coatings providing clear, high-contrast images even when there is a bright light source.
  • Optimally arranged fluorite and super UD lens elements to help correct chromatic aberration and make the models more compact.
  • Reduced weight when compared to their EF counterparts.
  • Compatible with Canon RF 1.4x and 2x extenders
  • Customizable electronic focus ring, with manual focus capability during SERVO AF.
  • Nine-blade circular aperture.
  • Two focus presets .
  • L-series dust and water-resistant design with vibration and shock resistance as well as a fluorine coated front element.
  • Infrared reflective pigments with high reflectance and titanium oxide lens barrel coating with silica provide excellent UV weather resistance and heat reduction.

Canon RF 400mm f/2.8 L IS USM Full-Frame Fixed Focal Length Telephoto Lenses – Vistek Canada 

Inheriting the optics of the EF 400mm f/2.8L IS III USM, the same high image quality is maintained in the RF 400mm f/2.8 L IS USM with outstanding sharpness and contrast, center to corner, even at maximum aperture. A combination of Fluorite and Super UD (Ultra-low Dispersion) glass is at the heart of this lens’s outstanding optical performance. At the widest aperture of f/2.8, chromatic aberration is significantly reduced, to achieve tack-sharp images with minimal color fringing. This means detailed results in any shooting condition, particularly in low light levels.


Canon RF 600mm f/4 L IS USM Full-Frame Fixed Focal Length Telephoto Lenses – Vistek Canada

With the same optical design as the EF 600mm f/4L IS III USM lens, this RF version — dedicated to EOS R-series cameras — brings the same outstanding optical performance to the mirrorless EOS R line. The RF 600mm f/4 L IS USM distinguishes itself by maintaining incredibly high image quality expected from a Canon L-series lens, with outstanding overall image quality, even at maximum aperture. The Canon 600mm f/4 L-series lenses have historically combined great telephoto power with tremendous sharpness, contrast and clarity, and the RF 600mm f/4 L IS USM continues that tradition.

The post New Canon RF Lenses: RF 100mm f/2.8, RF400mm f/2.8 & RF600mm f/4 appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/gear/new-canon-rf-lenses-rf-100mm-f-2-8-rf400mm-f-2-8-rf600mm-f-4/feed/ 0
Canon Teases the EOS R3 in official development announcement https://prophotoblog.ca/gear/canon-teases-the-eos-r3-in-official-development-announcement/ https://prophotoblog.ca/gear/canon-teases-the-eos-r3-in-official-development-announcement/#respond Wed, 14 Apr 2021 16:19:31 +0000 https://prophotoblog.ca/?p=36871 Vistek ProPhotoBlog Canon Teases the EOS R3 in official development announcement

Canon has officially announced the development of what they are referring to as the first in a “new category to the EOS R system”, the full-frame EOS R3. According to Canon, the EOS R3 will fit somewhere between the EOS R5 and the EOS 1D X Mark III in terms of performance and will also [...]

The post Canon Teases the EOS R3 in official development announcement appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog Canon Teases the EOS R3 in official development announcement

Canon EOS R3

Canon has officially announced the development of what they are referring to as the first in a “new category to the EOS R system”, the full-frame EOS R3.

Canon EOS R3 with RF 24-70mm lens
Canon EOS R3 with RF 24-70mm lens

According to Canon, the EOS R3 will fit somewhere between the EOS R5 and the EOS 1D X Mark III in terms of performance and will also be their first camera to feature a Canon developed full-frame stacked CMOS sensor with a back-illuminated design.

The newly designed sensor is said to produce less rolling shutter distortion during Electronic Shutter operation and be capable of continuous Electronic Shutter still-image shooting at speeds up to 30 fps with both full Dual Pixel CMOS AF and auto exposure.

There is one thing to note however, Canon does stipulate that continuous shooting speeds may decrease depending on the lens in use and/or shooting conditions.


Sign up to be notified when the Canon EOS R3 becomes available at Vistek


The R3 will also feature an improved version of the autofocus technologies found in both the EOS R5 and EOS R6 cameras, including body and eye-detection, that will work better during action-type shooting by utilizing Deep Learning technology.

The R3’s Subject Detection AF will also offer new “recognizable subjects” helping to improve it’s focusing capabilities in challenging situations.



The Electronic Viewfinder (EVF) will feature Eye Control AF allowing users to select the initial AF tracking area by simply looking directly at the viewfinder location where they want to begin AF.

If both Eye Control AF and Servo AF are activated, the R3 will focus on and track moving subjects at that location in the frame and when Face Detect + Tracking is active, it will continue to follow moving subjects around the entire active AF area.

The R3 will feature an entirely new (for the EOS R series), one-piece body design, that integrates the body with a vertical grip section and offers weather and dust-resistance equivalent to that of EOS-1D class cameras.

Canon also mentions a newly developed (and not yet available) Mobile File Transmitter application for iOS and Android devices designed to make it easier for users, such as photojournalists, to transfer images to their mobile devices, will also work with the camera when it’s released.

Unfortunately, at this time, Canon makes no mention of a release date or price for the camera, but we eagerly await to share more information once it becomes available.

The post Canon Teases the EOS R3 in official development announcement appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/gear/canon-teases-the-eos-r3-in-official-development-announcement/feed/ 0
Marc-André Bilodeau: DoP, Cinematographer, Z CAM User https://prophotoblog.ca/interviews/marc-andre-bilodeau-dop-cinematographer-z-cam-user/ https://prophotoblog.ca/interviews/marc-andre-bilodeau-dop-cinematographer-z-cam-user/#respond Tue, 13 Apr 2021 21:17:56 +0000 https://prophotoblog.ca/?p=36842 Vistek ProPhotoBlog Marc-André Bilodeau: DoP, Cinematographer, Z CAM User

Over a series of three interviews, we will be talking to three different people who have one thing in common, they are all Z CAM users. Our second interview is with Marc-André Bilodeau, a Quebec based freelance Commercial Director of Photography, Cinematographer and outdoor filmmaker. Tell us a little about yourself. Hi! I’m a Quebec [...]

The post Marc-André Bilodeau: DoP, Cinematographer, Z CAM User appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog Marc-André Bilodeau: DoP, Cinematographer, Z CAM User

Marc-Andrê Bilodeau in Kayak Cover Image

Over a series of three interviews, we will be talking to three different people who have one thing in common, they are all Z CAM users. Our second interview is with Marc-André Bilodeau, a Quebec based freelance Commercial Director of Photography, Cinematographer and outdoor filmmaker.

Tell us a little about yourself.

Hi! I’m a Quebec freelance director of photography and cinematographer. I have always been an ”image chaser”, whether it was for memories or for personnel purpose.

I started, like many others, filming skateboarding with my friends when I was younger. A friend taught me the basics of photography in my early college days and I got more and more into landscape / northern lights photography.

Studying in Television Production in college, I learned the principles of lighting and the basics of cinematography and those 3 years of college proved to be a key element in my success.

I am now well established in Quebec City as an outdoors filmmaker and a short-film / commercial director of photography, working with a variety of clients and production houses.

Through the years, I had the privilege to work with some great equipment, from the Canon C300 series to the Sony FS series and then to the ARRI Alexa Classic, mainly as rentals. I previously owned a Sony FS5 Mark 2 with the Atomos Shogun Inferno.


Read our interview with Toronto based Director, co owner of Ten Fold Productions and Z CAM user, Jason Dam

So what was it that drew you towards Z CAM?

As a freelance, I always thought that owning your gear was a great added value for any clients that potentially wants to work with you. This bring me to the never ending quest : what camera will I use and why?

This is pretty much the hardest question one can answer, because there is a TON of amazing cameras nowadays. Well-established brands like Canon, Sony, Panasonic or BlackMagic are what most people will choose because of their legacy of performance and quality.

I initially was looking for the Canon C300 Mark 3 but counting everything I would need to make it ”production ready”, I was looking at nearly 20k$. Lots of money.

It’s throughout my quest that I came across this cube-shaped Z CAM E2-F6 from the same-name company, Z CAM.

Based on what I am doing, I found this camera to be the perfect solution.

The Z CAM E2-F6 offers, full-frame, 6k max, ProRes Internal, Cube Shape (for easy rigging in any situations), ZRAW, Dual ISO, Anamorphic modes, variety of lens-mounts (all locking mounts), this camera does everything I need it to do! It’s a fantastic system.

The Ability to switch from Full-frame to Super-35 modes, the anamorphic desqueeze straight IN-CAMERA, 4 customizable buttons, the Slow-Motion options, the OPEN GATE mode is insane. This camera packs a punch. All into this tiny cube body.

Editor note: As part of our conversation, we asked Marc-André to talk about some of the projects that he’s worked on using the Z CAM, the first of which is below.


Marc-André Bilodeau Project 1 – Kayak Photography Workshop Video

Tell us a little about this project.

I chose to show this one particularly to showcase the ease of the run and gun scenarios. I used the camera from dusk to dawn, inside my 1 person kayak for days, following this adventure photographer friend of mine. It rained at times, it got some water on it but it never failed me. The ease of use and the portability of the entire system proved to be an excellent choice.

Click here to watch the Kayak Photography Workshop Teaser Video (As this is a PAID workshop, I cant give access to the full video)

The goal here was to showcase the workflow involved during those kind of adventures, as well as the true nature of the work of the adventure photographers.

Was there a particular shooting style or theme you trying to accomplish?

Marc-André Bilodeau in Kayak
Marc-André Bilodeau in Kayak

We went for a very natural look and we had to embrace the hard time of trying to stay still on the water for shooting video. Quite the mission.

What Challenges if any did you encounter?

The main challenge was the ever changing lighting conditions. To control the light, I used the Z CAM E-ND filter, so I was able to quickly dial in the correct exposure.

How did the shoot meet or exceed your vision expectation?

Using the Z CAM has exceeded my expectations for this particular shoot. I have used the Sony FS series before and I always thought they were some of the best documentary cameras out there, but the flexibility I have with the Z CAM, the small footprint, the E-ND, it made for such a pleasant shooting experience I wouldn’t ever go back.


What is the Z CAM (and any other) gear you have used on projects?

Here you can find the list of all the ZCAM gear I own:

To come :

  • Z CAM-Exascend 1TB Cfast Card (links to 512GB)
  • Z CAM EVF. (hopefully soon, I really want to get my hands their EVF)
  • Fully rigged with (mostly) SmallRig Parts. It would be long to list all of the parts but anyways, the best is to figure out what you need for what scenario and then procced and buy the rigging parts.

When it’s more of a ” Run and Gun ” scenario:

The Tamron stabilized lenses help to get steadier footage as there is NO stabilization inside the ZCAM. A sturdy but light tripod is also helpful in those conditions where I am a solo shooter and need to be as efficient as possible.

The Wireless GO also proved itself in many situations, giving me decent quality audio in the wild.

One point to note is that the Z CAM F6 preamps are not super high quality, so I’d suggest you to test your system and see how it performs before taking it to a paid shoot.

For short-film / commercial production:

  • IronGlass set of 4 (28-37-58-85)mm rehoused PL lenses.
  • Kit of Schneider-Cinelux DIY Anamorphic solution with Rapido Technology housing and FVD-16 as the focus solution.(Focals 58-85-135)
  • Aputure C300D Mark II
  • Godox VL300
  • Godox VL150
  • 4×4 and 8×8 Frame with black material and full silk.
  • 2x Nanlite Pavotubes 6C
  • 2x Teke Light tubes (Pro kit)

I own a lot of other smaller items but above is what I use on most of my projects.

All this gear interacts with my Z CAM system flawlessly.

If I want to use my IronGlass lenses, easy! I swap the EF mount to the Locking PL mount by simply unscrewing the 4 screws and boom, I’m ready to put my lenses on the camera without any trouble. The locking mounts have proven to be better than mount adapters because they are firmly screwed within the camera body. They are high quality and only about 99$ each, which is a steal considering the competition.

There is NO NEED for a matte box for ND’S because I have my own Electronic ND filter from Z CAM that can be swapped in either the PL or the EF mount, which is awesome. This saves some money for the rentals, and the clients love it 😉

Need an SDI? Easy, plug in the HDMI-SDI adapter and it provides your camera a SDI port. Need TimeCode? Plug in the TimeCode cable from Z CAM and sync your sound with the sound guy as easy as saying hello.

This is the versatility I needed and I’m happy to say my camera can do everything.

What can you tell us about your Z CAM related workflows? Do you use any of the following? And if so, what are the benefits?

This is a great question!

For me, ProRes in the absolute GO-TO. Manageable file size with outstanding performance and easy post-processing workflow. Most editing houses accept PRORES and it’s (most of the time) way enough for mid-heavy grading. I only use ProRes.

However, Z CAM offers ZRAW, a 12bit partially delayered RAW format.

As of now, it is not implemented in DaVinci, which is a bummer, but I found a great turnaround to make it work.
Just drop the ZRAW files in Media Encoder and transcode them to ProRes4444 and boom, you keep the 12bit and you can use them in Resolve.

Why not H265? Simple, my computer hates it. I can’t work with H265, as it consumes all of my computing resources.

Do you have any comments / advice / Tips & Tricks for exposure, using profiles or LUTs or editing colour correction?

First: Shoot ZLOG-2!!!!

The ZCAM has an outstanding dynamic range and the LOG curve offers tons of room for exposure and for keeping those highlights and those shadows.

Most of the time, I try to expose the skin first, and then see where I can push my image. I will always overexpose rather than underexpose. The way the Gamma Curve was designed, it leaves plenty of room for the highlight but less in the shadows. Aim for the highlights whenever possible.

Second: Go Shoot Personal Projects!

I cant say it enough : Get to know your camera!!!!

How bad looking is it to show yourself on set and get troubles because you didn’t learn your camera enough? Every camera has it’s learning curve, you need to test it out, figure out the menu system, know the recording formats and how framerate availability changes depending on your chosen settings…

The best way to overcome all these is to go, and shoot something that’s passionate to you. Go try your camera. Bring it with you. Shoot stupid things. Just so you can take the footage home, see if you have potential mistakes in your workflow and understand what NOT to do the time you will be paid to shoot images for someone 🙂

Third: Learn False Colour!

Your eyes will trick you. They are not accurate. False Colour is factual. Use it. Understand it. Learn the correct values, play with them to push the camera’s limit.

I suggest you upload your favorite LUTs to your monitor to see approximately what your outputted image will look like. I have the basic ZLOG-Rec709 LUT from Z CAM loaded into my Ninja V.

For colour correction, I always use the ZLOG colour plugin from Z CAM because it offers a great start-off for colour grading. All the sliders are helpful to get to the base image you are looking for before starting a heavier grade. For simpler projects, I find myself only using the Colour Plugin. It does a great job!

I do most of my editing in premiere and then I bring everything into Resolve because the software is just the best for colour grading.


Marc-André Bilodeau Project 2 – Fantome Teaser

Tell us a little about this project.

The second project I want to talk about is a small narrative for a local coffee company here in Quebec. I wanted to show the beautiful colours and footage the camera can produce as well as some slow-motion clips.

What Challenges if any did you encounter?

The main challenge were that I was a one-man team along with the director. Because the director wasn’t really much of a ”technical” person, I wore all the different hats, camera, lighting, sound, everything.

How did using Z CAM gear make the shoot easier or better?

In this particular scenario, one of the greatest and more underrated features of the Z CAM played a key role to the efficiency of the day, the camera’s ability to stream to my phone via Wi-Fi.

With the ability to place the camera on a tripod and stream the feed directly to my phone, I was able to play around with my lights before the talent arrived and see immediately the effect of my changes on my phone.

It doesn’t seem like a big deal but you DO save a lot of time there and there not having to continuously go back to your monitor to get a glimpse of the changes you made on the set.

We also rented Zeiss Super Speeds for this gig, and they only cover S35. This however, is no trouble for the E2-F6 because you can easily swap from full-frame to Super35 in the menu. How cool?

Was there a particular shooting style or theme you trying to accomplish?

For the style, again, nothing too crazy here but we wanted a clean look. We shot mostly wide-open with E-ND in full work mode. We also used a Tiffen Glimmer glass to soften things up a little bit but not as hard as a Pro Mist one would have done.


Is there anything else you’d to share with aspiring ZCAM users?

When May hits, it will mark my 1st full year with the ZCAM E2-F6. It has been an amazing journey and I felt that the camera has proven to be an amazing tool to help me improve my work and diversify my potential clients.

One can ask, how hard is it to own a camera that is from such an unknown brand? Will people hire you without knowing the system?

Well, I asked myself that question a lot before committing to buy. Will I be hired to shoot with my camera? Will the industry trust the name?

As of now, everyone that has tried the camera has been absolutely blown away by it. It did take that little period of ”getting to know” the brand, but I am sure I will have the opportunity to shoot much higher end content with my Z CAM in the next coming months.

Now that the ”Z CAM image” has made it’s way to my clients head (and production houses I’m working with), I no longer have to explain me why they should trust me and the camera for the work.

I can say with assurance, don’t hesitate to buy this camera if it fits your needs.

It’s important to remember that cameras are only tools in the end and we should always use the best available tools for the best possible results. If I have the opportunity to rent an Alexa Mini LF for a shoot, would I ignore it and go with my Z CAM anyways? You have the answer 😉

Z CAM cameras are some of the most amazing offerings in the cinema camera world right now. The value for the money, the flexibility of the system, the full-frame/S35 modes, the Anamorphic solutions /resolutions within the system, internal PRORES, internal RAW, 6K? Open Gate? Dual ISO?… This camera has it all.

Don’t be scared to learn a new system.

What (if any) upcoming jobs are you looking forward to shooting with your ZCAM gear?

As for me, the year will be an exciting one, because I will be the director of photography for 2 distinct mid-budget short films with the F6, with one of the 2 100% in nighttime, a good time to push the lowlight of the sensor and show just how amazing the DUAL-ISO of the camera is excellent at producing a gorgeous image.

The second will be shot 100% in anamorphic 2X, another good time to push the F6 limits. Crazy to say you have the perfect camera for such drastically different needs.

I am also moving north for 3 consecutive trips to shoot a documentary about the expansion of an Iron mine in Northern Quebec.

The future looks exciting and I’m excited to bring my art to life with the Z CAM ecosystem.


Vistek is the exclusive Canadian retailer for Z CAM cameras and accessories, click here to visit our website for more information.


Image Credits: Marc-André Bilodeau, all images and videos used with permission.

The post Marc-André Bilodeau: DoP, Cinematographer, Z CAM User appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/interviews/marc-andre-bilodeau-dop-cinematographer-z-cam-user/feed/ 0
Atomos Ninja V monitor/recorder updates firmware to AtomOS 10.63 https://prophotoblog.ca/firmware-update/atomos-ninja-v-monitor-recorder-updates-firmware-to-atomos-10-63/ https://prophotoblog.ca/firmware-update/atomos-ninja-v-monitor-recorder-updates-firmware-to-atomos-10-63/#respond Wed, 07 Apr 2021 19:56:11 +0000 https://prophotoblog.ca/?p=36741 Vistek ProPhotoBlog Atomos Ninja V monitor/recorder updates firmware to AtomOS 10.63

The Atomos Ninja V monitor/recorder is getting another firmware update to AtomOS 10.63. The update adds ProRes RAW support to a number of different cameras, as offers fixes for a few minor bugs. Click here to download the firmware update from Atomos Keep reading below to find out what’s new and improved. New and Improved [...]

The post Atomos Ninja V monitor/recorder updates firmware to AtomOS 10.63 appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog Atomos Ninja V monitor/recorder updates firmware to AtomOS 10.63

Atomos Ninja V and Sony Alpha 1

The Atomos Ninja V monitor/recorder is getting another firmware update to AtomOS 10.63.

Atomos Ninja V
Atomos Ninja V

The update adds ProRes RAW support to a number of different cameras, as offers fixes for a few minor bugs.

Click here to download the firmware update from Atomos

Keep reading below to find out what’s new and improved.

New and Improved Features

Sony ILCE-1 support (Sony Alpha 1)

  • ProRes RAW Recording:
    • 4.3K – (4332 x 2446) at 23.98p, 25p, 29.97p, 50p, 59.94p
    • 12-bit log  – 16-bit linear converted to 12-bit log (visually lossless process)
    • WB and ISO metadata for FCP settings slider adjustments
Shop Sony Alpha 1 at VistekRead more about the Sony Alpha 1 here

Sony FX3 support

  • ProRes RAW Recording:
    • 4.2K
      • Uncropped metadata mode 4264 x 2408 at 23.98p, 25p, 29.97p, 50p, 59.94p
      • Cropped metadata mode 4240 x 2385 at 23.98p, 25p, 29.97p, 50p, 59.94p – The metadata crop provides a simple way to transform the RAW data to a 16:9 aspect ratio that closely represents the internally recorded 4K UHD files.
    • 12-bit
      • 16-bit linear converted to 12-bit log (visually lossless process)
    • WB and ISO metadata for FCP settings slider adjustments
Shop Sony FX3 at VistekRead more about the Sony FX3 here

Panasonic Lumix DC-BGH1 support

  • ProRes RAW Recording:
    • 4K DCI 4096 x 2160 at 23.98p, 25p, 29.97p, 50p, 59.94p
    • 3.7K Anamorphic 3680 x 2760 at 23.98p, 25p, 29.97p, 50p, 59.94p
    • 12-bit
    • WB and ISO metadata for FCP settings slider adjustments
    • Needs updated camera firmware version 2.0
Shop Panasonic Lumix DC-BGH1 at VistekRead more about the Panasonic BGH1 here

Panasonic Lumix S1 support

  • ProRes RAW Recording:
    • 5.9K (16:9) 5888 x 3312 at 29.97, 25, 23.98
    • 4.1K 4128 x 2176 at 59.94, 50, 29.97, 25, 23.98
    • 3.5K (4:3) 3536 x 2656 at 50, 29.97, 25, 23.98
    • 12-bit
    • WB and ISO metadata for FCP settings slider adjustments
    • Needs updated camera firmware version 2.0
Shop Panasonic Lumix S1 at Vistek| Read more about the Panasonic Lumix S1 here

SIGMA fp L support

  • ProRes RAW Recording:
    • 4K DCI 4096 x 2160 at 24p
    • 4K UHD 3840 x 2160 at 23.98p, 24p, 25p, 29.97p
    • FHD 1920 x 1080 at 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 100p, 119.88p
    • 12-bit
    • WB and ISO metadata for FCP settings slider adjustments
Shop Sigma fp L at VistekRead more about the Sigma fp L here

Known Limitations

  • In rare cases, the Ninja V may not lock to a RAW video signal from the Olympus OM-D E-M1 Mark III for ProRes RAW, when the Ninja V is switched between playback and record modes.
  • In rare cases, the Ninja V may not recommence recording automatically when momentarily losing video signal lock from the Sony Alpha A7sIII or Olympus OM-D E-M1 Mark III due to a faulty cable connection.
  • Non-RAW Dual Link SDI video cannot be monitored when in ProRes RAW mode. To monitor and record Dual Link SDI modes please use either ProRes or DNx modes.
  • In some cases, dual link video from the Panasonic Varicam LT may not lock when switching from a single link video mode. Please reboot the Ninja V if this occurs.

Fixes

  • Enabled Panasonic Type 3 trigger to work for all recordings from supported SDI Panasonic Cameras in ProRes RAW, ProRes and DNx.
  • AU-EVA1
  • VariCam L

The post Atomos Ninja V monitor/recorder updates firmware to AtomOS 10.63 appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/firmware-update/atomos-ninja-v-monitor-recorder-updates-firmware-to-atomos-10-63/feed/ 0
Sennheiser MKE 400: compact, directional on-camera shotgun microphone https://prophotoblog.ca/audio/sennheiser-mke-400-compact-directional-on-camera-shotgun-microphone/ https://prophotoblog.ca/audio/sennheiser-mke-400-compact-directional-on-camera-shotgun-microphone/#respond Wed, 07 Apr 2021 18:34:54 +0000 https://prophotoblog.ca/?p=36729 Vistek ProPhotoBlog Sennheiser MKE 400: compact, directional on-camera shotgun microphone

The Sennheiser MKE 400 is a compact, highly directional on-camera shotgun microphone ideal for vloggers and videographers that want to isolate and enhance the audio for their video. As with the MKE 200, the MKE 400 includes built-in wind protection and integrated shock absorption and its directionality is achieved by an acoustic interference tube which [...]

The post Sennheiser MKE 400: compact, directional on-camera shotgun microphone appeared first on Vistek ProPhotoBlog.

]]>
Vistek ProPhotoBlog Sennheiser MKE 400: compact, directional on-camera shotgun microphone

Sennheiser MKE 400 On Camera

The Sennheiser MKE 400 is a compact, highly directional on-camera shotgun microphone ideal for vloggers and videographers that want to isolate and enhance the audio for their video.

Sennheiser MKE 400 on camera
Sennheiser MKE 400

As with the MKE 200, the MKE 400 includes built-in wind protection and integrated shock absorption and its directionality is achieved by an acoustic interference tube which helps to isolate the audio in front of the camera and reject unwanted background noise from the sides.

The MKE 400 is compatible with both DSLR and mirrorless cameras as well as mobile devices using the (included) 3.5 mm TRS and TRRS locking coiled cables.

The unit also features a cold-shoe mount with quarter-20 thread allowing for universal mounting on compatible cameras.

A furry windshield which helps to provide maximum wind protection while outdoors is also provided.

Power is supplied via two triple-A batteries providing up to 100 hours of continuous audio capture.

Sennheiser MKE 400 Mobile Kit
MKE 400 Mobile Kit

Other, advanced features include:

  • 3-step gain sensitivity switch to ensure distortion free sound in any environment
  • Switchable low-cut filter to focus audio on essential frequencies for clarity and speech intelligibility
  • Headphone output with volume control to monitor your levels.

If you are planning on using the MKE 400 with a mobile device, the “MKE 400 Mobile Kit” is the better option for that. The kit includes the MKE 400 microphone, Sennheiser Smartphone Clamp and a Manfrotto PIXI Mini Tripod.

Sennheiser MKE 400 Super-cardioid Shotgun On-camera Microphone – Vistek Canada

Highly directional compact shotgun microphone with integrated features for enhanced in-camera audio. The MKE 400 is a compact, highly directional on-camera shotgun microphone designed to isolate and enhance the audio for your video. Like the MKE 200, the MKE 400 includes built-in wind protection and integrated shock absorption, while offering even more features to ensure the best possible recordings.

The post Sennheiser MKE 400: compact, directional on-camera shotgun microphone appeared first on Vistek ProPhotoBlog.

]]>
https://prophotoblog.ca/audio/sennheiser-mke-400-compact-directional-on-camera-shotgun-microphone/feed/ 0