New My Cloud EX2 Ultra offers up to 12TB

New My Cloud EX2 Ultra offers up to 12TB 1

Available in various options, from unpopulated to 12 TB capacities, the new My Cloud EX2 Ultra has been upgraded with a powerful 1.3 GHz dual-core processor enabling users to get ultra-fast transfer rates for high performance and smooth video streaming. Users also have access to 1 GB of DDR3 memory, allowing them to multitask with […]

Read More… from New My Cloud EX2 Ultra offers up to 12TB

Full Frame Pentax with Full HD video

Full Frame Pentax with Full HD video 2

The Pentax K-1 offers a lot of new things, some very particular to the Pentax – and Ricoh now – philosophy, and is a welcome addition to the full frame segment of the market. In terms of video it does not follow the 4K trend some think is a must these days, but still offers […]

Read More… from Full Frame Pentax with Full HD video

Review: Red Giant PluralEyes 4

Review: Red Giant PluralEyes 4 3

Those of us who have been around the film and video post-production biz for awhile will remember a day before all of the major NLEs had waveform audio syncing built-in. And if we remember that far back we most likely have fond memories of PluralEyes as it was the original audio-syncing tool that we came […]

Read More… from Review: Red Giant PluralEyes 4

ART OF THE CUT with Steve Mirkovich, ACE, editor of “RISEN”

ART OF THE CUT with Steve Mirkovich, ACE, editor of "RISEN" 4

Steven Mirkovich, ACE has edited over 40 pictures that include “Big Trouble in Little China” and “Con Air.” Steven just completed editing the feature film, “Risen,” which premieres February 19th. […]

Read More… from ART OF THE CUT with Steve Mirkovich, ACE, editor of “RISEN”

EOS 80D and a new powerzoom for video

EOS 80D and a new powerzoom for video 5

The Canon EOS 80D is not a revolutionary camera. It offers a 24.2 APS-C sensor with 45 AF points cross type with Dual Pixel AF and a touch screen. But the lens to be launched with it suggests this is Canon’s next step when it comes to video with DSLR cameras. Welcome to the NANO-USM.F […]

Read More… from EOS 80D and a new powerzoom for video

Blackmagic, Mad Max, & The Oscars

Blackmagic, Mad Max, & The Oscars 6

Blackmagic cameras and software help some films get a little closer to Oscar Gold. Funny how just ten years ago Red first announced the Red One and kicked off the digital cinema camera revolution. Now a $150,000,000 action film used a $2,000 camera for selected scenes. […]

Read More… from Blackmagic, Mad Max, & The Oscars

Retroflex rig for Blackmagic and Sony

Retroflex rig for Blackmagic and Sony 7

The Retroflex rig evokes a retro style of filmmaking, when it was all about the film, and production was stylish, says RedRock Micro on the presentation of the product. Now with the modern flexibility of digital filmmaking, a modular cage system, and expandable rig, the Retroflex rig makes shooting both a nostalgic joy and a […]

Read More… from Retroflex rig for Blackmagic and Sony

A digest of last week’s photo and video news – Week 07

A digest of last week's photo and video news - Week 07 8

A digest of last week’s news is a selection of some of the news from week 06 from 2016 related to the worlds of photography and video, covering multiple topics, always rounded up with a reading suggestion. Ripple at NAB 2016 First seen as a prototype at IBC 2015, the Tangent Ripple entry level panel […]

Read More… from A digest of last week’s photo and video news – Week 07

Keying and compositing in NukeX

Keying and compositing in NukeX 9

You’ve seen it before: composited people with hair helmets. If you’ve done any keying yourself, you probably notice it all the time. And you’ve seen worse: webbed fingers, grey outlines, green, magenta or grey reflections on skin. Perhaps you see these in your own work. How can you make your keys look as good as the […]

Read More… from Keying and compositing in NukeX

ART OF THE CUT on cutting “DEADPOOL” with Premiere Pro CC

ART OF THE CUT on cutting "DEADPOOL" with Premiere Pro CC 10

Vashi Nedomansky trained a team of Avid editors and assistants for their switch to Premiere Pro for “Deadpool” and delivered a workflow that put the big-time box office hit in theaters everywhere. […]

Read More… from ART OF THE CUT on cutting “DEADPOOL” with Premiere Pro CC