I’ve become a big fan of Feelworld’s monitors over the past few months. While they don’t always offer the bells and whistles of some higher-end field monitors, they’re excellent value for money, especially if all you need a monitor for is to check composition and focus. But Feelworld has stepped up their game now with the new LUT7 monitor, offering a touchscreen UI, waveform, vectorscope, and LUT support. We stopped by their stand at IBC 2019 to find out more about it.
The Atomos name keeps popping up all over the place lately. They’re teaming up with a lot of different camera brands to try to give filmmakers the tools and features to best create what they want to create. We stopped by the Atomos stand at IBC 2019 to have a chat with their Founder & CEO, Jeromy Young about some of those collaborations, as well as some news on Atomos’ own products, including a free firmware update for the Shogun 7 which doubles its brightness from 1,500 nits to 3,000 nits.
Recently, Insta360 announced the Insta360 GO, a super tiny portable, wearable, stabilised, 180-degree camera. Insta360 is exhibiting at IBC 2019, so we went to go check one out in person and have a chat with them while we’re here. Weighing in at just under 20 grams, the Insta360 GO is designed to go with you everywhere without getting in the way and is probably the smallest and lightest stabilised camera out there right now.
Aputure is killing it here at IBC 2019, and today they announced a light that will probably get DPs drooling until it is released. The light is part of the Light Storm Cxxx family and is a step up from the latest 300Dii.
If the 120Dii is 120 watts, and the 300Dii is 300 watts, the 600D packs an amazing 600 watts of LED light. That would be just under 5,000 watts of “old school” light. In comparison, an ARRI 5K would be just slightly under that amount of light.
With the many tradeshows we cover, a constant question that comes up is what gear we are using to cover each show and why. Some of the gear has been with us for a long time and some of it changes as we go. For now, though, this is the optimal setup we use to cover tradeshows.
Starting with probably what is our first decision when we plan our coverage is the camera. We have grown quite fond of the Black Magic Pocket Cinema Camera 4K (or BMPCC4K). The footage quality is great and the low light performance are fantastic, especially when it comes to shooting on the tradeshow floor were light can be pretty unpredictable.
This is a year for monumental anniversaries of events in American history—particularly the WWII 75th anniversaries of the D-Day invasion, Operation Market Garden, and the Battle of the Bulge. With those in mind, I started a project in April photographing WWII veterans, knowing that the numbers still surviving are dropping rapidly each day.
Travel bloggers Jolie King and Mark Firkin, known on Instagram as T.W.O. – The Way Overland, have been arrested in Iran for flying a drone without a permit. They were detained in July after they were caught operating the drone near Tehran, and they are now facing up to ten years in prison.
When it comes to lights, we used to have a pretty good distinction. Godox did Strobes, and Aputure did LEDs. Of course, we had the occasional SL 60 or SL 200, but generally, it was quite a split world.
Now Godox are expanding into the LED market with a Bowens type light, and it looks like it is aimed to directly compete with Aputure’s line of 120D and 300D.
If you’ve been shooting the popular BMPCC4K you know that that BRAW is a great codec. It is very light on the computer on one hand, and preserve a lot of information on the other hand. It was natively supported in DaVinci Resolve, but you had to to get a $25 third-party plugin to run it in Premiere.
Today Black Magic released an official FREE plugin that supports both Premiere and Avid. You can download the plugin here.
I was hired for this project in November of 2018 by Dovetail to capture the St. Louis Gateway Arch with a drone. We started the paperwork in January of 2019. It began with getting approval from the Gateway Arch National Park. This wasn’t too difficult since they were the ones needing the photos and video, but they wouldn’t give the final paperwork until we got airspace approval from the FAA.