Overheating is a common issue for some photographers and filmmakers (especially filmmakers). Certain brands have been pretty notorious for it, while others seem to handle things just fine. In this video, Gene Nagata (AKA Potato Jet) throws a bunch of different DSLR, mirrorless, cinema and action cameras into an incubator at their maximum claimed operational temperature (40°C or 104°F) to see just how long it takes for them to overheat and shut down.
Blackmagic Design has just announced the new Atem Mini Pro, a streaming-focused update to the popular live streaming switcher announced at IBC last year. To go along with it, the Blackmagic Camera 6.9 update for the Pocket 4K and Pocket 6K adds direct support for the Atem Mini Pro, letting you remotely control and match up to four of the cameras from the new live production switcher.
Blackmagic CEO and co-founder, Grant Petty went on a live stream earlier to make the new announcements. If you haven’t seen the Atem Mini yet, Grant goes into a pretty in-depth overview of what the original does before talking about the new Atem Mini Pro about 15 minutes in.
When you’re making your sci-fi short film, have you ever just wished you had a phone with a holographic display? Something that would let you expand the desktop outside of just the device in your hand, letting you see more information all at once?
Well, in this video, Jamie Fenn shows us how we can create exactly this type of effect using DaVinci Resolve – and he manages to do it in only 11 minutes. It’s not difficult to do, and while you may not need this exact effect, Jamie shows off a lot of the different features of Fusion and explains how they work so that you can incorporate those elements into your own content.
No matter what video editing application you use, one of the biggest pains is the speed at which your final video renders out. Even with a pretty powerful system, they can take a while, especially if you’re using high res footage with lots of effects. It turns out that Blackmagic DaVinci Resolve has a way to speed them up massively.
I recently switched to DaVinci Resolve, and so I’ve been following a few YouTubers pretty closely. One such YouTuber is Jamie Fenn, who puts out Resolve videos a couple of times a week. In this particular video, he shows us how we can optimise our settings to get some extremely fast renders in Resolve.
Some of us have had ants in the kitchen, or maybe we had to deal with these little creatures while camping. But have you ever had your camera swarmed by ants? Dakota McLearn was unpleasantly surprised recently when he saw that his Blackmagic Pocket Cinema Camera 4K had become home to a colony of ants. He shared his experience in a video and it’s as fascinating as it is scary.
One of the things I’ve found most challenging in my switch to Blackmagic’s DaVinci Resolve is transitions. Sure, there are a few that come supplied with Resolve, but when it comes to anything custom or fancy, you have to delve into Fusion – which feels like being dropped into an alien world after you’re used to Premiere Pro and After Effects.
So, this pair of videos from filmmaker and YouTuber Alex Matravers has come in particularly handy for me. Alex released a couple of transition packs recently for Resolve, but he also made a pair of videos to go along with them that shows exactly how he created them and how we can make for ourselves, and customise them to our own needs.
Blackmagic has done some pretty amazing things with DaVinci Resolve over the last few versions. It’s gone from being just colour grading tool (I say “just”, but it always led the way in that field) to a fully-fledged editing application that now incorporates both Fusion for motion graphics and visual effects as well as Fairlight for audio processing.
I’ve even started to make the switch to Resolve myself lately. As such, I’ve been following a few new people on YouTube who make Resolve tutorials; Particularly those working with Fusion. Jamie Fenn is one such YouTuber, and in this video, he shows us how to make a pretty epic teleport transition using Fusion within Resolve.
All photographers and filmmakers have accessories and doohickies in their bags to help them with their pursuits. And now that we’ve covered cameras, lenses, lights, bags, tripods, sliders & gimbals out of the way, it’s time to crack on with those in today’s final 2019 DIYP Gift Guide. Here are some of the things we find absolutely invaluable in our work and some of the new tools and toys that have come out this year.
Black Friday may be well and truly over, but there are still a lot of sales going on and we’re well into the Holiday Season now. Have you already got your loved one (or yourself) that perfect gift? If not, here are some options for you. This is the first of our 2019 gift guides, and we’re going to start with cameras. These are some of the new cameras that have come out over the last year as well as some of the steadfast favourites that we’ve used throughout the year.
Over the past couple of decades, very high-quality video-capable cameras have down a lot in both price and size. So, why then, are the camera setups used for shooting broadcast TV content still so huge? and why are they so expensive?
In this video, Zebra Zone breaks down exactly what’s involved in these types of setups, exactly why they’re needed and why they cost as much as a house. He also busts a big myth that it’s the camera that’s huge. Much of the bulk and cost are the extras bolted onto it.