A profile for the DJI Osmo camera

 A profile for the DJI Osmo camera

With the camera profile for the X3 camera from DJI, FilmConvert extends to 40 the camera profiles available on their website, for models from different brands.

FilmConvert launched recently a camera profile for the Samsung NX1, because, as the company said, the camera “has been one of the most popular cameras this year and we’ve had lots of requests for it”. The profile was launched on the heels of some other profiles: one for the Blackmagic URSA Mini 4.6K, one for Sony a6300 and another one for Sony FS5.

 A profile for the DJI Osmo cameraNow FilmConvert turns into another direction and profiles the default X3 camera that comes with the DJI Osmo. The X3 camera supports 4K video acquisition, and the Osmo has a 3-axis gimbal that allows smooth motion and action shots that previously might have required a Steadicam or dolly tracks to achieve. According to FilmConvert, the profile can also be used with either the Osmo or the Phantom 4, as the camera is the same: the X3.

With this new adition, Filmconvert has 40 camera profiles for cameras from Arri, Black Magic, Canon, Digital Bolex, DJI, GoPro, Nikon, Panasonic, Red, Samsung and Sony. In the future we may see profiles for models as Fujifilm or even Olympus, as both companies seem to be moving into the video area as well, and specially in the case of Fujifilm users are requesting more options.

FilmConvert is, according to the info provided by the company, eager to support users requests, so Fujifilm users may want to contact them asking for a camera profile for their model, the new X-T2 in their X series mirrorless family, which shows the direction Fujifilm is taking. Aware that they do not cover all cameras, FilmConvert says that “if we don’t have an exact match for your camera, never fear! You can still use our software & achieve a stunning result. We advise you to have a play with some of the different camera profile packs, especially within the same manufacture.”

So, why not give it a try? To find other new and old profiles from FilmConvert, visit their website, head over to the Camera Pack Downloads page and start grading with your new profile!

Society of Camera Operators Lifetime Achievement Awards, Technical Achievement Award Submission Open

socThe Society of Camera Operators (SOC) announces the opening of online submissions for the 2016 Technical Achievement Award, which will be presented February 2017.

This Award is given to a manufacturer or technology that has demonstrated superior engineering, advancement of camera operation, and substantial facilitation of the craft. This award is a cornerstone of the SOC’s Lifetime Achievement Award Show honoring the art and craft of the camera operator and crew.

All applicants will participate in the October 2016 “demo days,” where a blue ribbon panel of Active Society members will review the applications and receive a hands-on demonstration of the technology in use. The panel consists of: Nick Davidoff, SOC; David Emmerichs, SOC; Eric Fletcher, SOC; Steve Fracol, SOC; Mike Heathcote, SOC; Alec Jarnagin, SOC; John Perry, SOC; Eric Roizman, SOC; David Sammons, SOC; Geoff Shotz, SOC; Lisa Stacilauskas, SOC; Chris Taylor, SOC; and Daniel Turrett, SOC.

“The Society’s Technical Achievement Award is an important category to both the membership and the technology community at large. Our blue ribbon panel of judges anticipates a larger submission pool this year, as technology is a driving force in on-set creativity, efficiency and safety,” Eric Fletcher, Technology Committee Chair and SOC board member.

Manufacturers or technology organizations can submit award nominations for a fee of $150 per entry.

Recent recipients of the award include: Cartoni for the Lambda Head, Teradek for the Bolt Line of products, Pictorvision for the Eclipse Gyro Stabilizer Aerial Camera System, and Canon for the EOS Cine C300 and C500 Camera System.

For criteria and to apply online: http://soc.org/techawards/

For further information about the SOC’s Lifetime Achievement Awards: SOCAwards.com

About the SOC

The Society of Camera Operators (SOC) advances the art, craft, and creative contributions of the Camera Operator.

The SOC is an internationally recognized professional honorary society. The core activities of the Society are the annual SOC Awards, publishing the Society’s magazine “Camera Operator,” and our charitable commitment to The Vision Center at Children’s Hospital Los Angeles.

CPUG Network Announces Ninth Annual Amsterdam SuperMeet


The Creative Pro User Group Network (CPUG Network) today have announced the Ninth Annual Amsterdam SuperMeet, to take place on Sunday, Sept 11, 2016 at the Hotel Krasnapolsky in the heart of Amsterdam, NL. during during the IBC 2016 Show. Doors open at 4:30PM (16:30) with the “SuperMeet Digital Showcase” featuring over 20 software and hardware developers. SuperMeet Presentations will begin at 7:00PM (19:00) and continue until 11:00PM (23:00). Tickets are on sale online for the Earlybird price of 10.00 Euros each plus ticket fee, and 7.00 Euros for Students and Teachers with valid ID.

The full agenda will not be announced until sometime in August, however there will be USER driven presentations by Blackmagic Design, Adobe, HP/NVIDIA, Fayteq, LumaForge and more. Rounding out the evening will be the always wild and fun “World Famous Raffle,” featuring thousands of Euros worth of valuable filmmaker-related prizes, which will be handed out to dozens of lucky winners.

Doors will open at 16:30 with the SuperMeet Digital Showcase featuring over 20 software and hardware developers including Adobe, Blackmagic Design, HP/NVIDIA, Audio Network, Boris, Imagineer Systems, Future Store, Fayteq, Lumberjack Systems, Intelligent Assistance, Keyflow Pro, LumaForge, OWC, Symply, B&H and many others to come. Here, attendees can enjoy a few cocktails, mingle and party with industry peers, network one on one with leading manufacturers and learn about the latest trends in collaborative workflows.

Tickets are on sale for the “Earlybird” price of only 10.00 Euros each plus ticket fee, and 7.00 Euros for Students and Teachers with valid ID. Earlybird tickets expire on 16, August. It will be 20,00 Euros each at the door. Food (snacks) and drinks will be available throughout the evening.

To purchase tickets online and for complete daily updates on the SuperMeet, including directions, transportation options, and a current list of raffle prizes, visit the Amsterdam SuperMeet web site. http://supermeet.com

About SuperMeets

SuperMeets are networking gatherings of Final Cut Studio, Adobe and Avid editors, gurus and digital filmmakers from throughout the world who use or want to learn to use Macintosh-based workflows and solutions such as Apple’s Final Cut Studio suite of applications. SuperMeets are held annually in San Francisco, Austin, Las Vegas, Amsterdam, London and Boston. The SuperMeet agenda usually includes demos of new products, digital video tips and tricks, and filmmaker show and tells, including a SuperMeet Digital Showcase with vendors and small developers providing workflow solutions for digital filmmakers and content creators. All product and company names herein may be trademarks of their respective owners.

Blackmagic Micro Cinema Cameras Used On “Jason Bourne”

Size, dynamic range, and color found in the Blackmagic Micro Cinema Camera, and Pocket Cinema Camera, help elevate Blackmagic’s smallest digital cinema cameras to become the go-to POV and crash camera for big budget action films. Second Unit DP Igor Meglic used multiple Micro Cinema Cameras and Pocket Cinema Cameras to capture action scenes for Universal Pictures’ “Jason Bourne.” To help with framing, a Blackmagic Video Assist monitor/recorder was also used, which makes complete sense because the Micro Cinema Camera and Video Assist feel like they were made to be used together. Actually, I think they were made to be used together.

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I am going to assume if you’re reading a website like PVC and chose a topic about cameras made by Blackmagic then you likely already know about movies like “Jason Bourne” and need no explainer for the type of action film it is. If not, think docu-action and high intensity. It is exactly the type of film where many different camera angles are needed to keep the intensity high.

Jason Bourne POV/Crash Cameras

For example, Meglic used five Micro Cinema Cameras to help capture the final car chase scene in the film, which took place on the Las Vegas strip. Mounted to the side of an S.W.A.T. truck, the Micro Cinema Cameras captured all the action as the truck plows through rows of cars on the strip. “One of the most important things when shooting action scenes for any movie is to stay consistent with the established look of the movie, so once you transition to an action scene, there’s no difference to the eye, and it feels like the same scene and style,” explained Meglic. “On ‘Bourne,’ it was especially important because of the particular visceral documentary style of the film.”

Jason Bourne

Meglic said, “We chose the Micro Cinema Cameras and Pocket Cinema Cameras because of the combination of size and performance they delivered, which in turn helped us match the look and style of the film. I haven’t found another camera that will deliver on those two things: being as light as they are while still delivering the image quality needed to blend in with the A cameras. I always try to extract as much as I can from a camera, so they are dealing with good footage in post, and the dynamic range on both cameras was very good.”

Jason Bourne

“Cutting to these mounted shots really quickly gives your senses a jolt, and you see cars flying right by the cameras,” said Meglic. “In the same sequence, the car that Bourne is driving jumps onto the S.W.A.T. truck, and we put a Micro Cinema Camera on the ground right in front of the truck. We timed it so the camera captured Bourne’s car landing on the truck as the truck drives right over the camera. Our Key Grip Peter Chrimes had built a little cage for the camera, and even though all 8,000 lb. of a truck ran over it, the camera survived.”

Several Pocket Cinema Cameras were also used during a chase scene in the Canary Islands. “We used three Pocket Cinema Cameras for a motorcycle and car chase scene, which required a very light camera that could be mounted onto the helmet and body of the stunt person on the motorcycle,” explained Meglic. “This was pretty serious stuff, and we had the guys going up and down stairs, over jumps and down very narrow alleys and streets. We used the footage for great POV shots.” So again, the Pocket Cinema Camera and Micro Cinema Camera seems to have become the go to POV and crash cameras of choice. It makes sense really. Both cameras shoot raw footage have 13 stops of dynamic range resulting in highly color gradable footage. Yet, there are other applications for small cameras.

Jason Bourne
MATT DAMON returns to his most iconic role in “Jason Bourne.” Paul Greengrass, the director of The Bourne Supremacy and The Bourne Ultimatum, once again joins Damon for the next chapter of Universal Pictures’ Bourne franchise, which finds the CIA’s most lethal former operative drawn out of the shadows.

VR Camera Array

If you hold a Micro Cinema Camera up to a corner of a room you will see Blackmagic made the body of the camera to be flush with the two walls with just enough space behind the camera to fit a battery. This means one can mount several Micro Cinema Cameras in a row to make a VR system. This is exactly what they did on “Jason Bourne.” The production used Micro Cinema Cameras set up as a four camera array system, all shutter and genlocked together with a single point trigger, the footage captured was then displayed on overhead panels while shooting the corresponding green screen plates with the actors. The Micro Cinema Cameras were positioned to shoot left, right, front and rear, creating a 360o shot of the area. Along with the plate cameras in the vehicles, all cameras recorded timecode so each exact frame of the plate shot would correspond to the lighting environment shot, creating a perfect match up.

In the end, Blackmagic has found a way to make an incredibly small camera capable of capturing incredible footage. I think we’ll see many more DPs turn to the Micro Cinema Camera as a great addition to any action scene they need to capture.

Jason Bourne

A holster to carry a whole DSLR video kit

A holster to carry a whole DSLR video kit

Designed to be used, optionally, as an extension of MindShift Gear’s backpacks, the new Multi-Mount Holster series comes with all the connection straps needed for multiple mounting configurations. For me, though, using it as my “bag for the day” was the aim, and in that sense the size I picked works just fine.

When choosing bags, sometimes, we tend to go for larger sizes, always wanting to be able to take some extra stuff. With age I’ve become wiser, I guess, so when faced with the multiple choices of Multi-Mount Holsters, which are available in the references 10, 20, 30 and 50 , each number representing a bigger size, I picked the 30, which I deemed would be big enough for my needs and still not the biggest of the new holsters. From experience I know that the bigger the bag, the more you tend to carry. I like the challenge of having to select wisely what I carry with me. Less gear, more fun is something I keep telling myself.

Decision taken, I had to demonstrate to myself I could use the Multi-Mount 30 holster as my carrying system. The 30, according to the information provided by MindSshift, can carry one standard-size DSLR (5DM3 or D810) and one standard zoom lens, or one gripped DSLRs (1Dx or D4s) and one standard zoom lens. When it comes to lenses, it fits either the 24-70mm f/2.8 with hood extended (Canon or Nikon), the 70-200mm f/2.8 with hood reversed (Canon or Nikon), one 300mm f/4 with hood reversed (Canon or Nikon) or a 80-400mm f/4 AF-S/G with hood reversed (Nikon).

A holster to carry a whole DSLR video kit

After receiving the bag I used it for some days with just a camera with lens attached, an external flash, radio trigger kit, extra batteries and filters. The shoulder strap is enough for regular use, I think, but it was good to have a waist belt that keeps the bag close to the body when you need it. I always carry it with me, inside the main compartment of the holster.

I found that I can carry my EF 100-400mm L from Canon – the old or the new version – in the holster, and still have the external pocket free for other stuff, but that was not what I was aiming for. When I want to carry my EF 100-400mm I usually pack it inside the rotating beltpack from my rotation180? backpack. Sometimes I use the rotating beltpack without the backpack, because it is a handy way to take a camera body, two lenses (usually the EF 100-400 and a EF 17-40), flash, and a few accessories, like flash radio triggers, filters and extra batteries around.

This time, though, I wanted something else, a really “travel light” kit, so I settled for the EOS 80D with the new EF-S 18-135 NANO USM lens. Taking things one step further, I wanted to see if I could fit my “video kit” for the day all inside the Multi-Mount 30. Guess what? I’ve managed to pack a whole lot of things inside the small bag.

Inside the main compartment I was able to fit the following:

  • Canon EOS 80D with EF-S 18-135mm f/3.5-5.6 IS NANO USM
  • MindShift Gear Filter Nest Mini with 77mm VariND, polarizer and 10 Stop ND and an adapter from 67-77 so I can fit the filters to the front element of the lens
  • Pouch with 4 extra batteries for the camera and LED panel
  • RODE VideoMicro microphone with furry windshield, hot-shoe support and cable

One of the reasons why I picked the Multi-Mount 30 is the expandable front pocket, which is bigger in this model, as well as in the 50. Mindshift Gear says the front pocket, which includes organizer pocket, two separate loops for memory card holder and keys, and double sliders, can take an external flash. I’ve confirmed it can take my Phottix Mitros + flash and a few things more, but this time I wanted to try something else. This is what I managed to place inside the pocket:

  • Phottix VLED Video light, a portable 1600 lumens LED panel
  • Adapter to use the batteries from the camera on the LED panel
  • Hot-shoe adapter for the LED panel
  • Flash support that works as a base for the LED panel
  • MindShift Gear Memory Cards Wallet

In the end my Multi-Mount 30 was bursting at the seams, but I found I had no problem to access my camera quickly, which is one of the reasons to use this type of bag. Because the lens used with the camera is short, I’ve taken a divider from another bag, to use inside the main compartment of the bag. That solution gives me a better organization of the accessories. At the bottom of the compartment I keep the waist belt, which I can pick up if needed.

A holster to carry a whole DSLR video kit

I am quite happy with the versatility of the holster, which is now my bag for the day if I know I am not using my trusty EF 100-400. When it comes to video, the EF-S 18-135 is the obvious choice for now, so the Multi-Mount 30 is on top of the pile of bags and backpacks I’ve collected throughout the years. It’s interesting to look at the pile and discover that I’ve really learned to pack less these recent years. Well, unless I’ve a workshop, when I take the StreetWalker HardDrive from MindShift Gear’s sister company, ThinkTank Photo. The StreetWalker HardDrive packs, then, all the flashes, LED panels, batteries, flash radio triggers, diffusers, reflectors and other accessories. I nicknamed it “The Little School”. But that’s another story altogether.

Teradek Bolt: smaller transmitter, extended range, lower price

Bolt: smaller transmitter, extended range, smaller price

The new Bolt transmitters from Teradek are not just some new transmitters. Both models offer greatly improved wireless performance at more affordable prices, while maintaining visually lossless image quality.

Teradek says that “the Bolt 1000 and 3000 feature new firmware that allows the device to achieve its maximum range and potential right out of the box, even if you’re operating in difficult environments.” And adds that “reconnect times are now instantaneous following a dropped signal and each of the new models performs better under extreme conditions.”

One of the most significant changes to the line is the introduction of an all new RF radio for the Bolt 3000, allowing the device to operate over 20MHz channels. When enabled, this feature helps the transmitter maintain a robust wireless link in the worst possible conditions. The use of 20MHz channels also means that more than twice as many Bolts can operate simultaneously at the same location without interfering with one another. In addition to the 3000’s new radio, both models can make use of 2 new DFS channels, which gives you more options for an interference-free experience in the USA and Europe.

Bolt: smaller transmitter, extended range, smaller priceEach model features a 20% smaller transmitter that is also lighter than previous generations, as well as all of the existing features the Bolt line of products is known for: dual I/O (3G-SDI & HDMI), USB 3.0 GRAB Engine, 3D LUT support, standards conversion, metadata support, and manual frequency selection. To better identify which systems are paired on set, a removable top plate on the TX and RX can be swapped out for a colorful anodized version.

The system transmits visually lossless 4:2:2 video over the unlicensed 5GHz band at less than 1 millisecond of delay. Bolt’s new firmware ensures your system reaches its full potential right out of the box. We’ve also improved reconnect times so your wireless link is restored instantly when you come back into range.

The Bolt 3000 and Bolt 1000 are available now from www.teradek.com and authorized resellers worldwide. For more information, visit: www.teradek.com/collections/bolt-family.

Samyang: new 35mm F1.2 Photo and Cine Lenses

Samyang: new 35mm F1.2 Photo and Cine Lens

Samyang Optics has announced the new manual focus lenses for APS-C and Micro Four Thirds mirrorless cameras: a 35mm F1.2 photo lens and 35mm T1.3 cine lens, both to be available from September.

The Xeen 135mm T2.2 mentioned here at Provideo Coalition recently was the first lens announced on the five week 2016 Summer Samyang Blockbuster campaign. Now Samyang continues with a new pair of lenses, the Samyang 35mm F1.2 ED AS UMC CS and 35mm T1.3 ED AS UMC CS, both manual focus lenses for mirrorless cameras with APS-C sensor size compatible with three camera mounts: Sony E, Fujifilm X and Canon M. There is also a mount for Micro Four Thirds.

Samyang: new 35mm F1.2 Photo and Cine Lens

The bright Samyang 35mm F1.2 ED AS UMC CS, equivalent of T1.3 in cine lens, aperture secures a fast shutter speed even under restricted lighting conditions to offer best quality images, says Samyang on the documentation provided about these new lenses. Based on Samyang Optics’ optical technology, Ultra Multi Coating and two aspherical lenses have been included among nine elements in seven groups to minimise aberration and unnecessary light dispersion, delivering high resolution from the centre to the corners of the image. With a front element diameter of 62mm, offering generous light gathering characteristics, the lenses offer a minimum focusing distance is 0.38m.

Samyang: new 35mm F1.2 Photo and Cine Lens

For videographers, the Samyang 35mm T1.3 ED AS UMC CS is a cine lens optimally designed for professional follow focus system, thanks to the quiet and smooth de-clicked focus and aperture gear rings. Also, the distance scale and T numbers are marked on both sides of the lens for convenience when filming.

With the addition of these new lenses, the current Samyang CSC lineup consists of 15 bright photo and cine lenses: 7.5mm, 8mm, 10mm, 12mm, 21mm, 35mm, 50mm for photo, cine lens and 300mm for photo lens.

The suggested retail prices are EUR 449 for the 35mm F1.2 photo lens and EUR 499 for the 35mm T1.3 cine lens.

Samsung NX1 gets a camera profile, Nikon reveals a 105mm f/1.4

Samsung NX1 gets a camera profile, Nikon reveals 105mm f/1.4

Samsung may have left the photography market, but there are still people using their cameras, so FilmConvert launched a camera profile for the NX1. Adobe updated Lightroom, Canon announced a new firmware for the C300 Mark II and Nikon claimed that it has created the world’s first full-frame 105mm with an f/1.4 maximum aperture. These are some of the news from last week.

Samsung NX1 gets a camera profile, Nikon reveals 105mm f/1.4

New profile for Samsung NX1

You may think that due to the fact that Samsung left the photography market, there would not be more talk about Samsung cameras. Well, FilmConvert just launched their brand new camera profile for the Samsung NX1, so all those who Samsung left “orphans” can have a camera profile for this model, which offers a 28 MP BSI APS-C sensor with the ability to shoot 4K UHD video.

According to FilmConvert, the Samsung N1 “has been one of the most popular cameras this year and we’ve had lots of requests for it”, so they decided to launch the camera profile. This new one comes on the heels of the camera profile for the Blackmagic URSA Mini 4.6K, also launched recently. To find other new and old profiles from FilmConvert, visit their website, head over to the Camera Pack Downloads page and start grading with your new profile!

Samsung NX1 gets a camera profile, Nikon reveals 105mm f/1.4

Firmware for the EOS C300 Mark II

Canon released new firmware for the EOS C300 Mark II / EOS C300 Mark II PL Digital Cinema Camera. The new firmware version,, adds Canon Log 3, reduces noise in dark areas in Canon Log 2, enables magnification to be used even during recording. It also adjusts, corrects or enhances multiple other operation aspects of the camera, with different lenses and accessories.

Autofocus using the Dual Pixel CMOS AF function is now viable with CN7x17 KAS S/E1 (after the lens firmware is updated), CN-E18-80mm T4.4 L IS KAS S or any of the EF cinema prime lenses. The firmware also enables the joystick on the camera’s grip unit to be set to operate the zoom. Enables control of iris to be set to manual operation, and control of focus, zoom and iris using the separately-sold Remote Controller RC-V100.

For a complete list of the changes introduced by the firmware, visit Canon’s support page for the EOS C300 Mark II.

Samsung NX1 gets a camera profile, Nikon reveals 105mm f/1.4

Lightroom CC 2015.6.1 now available

Adobe continues to iron out critical bugs in Lightroom as well as introducing support for more cameras. The newest releases, Lightroom CC 2015.6.1 and Lightroom 6.6.1, are now available, with support for Fujifilm X-T2, something asked by many users. A series of corrections introduced after customer reports are, according to Adobe, resolved with this new version.

App-managed color management on Mac in Lightroom CC 2015.6 / 6.6 resulted in incorrect colors when printed is now something of the past, as are the errors that prevented customers from creating a panorama from two HDR DNG source images. Things from an issue that prevented the SmugMug Publish Service from working properly, to fixes for the native Full Screen mode on OS X have also been corrected. The list is long, though, so if you use the program, visit Adobe’s blog to read about all the changes and, eventually, download, the program.

Samsung NX1 gets a camera profile, Nikon reveals 105mm f/1.4

New Nikkor 105mm f/1.4E ED

While the luminous aperture is what grabs attention first, this new lens from Nikon, a luxurious new medium-telephoto lens engineered to help create flattering images with gorgeous bokeh, is a premium lens for the most discerning photographers. Available in August with a price of $2,199.95, this is, according to Nikon, the world’s first full-frame 105mm with an f/1.4 maximum aperture.

The lens represents “the culmination of Nikon’s expertise in lens design, optical excellence and industry leading innovation. Its new optical design creates ultra-high definition across the entire frame, especially when used with one of Nikon’s full-frame (FX) high-resolution DSLRs. It’s a lens that pushes boundaries of imaging possibility, one that can take your photography and videography to a thrilling new level.