PowerEye: a cinematography drone

PowerEye: a professional cinematography drone

PowerVision Technology Group announced that the PowerEye drone is now available for pre-order with shipping scheduled in December 2016. The drone is presented as a solution for today’s professional and aspiring cinematographers.

PowerEye is available in two camera models. The “PowerEye Professional” is equipped with a high-performance Panasonic Lumix G 11mm F2.5 ASPH 4K UHD camera. The “PowerEye Thermal” is equipped with a state-of-the-art Thermal/Natural Light Switchable Camera that comes with two integrated light sensors and two lenses. Through the PowerEye App, users can switch between the thermal and the natural light setting with one touch. Using the Thermal/Natural Light Switchable Camera, cinematographers can capture a spectrum of light not visible to the unaided eye.

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PowerEye features PowerVision’s integrated Dual Viewing capability for, says the company, the ultimate in cinematographic control. Dual Viewing gives multiple users the ability to see video simultaneously from a First Person View (FPV) and a Subject Matter View (SMV). With Dual Viewing a cinematographer has the ability to see what is in front of the PowerEye while in flight through a dedicated FPV camera housed in the nose of the aircraft and a separate gimbal-mounted camera can be simultaneously directed to action on the ground or other areas in the sky.

“PowerEye takes professional focus, special effects, and control to the next level. It exceeds passed only what the eye sees and can capture something magical. We are excited to extend our years of expertise in UAV technology to today’s professional and aspiring cinematographers with PowerEye. By combining powerful new features and state-of-the-art aeronautics in a robust and collapsible form, we believe PowerEye sets the stage with new standards leading the market forward.”

PowerEye: a professional cinematography drone

Leveraging PowerVision’s UAV technology portfolio, PowerEye incorporates significant innovation that provides the professional video community with valuable benefits including:

  • PowerVision Object Detection Technology: Uses an array of integrated sensors to detect flight path obstacles and sound an alert within 10 meters
  • Stable 4-Point Landing/Lift-off Design: Eliminates the need for dangerous hand-held take-offs and catch-landings common with 2-point and/or T-bar designed drones
  • Highly Portable 600mm Class Aircraft: Integrates collapsible legs and rotors for quick and easy transport, folding to a mere 340 x 285 x 296 mm
  • Micro Four Thirds (MFT) System Compatibility: Enables users to connect a variety of lenses based on their personal preferences
  • Maximum Flight Time: Up to 29.5 minutes
  • Control Range and Real-Time High Definition Video Stream: Up to 3.1 miles (5 kilometers)
  • Lightweight:
    Weight 8.7 lb (3,950 g) with battery and propellers included
    Maximum PowerEye payload – 6.6 lbs

The PowerEye Professional is priced at $3,988.00 and includes the PowerEye aircraft with a full set of propellers, Panasonic Lumix G 11mm F2.5 ASPH camera, rolling carrying case, one remote control, one extra pair of propellers, base station, battery, and battery charger. Users who preorder will receive one additional remote control with 100 percent advance payment, $199 retail value. The PowerEye Professional can be pre-ordered through PowerVision’s webpage. There is no price available, yet, for the PowerEye Thermal 2-in-1 thermal light/natural light integrated camera option. People interested should probably contact PowerVision.

Lightworks Pro: two years for the price of one and a choice of Boris FX or Graffiti

Lightworks Pro: two years for the price of one and a choice of Boris FX or Graffiti

A two year license for the price of one is a good way to start discovering Lightworks Pro, the editor of choice for such successful film editors as Thelma Schoonmaker and Scott Hill, and used on commercial blockbusters including ‘Shutter Island’ and ‘Wolf of Wall Street’.

Lightworks is EditShare’s Academy and Emmy award-winning, professional Non-Linear Editing (NLE) software supporting resolutions up to 4K as well as video in SD and HD formats. Over the last 20 years, Lightworks has been used to cut many Hollywood blockbusters.The list of famous Lightworks editors includes: Jill Bilcock (Moulin Rouge, Romeo & Juliet), Tariq Anwar (Revolutionary Road, The King’s Speech), Sally Menke (Pulp Fiction), Peter Honess (L.A. Confidential – for which he won a BAFTA) and UK editor Chris Gill (28 Days Later and Centurion).

Users of the free version of Lightworks might want to take the next step in terms of discovering the program, and use the promotion to purchase the Lightworks Pro version, which is really a bargain, made even more interesting with the addition of Boris FX or Boris Graffiti software.

The main difference between the Pro and Free versions is the number of available output formats.
Some features are Lightworks Pro only:

  • Full range of output formats
  • Project sharing
  • Hardware I/O support (BMD, AJA and Matrox)
  • Interoperability (Export AAF, OMF, XML and EDL)
  • Stereoscopic output
  • Timeline Rendering
  • Blackmagic Fusion (7.5 and higher)

Lightworks Pro is, at the moment, on version 12.6, which offers things as 4K UHD (2160p) export from Lightworks to Vimeo. Additionally, version 12.6 has improved XML export and supports Ubuntu 15.10 and Mac OS X 10.11 (El Capitan).

To celebrate the new mark on Twitter, EditShare, the company behind the program, decided to run this promotion, which offers, as mentioned before, a two year license for the price of one ($174.99), and includes, absolutely free, Boris FX or Boris Graffiti (value $299). It offers all export format options from 1080p up to UHD 4K and the license is valid for all version software releases. The offer expires October 31, 2016.

Neutron, a smarter way to mix

Neutron, a smarter way to mix

The new Neutron plug-in includes industry first technologies Track Assistant and Masking Meter. Available from October 5, with a live webinar October 6, for all those who want to know more.

In September iZotope released Neutrino, a free plug-in, that offered a glimpse into industry-first iZotope mixing technology. This October the company reveals the entire story with the introduction of another name from their family of products. Neutron’s Track Assistant saves you time by listening your audio and recommending custom starting points for your track. The analysis intelligence within Neutron allows Track Assistant to automatically detect instruments, recommend the placement of EQ nodes, and set optimal settings for other modules. You still maintain full control over all your mix decisions, but Track Assistant gives you more time to focus on what’s most important — your creative take on the mix.

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Another industry first, Neutron’s Masking Meter allows you to visually identify and fix perceptual frequency collisions between instruments, which can result in guitars masking lead vocals, bass covering up drums, and other issues that can cause a “muddy” or overly crowded mix. Easily tweak each track to carve away muddiness and reveal new sonic possibilities.

“With Neutron, we’re introducing a new mixing paradigm by providing music producers and audio post professionals with a smarter way to mix,” says Mark Ethier, CEO and co-founder of iZotope. “The advanced technology within the software has an intelligence that isn’t the standard, one-size-fits-all mixing solution — Neutron is smart, but you’re still in charge. We envision Neutron being the helpful tool you’ve always wanted. It has a deep understanding of the tracks and where they compete with one another, and it offers subtle enhancements to the sound based on that understanding.”

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Neutron can be used on every track, offering zero-latency, CPU-efficient performance. With an industry leading static /dynamic EQ, two multiband Compressors, a multiband Transient Shaper, a multiband Exciter, and a True Peak Limiter, users will hear clearer results in less time.

Neutron’s Key Features:

  • Automatically detect different instruments – like vocals, dialogue, guitar, bass, and drums – and then apply the spectral shaping technology within Neutrino to provide subtle clarity and balance to each track.
  • Get recommendations for optimal starting points using Track Assistant, including EQ nodes, compressor thresholds, saturation types, and multiband crossover points, so you can mix with confidence.
  • Carve out sonic space with the revolutionary Masking Meter to help each instrument sit better in the mix.
  • Create the perfect mix with five essential mixing processors integrated into one CPU-efficient channel strip, packed with both clean digital and warm vintage-flavored processing.
  • Surround Support [Advanced Only] for audio post professionals that need to enhance the audio for picture experience.
  • Individual plug-ins [Advanced Only] available for the Equalizer, Compressor, Transient Shaper, and Exciter

Neutron, a smarter way to mix

Neutron and Neutron Advanced will be available October 5, 2016. Neutron Advanced will also be available as part of iZotope’s new Music Production Bundle 2. This incredible value combines iZotope’s latest products with its most popular tools including Ozone 7 Advanced, Nectar 2 Production Suite, VocalSynth, Trash 2 Expanded, RX Plug-in Pack, and Insight.

Once available, Neutron, Neutron Advanced, and the Music Production Bundle 2 will be on sale through October 31, 2016 in two options: Neutron, available for $199 USD and 189 Euro or Neutron Advanced, available fore for $299 USD and 270 Euro. It is also possible to buy the Music Production Bundle 2 for $499 USD and 459 Euro. For upgrading options consult iZotope’s website.

For more information about the new product you can also sign up for a special webinar on October 6th at 7PM EDT, hosted by iZotope’s own Jonathan Wyner and Matthew Hines, Neutron’s Product Manager. They’ll give you an in-depth look at Neutron and will also be answering questions live.

Nikon acquires MRMC

Nikon acquires MRMC

Nikon believes the acquisition of MRMC will lead its further expansion into new fields of imaging product solutions. The acquisition seems to be the logical step for two companies that, through Nikon UK, have worked closely since the 2012 Olympic Games.

The acquisition of Mark Roberts Motion Control Ltd by Nikon Corporation of Japan may come as a surprise to some, but it only confirms the good relations between the two companies and the continued cooperation since the London Olympic Games.

According to information provided by Nikon, “there is a growing demand within the imaging industry for automated solutions to provide unique perspectives and increased production efficiencies. Nikon will continue to strengthen MRMC’s leading market position within the film and broadcast sectors. In addition, Nikon and MRMC aim to develop this new market further by utilizing MRMC’s robotic motion control solution together with Nikon’s imaging-related technologies and its broad sales channels.”

Nikon acquires MRMC

First results of the collaboration between the two companies were announced in 2014, when Nikon introduced, at IBC 2014, followed by Photokina 2014, their remote camera system for the imaging industry, developed in cooperation with Mark Robots Motion Control (MRMC). MRMC, as a leading designer and manufacturer of quality motion control products, collaborated with Nikon to offer photographers, videographers and broadcasters the flexibility to shoot from remote, almost impossible, locations and to record real time action in both still and video format. With the system presented at the time, one operator can shoot images with several cameras at once using multi camera control software.

It was mentioned then that Nikon had been working with with MRMC in the UK for some time, allowing professional photographers to use remote systems set up at major sporting events such as Wimbledon and The Open Golf Championship, as well as at some of the world’s other big sporting events.

Earlier in 2014 the partners installed a bespoke remote set-up using Nikon DSLR cameras in the London Live studio, the first 24-hour entertainment TV channel dedicated to London. The studio operates a fully automated set-up using the Nikon D4 and Nikon D800 cameras and a nine axis, state of the art, custom-made robotic arm to produce the desired full-frame 35mm cinematic effect. The project was a great success, providing a cost effective solution. It maximized the superior image quality and flexibility of the Nikon system and the precision that comes with the robotic system. Remote camera systems have also been installed at a factory and a museum, and have the potential to be used well beyond this.

Nikon acquires MRMC

At IBC 2014 Nikon exhibited robotic heads in a Polycam set up. Multiple synchronized robotic heads demonstrated the use of a visual tracking device to automatically track a moving subject from multiple angles. Polycam is a unique, cost effective solution that allows a small production team to cover an event from multiple angles through the use of the Nikon/MRMC robotic camera system. At Photokina the same year Nikon presented, in addition to the London Live robotic system, a smaller remote camera system with a robotic head for still images.

MRMC is continuing the development, manufacture and service of all aspects of its robotics business, from film & commercial rigs to broadcast solutions, product photography for e-commerce and archiving and of course equipment rental, all from its premises in Surrey. It remains to be seen if this acquisition changes Nikon’s presence in the video segment in the near future.