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sasscast · 4 years

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10 Practical Tips For Making A Great Travel Video in 2021

When I started making travel videos five years ago, I had no experience or training within the movie industry . I used a compact camera to record and remember my epic solo trekking trip to the Himalayas.

Five years passed and 40 travel videos later, I finally had my videos featured on National Geographic, BBC and Vimeo. I even have miraculously found alittle niche audience that appreciates the video I originally created only for me.

So today, I'm getting to tell you about the items I've learned after five years of creating travel videos, mostly through trial and error, and share with you ten tips I'd wish to know before I start making travel videos. Techmong.com is offering the detailed guides and tips on vlogging and photography.

10 Practical Tips For Making A Great Travel Video

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What quite travel videos should I make?

Travel videos are available many forms, from the standard "walk and talk" vlogging style to a more "street run-gun-shoot" style. it's important that you simply know what quite travel videos you would like to form before you begin filming. Personally, I prefer a more cinematic video, faster, more inspired, with little or no narration. you'll see the design of my travel videos here.

Find a purpose for your travel videos by asking yourself "who are the videos for" and "what quite feeling does one want your viewers to feel at the end? for instance , the goal of my travel videos is to inspire people to go to the country through beautiful and authentic visual interaction and to transfer the energy I received from the country through image and sound. My videos aren't meant to be informative, therefore the cinematic, fast-paced style is best suited to the aim of my video.

What camera equipment should I use?

I wont to use a more compact and lighter installation with the Sony Rx100M3 as a reference camera. this is often an honest start line for those that aren't conversant in basic camera settings like altitude, ISO and shutter speed.

The RX100 allows you to automate most processes while supplying you with the power to modify to manual at any time if you would like to.

I have since switched to a rather more advanced but lighter camera and am currently tilting the Sony a6500 mirrorless camera with a 16-70mm F4 Zeiss lens. The camera shoots in 6K, but reduced to a 4K format, which provides me sharper images than most traditional 4K formats.

The lens is additionally good for general use, with an angle wide enough for landscape, a zoom far enough to photograph people up close without them noticing, and it's compact for the type of range you get.

1. Watch plenty of travel videos

Most skills are best learned through good examples and travel cinema is not any different. once I started, I watched tons and plenty of travel videos hebdomadally until i used to be inspired enough to make my very own . i prefer to watch how travel videos work, what quite format they use, why they put this clip before the opposite one, why and the way they shot a particular frame, and from there i might leave , experiment, film and make my very own style.

Vimeo Travel may be a excellent spot to seek out top quality travel videos which will inspire you and you'll learn from. The community is sort of active, and that they usually list the fabric they used and therefore the story behind the video. Watch a number of these videos, choose the one you wish best and learn from them.

I've also made an inventory of the foremost inspiring travel videos of all time if you would like to urge some examples.

2. Prepare the camera settings before your trip

One of the last belongings you want to try to to is to vary your camera profile during the trip. this is able to create tons of unnecessary headaches, especially once you are within the editing cabin correcting colors. Before your trip, attempt to determine which settings are best for you and set them as defaults for all modes. Avoid changing settings that would affect your sequences to make sure consistency within the footage you get.

For my Sony a6500, I even have set both memory buttons to 4K, 25 fps with image profile 6 (Cine2, Cinema Color Mode) for general footage and 1080p, 120 fps with an equivalent image profile for movie respectively, so I can easily switch from one mode to the opposite counting on the sort of footage i would like to urge at the time. Take the time to undertake out your camera, find the proper settings and stick with them for the entire trip.

3. Shoot smart

Filming the maximum amount as possible is great advice because once you get home to edit, you'll wish you had more material to figure with, but there is a fine line between filming enough and going over the sting . do not forget to enjoy the country itself and to remind yourself from time to time why you're travelling within the first place.

What I often do is spend a block of your time shooting videos when the sunshine is at its peak, which is typically early within the morning or at sunset. That way, i buy the foremost beautiful images I can get from that place, and that i still have an entire day to explore and luxuriate in the experience.

4. Submit a story

It's not easy and that i myself have had difficulties repeatedly because travel is spontaneous and unplanned, and telling an excellent story requires careful research and planning.

If you do not have the budget and time to seem for a location, find a story and dictate the actors, you'll need to cope with the chaos and spontaneity that comes with travel and that is why it is so important to possess your camera ready in the least times and film the maximum amount as you'll .

To create a story out of chaos, you would like enough material to attach the purpose and find a beginning, middle and end. for instance , after a visit , i might open all my footage and undergo it one by one, trying to seek out a thread that would be woven into a story.

It doesn't need to be Spielberg quality, just find a free story that matches well together with your images and therefore the country. That way, your viewers will stay engaged long enough to observe your videos until the top .

A good example is my video "Daydreams within the Philippines", which I shot spontaneously and unexpectedly, but I managed to seek out a story that engaged the viewers.

The video started in Manila, a buzzing capital of the Philippines, where the video shows a lady sitting during a jeepney closing her eyes, then she goes through all the footage of my adventure within the country, all of which is coherently intertwined throughout the video until the top , when the lady opened her eyes and realized that she was dreaming, hence the name.

5. Know the country better, know yourself less

Too often lately , travel videos tend to specialise in the filmmakers and therefore the greatness of their lives. Travel videos are alleged to tell a story a few place, highlighting landscapes, people, food, etc. and not function a platform to point out your life.

Film fewer videos of all the parties you've organized during a country and more videos of the local people, architecture, history, and weave all of them together to inform a singular and captivating story which will inspire people to follow in your footsteps and do an equivalent .

6. Diversify your shots

As mentioned earlier, travel videos don't have the posh of getting an adequate structure and a captivating story to take care of public interest. it's therefore important that you simply experiment and diversify the way you shoot the videos so as to stay your audience until the top .

Try panning left, right, up, down, filming at high speed or on a moving vehicle, filming with worm eyes, slow shots or from different angles. one among my favorite techniques, which i exploit tons when I'm during a church in Europe, is to wrap the strap of my camera around my neck, tilt the camera upwards and slowly rotate my body to capture a fluid movement of all the gorgeous ceilings of cathedrals and churches.

7. Creating movement

One difference between travel photography and travel videography is that the majority of the gorgeous architecture you discover while traveling are often beautifully captured with a photograph , but when it involves video, due to the shortage of movement, you will not be ready to capture the thrill and energy of the place like photography does. you'll need to create your own movement and there are some ways to try to to this.

You'll attempt to create your own movement with an easy camera movement like panning, use the time-lapse to bring an otherwise static building or landscape to life, or film something that's already moving like children playing, pigeons flying or people dancing.

One of my favorite techniques is Hyperlapse (a moving time-lapse). Most tutorials will teach you ways to try to to it with a tripod, but nobody has the time for that, so what I've done is I take each picture by hand and move with my feet. I then compiled the photos into a video and stabilized it in Adobe Premiere Pro. If you're interested, you'll find out how to try to to it yourself by watching this tutorial on Youtube.

8. Get close-ups of the local population

Nothing can arouse more human emotion than having someone staring intensely at your camera. We humans interact with one another a day . We love, we laugh, we cry out for one another and that we can use that in our travel videos to bring out a robust emotion in your audience.

For example, in my video about Russia, i used to be filming an area and she or he noticed me and stared at me and therefore the camera intensely. The more intense the music becomes, the more intense the audience is, because they start to understand that the lady is basically watching them.

When you travel, if you've got the chance to urge to understand an area , ask to film it for your film and let the camera run albeit you say you've got the shot. I even have found that the relief reaction after filming is that the most genuine.

9. Connect your shots during a meaningful way

This is probably one among the foremost difficult and time-consuming parts of editing a travel video. Most travel videos appear as if a bunch of random clips put along side no purpose or story behind them, which is ok , but if you would like to make an excellent travel video and stand out from the remainder , you would like to concentrate to how the clips are connected.

#vlogging #vlog #travel #techmong

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camtosh · 7 years

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My Take of E3 2017 (very long post)

I’m not exactly a writer so this post won’t be perfect, full of mistakes and whatever but I have proof read it so hopefully it wont be too bad. I’ve also put a recap at the bottom of the post incase you don’t want to read it all.

Starts off with typical EA yearly releases, Madden, Need for Speed, FIFA and NBA, nothing to be excited about. Showed a new co-op game called A Way Out which looks really cool, a split screen game this generation was badly needing and I’m glad someone took a risk to make one. Teaser trailer for Anthem, which we will get to later, and DLC for Battlefield. Finished with Battlefront 2 gameplay, although I was disappointed to not have Galactic Conquest we did get Skirmish and new class system which is more like the old Battlefront games. Amazing looking game and something to look forward too!

Microsoft (xbox)

Xbox One X (not exactly the best name but who really cares, the same was said when the One was released) announced at £450/$499 which I think is a reasonable price and will be buying one for that sweet true 4k graphics! Forza 7 shown and a Porsche appears on stage and no-one is surprised/seemed to care, myself included. New Assassins Creed is shown and is set in Egypt which I think is a fantastic setting and is hopefully a breath of fresh air since they took a year extra for more development time. Gameplay of a really interesting game is displayed for us to find out its a new Metro game, I haven’t played any of them before but that trailer made me want to check them out. Battlegrounds coming to the xbox, feel like this is a big deal but as I haven’t played it on the PC I don’t know why. State of Decay 2 made me remember that I no longer care for zombie games. The Darwin Project starts off with ESports commentary to let us know that they want this game to be an ESport (I don’t see that happening). 2D DBZ game announced and looks great but not something I want to pick up. The annual indie game montage showed some promising games that will probably end up being free in the games with gold program. Sea of Thieves gameplay really surprised me, something that I think I would love to play with some friends. Crackdown 3 announces Terry Crews is a part of the game which is basically an instant sell because who the fuck doesn’t love Terry Crews?! Super Lucky’s Tale is announced which looks like a children’s platformer, got to target that demographic I guess. Shadow of War gameplay is given to us and it looks really good, nemesis system is awesome and they made the game better by adding a strategic approach to attacking strongholds which I think is really cool. Now we are shown gameplay for Anthem. What is this fucking game? Did the devs just pick and choose things from every game and just throw it in their own? Titanfall/Destiny vibes too it, fly like Iron Man in an exo suit that reminds me of Fallout power armour and the game looks like it has the same setting as Evolve/Horizon. That being said it’s probably the most exciting looking game of the whole show and I want it now because I fucking love loot shooters. Finally end the show with the news that Xbox Original games will be coming to the backwards compatibility program which is cool I guess but I think I only ever played Halo on it 😂 I’m probably biased towards Xbox but I do think that they put on the best show this year.

Bethesda

Why even bother with a conference if you are just going to have a pre rendered video introduce everything? They showed VR for games that have been out for ages and DLC for Dishonoured 2. Paid mods are back, I’m sure that will go down well. A couple of sequels,The Evil Within 2 and Wolfenstein 2 announced which almost saved the terrible conference. Wolfenstein 2 looking the better of the two and seem like it has a compelling story. They close their show by letting us know that Quake still exists. Terrible showing from such a good company, shame.

Ubisoft

No Aisha Tyler!?! well ok. The first 15 mins of the show is all about Mario and Rabbids for the Switch, seems a bit boring to me but its Mario so it well sell millions. More Assassins Creed stuff that didn’t feel like they showed anything different from the Microsoft show. The Crew 2 and Skull and Bones are announced which look cool I guess. Even more South Park trailers, I honestly thought it was out already. A new IP called Starlink is announced and looks like a skylanders/amiibo thing. Gameplay trailer for Farcry 5 looked really good, 10/10 for the dog that brings you guns. They finished by announcing Beyond Good and Evil 2 which I’m guessing is a big deal, I never played the PS2 game but that trailer looked fun. Kinda boring show all round for Ubisoft, they spent a lot of time not very exciting games.

Sony

What the fuck Sony? You usually put on the best E3 show and you didn’t seem to care that much this year. They opened with the final trailer for the Crash Bandicoot remake which made me very nostalgic but not really hyped for a game I’ll probably get. I said before that I’m bored of zombie games but I think Day’s Gone looks like it can give them one last chance. Monster Hunter Wold was shown and that got me happy, I’ve always wanted to play them on console rather than a handheld. Shadow of the Colossus remaster is shown and I personally think looks incredible, 100% something I want to pick up. Gameplay trailer for COD: WW2 which to me just felt like a bunch of planes falling out of the sky and not much else, looks pretty though. DLC for Horizon was announced which I might get because that game is amazing! More trailers for God of War 4 and Destiny 2, the latter of which still has year long timed exclusives which is just ridiculous. Something about a new Gran Turismo game but I didn’t really pay attention because I haven’t played a racing game for a long time. They closed with some Spiderman gameplay which looks awesome! There was loads of cool things shown but the presentation of it felt really strange, like there was no-one to hype everything up.

Nintendo

Nintendo always do good at E3, they don’t need to have a huge conference to put on a fun show. Xenoblade 2 trailer shown and Metroid Prime 4 announced which is cool! Kirby and Yoshi games for the Switch which is increasing the likelihood of me buying a Switch. They very lowkey announce a main Pokemon game like its nothing, fucking what?! ok 100% buying a Switch now. Super Mario Odyssey is given loads of time to show off gameplay and I think it looks brilliant! Nintendo are boosting the need for a Switch in their show and its worked for me at least!

Too Long; Didn’t Read?

So pros and cons of this years show? Aka TL;DR

Cons- Well I think there is maybe one game that I’m desperate to know more about, Bethesdas full show, there was too much VR. There were more boring shows compared to ones that were really gripping and there were very little AAA new IP’s.

Pros- Star Wars looks amazing, the Xbox One X release was very exciting. Sea of Thieves looks like it has potential, Anthem looks so promising, Shadow of War looks like a good sequel and they were not all remasters! And there was Loads of content for the Switch including a main Pokemon game!

I enjoyed this year but my wallet has not.

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inkni · 7 years

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There Is No Ninth Generation

I: Reflection.

Sometime around age 14 or 15, musing on the future of gaming, I wrote the following:

The next-generation systems (the replacements for GameCube, Xbox, and PS2) will roll out sometime around the year 2006. This will either continue the rise of video games, or begin the path towards their inevitable decline. Having us stare at a TV screen for hours on end will not keep the industry going. They must evolve to changing technology and, well… boredom.

I feel I was both prescient and incorrect here. (Albeit mostly vague.) Nintendo, as is their wont, did revolutionize gaming anew with the introduction of motion controls with the Wii, copied by PlayStation’s MOVE and SixAxis controllers. Microsoft introduced the Kinect in fits and starts. Technology did change, and changed gaming.

—but to what extent? Microsoft backpedaled utterly away from their promise to make the Kinect central to the Xbox One experience. The early promise of the Wii U GamePad (see: Nintendo Land) was squandered amid dreadful sales. The biggest games of the Nintendo 3DS (Pokémon Sun & Moon) don’t even bother to utilize the portable’s central 3D gimmick. And now we’re looking at 2.0 follow-ups to the One and PS4 that honestly don’t look all that different in form or function from the Xbox and PS2 I was contemplating in my mid-teens. (By which I mean, the gameplay is still essentially the same, with updated graphics. The overall user experience, I’ll concede, has shifted significantly with the rise of internet connectivity, streaming, and social.)

II: Innovation!

I still think, as ever, that innovation is central to the continued success of gaming. In this vein, two themes emerge: A) I worry about the industry as a whole, bloated with massive financial success and therefore afraid to take risks; B) I am more glad than ever to have Nintendo.

A) The gaming industry has never been easy to break into, but wow—gone are the days in which a massive company like Microsoft would step up to launch a new system from scratch. And the notion of any individual games company like Sega being able to rise from scrappy underdog to massive presence as they did throughout the nineties? A joke. For the most part, we’re stuck with what he have. (And on the software side, AAA developers release open world after open world, bungled with bugs, on an annual schedule like a Hollywood blockbuster studio. Is it sustainable?)

B) Thankfully, we have the Nintendo Switch. While I’m for sure a Nintendo fangirl, any historian of the gaming world has to acknowledge the company’s drive for innovation and how much it has shaped every aspect of the controllers we use & the gameplay we experience. I don’t want to get bogged down in this broader post with a lot of musing about the Switch, but it excites me to see Nintendo pushing forward in blending home and mobile gaming, while still delivering new features in the how of gameplay with the amazingly crafted Joy-Cons. This is the kind of new shit that compels me to purchase a console!

The overly dramatic title of this post is in fact in reference to Windows OS. After the messiness of Windows 8, Microsoft opted to skip right over 9 and debut their “final” OS, Windows 10. From this point onward, they claim, it’s just upgrades to the same basic framework. I wonder if home consoles have perhaps reached this point? Rumors abound about how the Switch might be upgraded via a new tablet or dock every few years, and of course the controllers themselves are modular as well. Microsoft and Sony have already made clear that they see their forays into 4K as upgrades to their existing lineups, and not wholly new tech. What major leap left could consoles take from here?

III: Disruption?

To return to my teenaged self:

You see, video game consoles are going to change very rapidly, it would seem. Not too far in the future… a virtual reality Zelda? Yeah, where you run on a treadmill to move across Hyrule, and by the time you get to an enemy, you’re too tired to swing your 3D sword peripheral! Great idea! Or how about, hmm… oh yeah, and when you swim, you get to wave you hands in the air, and make a fool of yourself!

OK, so maybe there won’t be a virtual reality Zelda any time soon, or at least we pray that there won’t be one. It would be nice, though, if you could have something like that X-men person… umm… Cyclops’ (?) glasses, where, in order to look around, you would have to physically turn your head! While still using a controller, for old time’s sake.

Yes, VR. Longed for since the days of the Virtual Boy, and now finally here. The sword peripheral came first, with Skyward Sword and Wii MotionPlus. Kinect’s truly impressive tech can detect arms swimming through the air (and the Switch’s right Joy-Con will have a similar, smaller feature.) The Wii U GamePad can be swiveled around to reveal hidden elements of a virtual world surrounding you. And now, Oculus Rift puts two fancy, immersive controllers in your hands while you’re strapped into a headset that engulfs your existence.

Even as the basics of console’s couch gaming have remained the same for decades, improvements in interactivity have swirled around our sofas, leading us to this point. Will VR truly present a major shift in gaming? Will Oculus (or another VR company) become a major force in the industry if it does—or will the Big Three stay the same, as Nintendo teases VR for the future of Switch and Sony already has PlayStation VR on the market? Is this all so much hot air?!

I didn’t know at age 15, and I sure as shit don’t know now. But the hype train is rolling, and I’m fully on board!

#week 22 #video games #vr #virtual reality #xbox one #xbox scorpio #ps4 #ps4k #wii u #nintendo switch #xbox #ps2 #gamecube

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lorrainecparker · 7 years

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Cine Gear Expo: Three Cameras

Canon, Panasonic, and Sony all used Cine Gear Expo 2017 as the event to anchor their announcements of new cine-oriented cameras. What they revealed says much about where the industry is going, and when they revealed it speaks to the growing importance of Cine Gear as an industry show.

Canon C200 & C200B

C200 side panel. Yeah, you hang a decent lens on it, it gets nose-heavy.

Canon revealed the C200 and C200B a few days early on May 31st—and it’s clear they laid the groundwork some time prior to that. Jon Fauer (as usual) had with all facts and a good set of photos ready to roll, and Elliot Smith was good to go with a hands-on review. Erik Naso pondered whether the C200s are good upgrades for C100 and C300 users, and why. On the day Cine Gear opened, Andy Stout delved further in the new CinemaRaw Light codec, and of course Canon already has a set of C200 white papers available.

CFast card slot on the left, dual SD slots in the rear.

From the top: two XLR inputs, SDI out, headphone / USB ports, RJ-45 networking port, DC IN. On the side: HDMI.

Side grip with joystick, Fn button, dial control

The side grip uses a standard ARRI rosette for easy accessorizing

C200 LCD with buttons and joystick

There’s been a lot of discussion about this $6000–$7500 4K camcorder (the lower price is for an EVF-less, body-only C200B; the higher price includes EVF, LCD, top handle, and side grip). Many are distressed that the camera records only 8-bit 4:2:0 MP4 files to SD cards and DCI 4K Cinema Raw Light to CFast cards: the former is felt to be too lightweight for “serious” work while the latter is not cheap: a 64GB FCFast card will be consumed in a mere five minutes at 23.98 fps. (Gripers will be somewhat mollified by the promise of a future firmware upgrade to add XF-AVC recording, which offers 10 bits and/or 4:2:2 or even 4:4:4 sampling in its various flavors, though I don’t know which flavors the C200s will offer.)

People often grumble when Canon releases a new camera, whether in the EOS or Cinema EOS lines, usually saying (a) it’s too expensive for what it does, (b) it’s not pushing the envelope nearly as much as it should, and/or (c) they’ve completely misunderstood the market and built something nobody wants or needs. And yet, somehow, whatever overpriced, under-specced, missed-the-market camera Canon announces goes on to lead a happy and productive life. I think the C200/C200B will follow the same course.

I had a chat with Canon’s Paul Hawxhurst about point (c): who did they build this camera for? His answer was quite specific, though I’ve paraphrased it a bit: the C200 is for the C100 shooters who need an affordable, practical camera for their mundane day gigs, but want to step up their game on special projects. Plain, boring old 8-bit 4:2:0 MP4 will handle the long recording times and manageable file sizes needed for corporate talking heads, explainer videos, and the like, while Cinema Raw Light provides the grading flexibility and image quality for higher-end work—and it’s still more manageable and affordable than hanging an external recorder off the back.

While a 64 GB card may be consumed in 5 minutes, you can get cards up to half a Terabyte in capacity, for about 40 minutes of continuous recording time. And yes, CFast cards are expensive, but they’re like film magazines, not film loads: they’re reusable containers, not expendables.

And, he said with his snarky hat on, if you’re already spending too much money on an “overpriced” Canon, why are you fussing about “overpriced” CFast cards? Remember when P2 cards came out? Or SxS? Or XQD? All new, fast media are annoyingly expensive. True, CFast isn’t that “new” any more, but there’s a global NAND flash shortage at the moment, and even commodity SSDs have suffered rising prices in recent months. Take a deep breath, buy some “digital mags” that’ll last the life of the camera or beyond, and get on with life.

Like many of the commentariat, I was a bit puzzled by the C200s when I first saw the specs and the pricing. But the more I thought about it, the more I think Canon knows exactly what it’s doing. The camera marks a further refinement and streamlining of the physical package, and the capabilities and price slot it neatly between the C100 Mk II and the C300 Mk II. The C200 may not make a lot of sense to “outsiders”, but those in the Canon camp—a somewhat hermetic society, like Apple or Leica users—are likely to adopt it with the same enthusiasm as they have other Cinema EOS cameras.

Note that all the bits ‘n’ pieces needed to make the $7500 C200 out of the $6000 C200B can be ordered a la carte, with the exception of the pigtail EVF. If you want the EVF, you’ll need to buy the C200; you can’t add that EVF to the C200B at a later date.

My only serious complaint is that the C200s employ the standard bayonet mount for the EF lenses, rather than the far superior breech-lock / positive-locking EF mount on the C500 and C700. Bayonet-mounted lenses can flex and wobble on the body, which they are wont to do once you hook up a follow-focus or drive motor; this is a sadly missed opportunity to continue the trend that Canon already started towards making a more stable EF attachment for cine uses.

The C200s are scheduled to ship in August.

Panasonic AU-EVA1

Panasonic tantalized crowds with a mockup of the AU-EVA1 under a cloth at NAB 2017; at Cine Gear Expo two mockups were unveiled: one under glass, and one in the hands of the indefatigable Mitch Gross.

Mitch Gross and the AU-EVA1

Mitch and his mockup attracted heavy crowds. I was his first interview at 10am; when I walked past at closing time, he was still at it—a security guard had to come over and threaten to throw him out so the show could close.

The AU-EVA1 is (or will be) a 5.7K, Super35mm camcorder with an EF mount recording 10-bit 4:2:2 to SD cards. While codec speeds ‘n’ feeds weren’t being discussed, take a look at what the DC-GH5 and the DVX-200 can do, and you’ll likely have a pretty good idea.

Like its larger VariCam stablemates, the EVA1 will have a dual-native-ISO readout (exact values TBD), V-Log and V-Gamut, and, with a future firmware update, raw output to external recorders. The camera will capture 4K at up to 60P and 2K at up to 240p. The button layout on the side panel is vaguely VariCam-ish, and Mitch says that the menus will likely have a VariCam-like flavor to them, too. One thing not carried over from the VariCam, I’m told, will be the long reboot times!

At $8000 or less, the EVA is aimed at the gap between the VariCam LT and the GH5:

(from Panasonic’s EVA website)

Why 5.7K? The EVA is a Bayer-pattern single-chip camcorder, and like all such beasties the “honest” pixel resolution of the debayered sensor is a fraction of the raw pixel count. If we go by the rule of thumb that a good deBayer yields a final luma resolution of about 80% of the raw pixel count, 5K will give you a proper 4K image. If we’re lucky, some of that extra .7K might be used to provide “lookaround” outside the active image area, so we can see mike booms and light stands before they show up in picture.

The EVA1’s 5.7K sensor

EVA1 side panel

EVA1: LCD can mount on either side at the back of the handle. Or pull the handle off and mount it to one of the top-plate sockets.

EVA1 has dual SD slots, takes DVX-style batteries or 7–12VDC power

Rotating side grip with control dial and function buttons

The units at Cine Gear Expo were weighted mockups, so the heft of the models was close to the 2.65 lb / 1.2 kg weight of the final product.

The cameras will have 2-, 4-, and 6-stop internal ND filters, electrically driven, along with a retractable IR filter on a second filter wheel.

The EVA1 will output 4K over both HDMI and SDI, and will feed both outputs simultaneously. There’s no eye-level EVF; you can fit a third-party loupe to the LCD, or use something like the Gratical if you prefer. Having both HDMI and SDI active means you can sacrifice one for an EVF and still have the other output for an external monitor/recorder or to feed video village.

An EF mount is the standard—and only—lens mount. Sadly, unlike the one on the VariCam LT, it’s a twist-on bayonet style, not the rigid and robust positive-lock version.

EVA1s are scheduled to ship in Fall 2017. More info at Panasonic’s EVA1 webpage.

Sony Next-Gen CineAlta Camera

Sony held a small press briefing hidden deep in the bowels of the Marathon Building before publicly announcing their next-generation CineAlta camera in the Paramount Theater.

Peter Crithary ran though the basics: Sony has has 17 years of experience in the cine world, and the F65 won a Scientific and Engineering Oscar in February. Sony’s Digital Motion Picture Centers exist in Hollywood, Pinewood Studios on the UK, Beijing, and Mumbai; these are places for industry pros to learn about and work with Sony gear, and for Sony to learn from industry folks. Sony also holds focus groups to have industry folks talk directly with design engineers (I’ve had the pleasure of doing this a few years ago), and they’ll take big-name DPs to Japan for intensive discussions—in the case of the current project, Claudio Miranda was involved.

And the current project? A complete, new, from-the-ground-up development of the next-generation CineAlta camera:

Full-frame, 36x24mm sensor. Sony agrees with Panavision that full-frame will be the feature format of the future. And it’s not just those with cameras to sell that say this; I’ve spoken with a number of thoughtful and perceptive DPs who agree that full-frame, a.k.a. large-format, offers greater “dimensionality, roundness, and separation of elements” than S35mm. One DP told me that the larger formats render images more the way we see them, while smaller sensors flatten the space too much.

“Lens agnostic”, implying flexible cropping for S35mm or other formats. When Geoff Boyle said he’s used to calling for a 40mm and knowing what that looks like (on 4-perf 35mm film), Peter nodded and said, “not a problem”.

4K 4×3 anamorphic is a specific target; the sensor will have at least that much resolution. Sony says that they have “very consistent feedback” that 4K 4×3 anamorphic was Something They Need To Do. (I even overheard mutterings—which I didn’t confirm—that “4K 4×3 anamorphic” applies to a S35mm-format crop. Make of that what you will.)

“Much wider latitude than anything we’ve had before”.

Wider color gamut.

All-new design: this isn’t a reworked F65 or F55 or anything else.

And yet: the same familiar workflow: 16-bit raw, X-OCN, XAVC. (Much approval voiced by the crowd at this.)

Sensor is “very far along”.

Existing cameras remain in the lineup. The next-gen camera supplements them, it does not replace them.

Sony is not ready to discuss lens mounts or recording media yet.

Release is planned for “early 2018”. Price TBD. When asked if there would be something to see at IBC in September, Peter said that IBC “may be a target” and there would definitely be more information then.

“Stay tuned.”

So What?

The three different announcements reflect three trends in the cine-camera industry: larger formats, resolution agnosticism, and high dynamic range / wide color gamut imaging.

Larger formats: various larger-than-S35mm sensors, mostly from RED, have been cropping up (pun intended) for several years now.

The RED-sensor-based Panavision Millenium DXL and ARRI Alexa 65 have legitimized the resurgence of large-format more than a bunch of aggro bad-boy biker-gang revolutionaries could (grin), and it doesn’t hurt that we’re now seeing large-format cine glass becoming increasingly available.

That the EVA1 uses a S35mm sensor instead of a four-thirds sensor as the GH5 and DVX-200 do is another indicator: size matters. I know a bunch of folks were disappointed that the EVA1 isn’t a direct follow-on to the AF-100/AF-101 MFT cine camera (hint: look at the GH5 instead), but S35mm was the right choice: while many (myself included) appreciate MFT as a perfect Goldilocks compromise between one-man-band live focusability and cinematic shallow depth of field, we’re in the minority.

Resolution agnosticism: scanning formats matched to broadcast or exhibition resolutions made sense in analog and early digital days, when memory was expensive, high-res sensors were difficult, and resampling framestores cost an arm and a leg. Nowadays there’s increasingly less reason to shoot what you screen, or to capture the same image you record. Shoot more pixels, and you can downsize for sharpness and detail, or have room to zoom in, pan ‘n’ scan, or stabilize the image in post. The EVA1 does this in a small way with its 5.7K sensor for a 4K image, downsampling in camera for higher quality. Sony’s announcement that their full-frame camera will be “lens agnostic” seems a clear indication that it’ll have plenty of pixels to play with, allowing for high-res images even with at least a S35mm crop factor.

HDR / WCG: all these cameras are firmly aimed at a high-dynamic range, wide color gamut future. Of course you’ll be able to capture log images at 10 bits or higher and/or record or output a raw image.

It’s interesting is that all three of these camera announcements were timed to synchronize with Cine Gear Expo, not NAB or IBC. It seems there’s a growing sense that NAB and IBC are too big and diffuse to be the best venue for cine-style gear rollouts; smaller, more focused shows like Cine Gear Expo and CINEC are the places and times to make a big noise in the industry. More power, then, to Cine Gear Expo and CINEC, and all the more reason to attend… or at least to keep an ear to the ground when they’re happening.

Disclosure: There is no material relationship between me and any of the companies mentioned. None of ’em paid me to write about ’em or offered any blandishments to do so.

The post Cine Gear Expo: Three Cameras appeared first on ProVideo Coalition.

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tips-for-digital-device-blog · 7 years

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Convert Sony a99 II XAVC S 4K videos to ProRes MOV for FCP X

Sony a99 II gets Sony's top-of-the-line 42.4 MP back-illuminated CMOS sensor and a all-new processor and LSI turbocharged for more processing horsepower than any Sony camera to date. Sony a99 II allows you record 4K video from the FULL WIDTH of the fullframe sensor…unlike some other DSLRs. Or you can select to shoot over-sampled 4K in Super35 crop mode with full pixel readout and no pixel binning or line-skipping. You can record 4K in XAVC S video by it. Recently we found some users asked "Can I editSony Alpha a99 II 4K XAVC S video in Final Cut Pro X? The answer is "Yes". As the popularity of XAVC S codec, more and more NLE's can natively supports HD &4K XAVC S. While, many importing issues still exist when users working with XAVC S vodeos in editing software. The point is here, you will find it a painful experience to import Sony Alpha a99 II 4K recordings to Final Cut Pro X/7/6 for editing. The basic reason why we can't work Sony a99 II 4K video with FCP X is that XAVC S codec is a new one, and is not widely supported. Therefore you have to transcode Sony Alpha a99 II 4K XAVC S to Apple ProRes 422 or Apple Prores 4444. Which converter can do this? UFUSoft HD Video Converter for Mac is your best choice. This professional FCP video converter also can compress Sony Alpha a99 II 4K to HD 1080p video for better playing/editing/sharing. Besides Final Cut Pro, this software can also export AIC for iMovie/FCE, DNxHD for Avid Media Composer and more NLE systems. (Windows version can also create friendly prores codec for FCP) To know how to use it to be able to edit Sony Alpha a99 II 4K XAVC S in FCP X/7/6 on Mac (macOS Sierra, El Capitan Yosemite, Mavericks, Lion included) without problem, read on the following steps. Free download Sony a99 II to FCP X Converter: Hot Source: XLD Windows: Best XLD Alternative for Windows 10/8.1/8/7/Vista/XP Solutions to Open and Play DAV Files-DAV Converter, Convert DAV Files VR Video Converter-Best 2D/3D to 3D Converter for 3D VR heasdet Import Sony Alpha a99 II 4K XAVC S to FCP X editable format Step 1. Load video file Launch it and then you can directly drag and drop the Sony Alpha a99 II 4K XAVC S file to the converter, or click "Add File" button to load the Sony Alpha a99 II XAVC S 4K video files to it. Step 2. Set output format for FCP X Click "Profile" bar to choose the format for output. For editing Sony Alpha a99 II XAVC S 4K videos in FCP X, you're suggested to choose "Final Cut Pro > Apple PreRes 422(*.mov)" or "Final Cut Pro> Apple PreRes 4444(*.mov)" as output format. Tip: Click "Settings" icon to adjust Sony Alpha a99 II 4K video and audio parameters on the Profile Setting as you need to get the best quality video. You can set video resolution(1920X1080/1440X1080/1280×720/720X480), bitrate(from 1Mbps to 20Mbps) , frame rate (24p/30p) as you want. Step 3. Start the Sony a99 II 4K to ProRes conversion Click "Convert" button to convert Sony a99 II XAVC S 4K videos to ProRes 422/4444 MOV on Mac with fast speed and high quality. After the Sony XAVC S to ProRes conversion completed, click "Open Folder" button to get the generated ProRes .mov files, then transfer them to Final Cut Pro X/7/6 for native editing on Mac(Sierra, El Capitan, etc). Read More: can quicktime play mp4, can't play MP4 video on quicktime, convert mp4 to quicktime, fix mp4 file mac, how to fix mp4 file mac, how to repair mp4 file, mp4 file not playing on mac, mp4 file wont play on mac, mp4 files that won't play on my mac,mp4 quicktime, mp4 to quicktime, mp4 to quicktime converter, mp4 won't play on mac, play mp4 on quicktime, quicktime can't play mp4, quicktime cannot play mp4, quicktime doesn't play mp4, quicktime mp4, quicktime not playing mp4,quicktime won't open mp4, quicktime won't play mp4, will quicktime play mp4 corrupted sd card recovery, data recovery tools for SD cards, ecover deleted files from sd card, recover data from sd card,restore deleted files from sd card, sd card data recovery, sd card file recovery, sd card photo recovery, sd card recovery, sd card recovery mac, sd card recovery reviews, sd card recovery software, The 3 Free SD Card Recovery Software, undelete files on sd card .wlmp to .wmv converter, convert .wlmp, convert wlmp on macos sierra, convert wlmp on windows 10, convert wlmp on windows 7, convert wlmp on windows 8, convert wlmp to 3gp, convert wlmp to avi, convert wlmp to flv, convert wlmp to mov, convert wlmp to mp3, convert wlmp to mp4, convert wlmp to mpg, convert wlmp to webm, convert wlmp to wmv,convert wlmp to wmv online, how to change wlmp to avi, video converter for mac wlmp .wlmp video converter for mac, wl,wlmp converter, wlmp converter online, wlmp converter windows 10, wlmp file converter, wlmp in avi, wlmp ipad, wlmp iphone, wlmp ipod, wlmp itunes, wlmp open for mac, wlmp to avi, wlmp to avi converter, wlmp to mov converter, wlmp to mp3 converter, wlmp to mp4, wlmp to mp4 converter, wlmp video converter, wlmp vlc, wlmp xbox 360, wlmp zune

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pcmacvideoconverter-blog · 7 years

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Edit Sony a99 II XAVC S 4K videos in FCP X on Mac

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video-editing-tips-blog · 7 years

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How to edit Sony a99 II XAVC S 4K videos in FCP X on Mac?

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