If you've not had a chance to see Frame.io's software teaser then you're missing out. If you've ever had to use a combination of Dropbox, Vimeo, YouTube, and e-mails to sort out review & approval from clients or co-workers then this product may scratch your itch. The product is still in private beta, but a public beta is just around the corner. Pricing has yet to be announced.
Ryan Holmes Cut Color Post. Excerpts, quips, and musings on the production and post-production industry of editing, color grading, and deliverables.
And therein lies the rub. We want bugs squashed, but we don't want to pay any money for it (historically we've never had to pay for bug fixes). However, as this digital age continues to "grow up" business models have to adapt.
While Larry's post isn't directly aimed at Adobe's CC model it certainly has that in view. Subscription based software is actually moving through all the major media players, save for Apple who doesn't need to move to that model because their money is made from hardware sales (iPhone, iPad, Mac, etc).** But Adobe, Avid, Autodesk, Red Giant, and the Foundry have all moved towards subscription plans for either outright use or maintenance packages.
** You could also make a case that Blackmagic Design won't move towards subscriptions because they also generate a substantial portion of their income from hardware sales. With their ever broadening line of cameras, routers, converters, and switchers software just becomes an add-on that is used to entice a consumer (licensed version of DaVinci Resolve given out with any camera purchase).
There's always quite a debate when any new camera is announced about how big the sensor size is. Terms like full frame, crop sensor, Super 35, Micro 4/3, or Super16 get tossed around on blogs (like this one) and forums. Having shot many of the formats above sensor size does make a difference, but I don't think it makes as big of a difference as the pixel peepers would like to make it out to be. I think Zack has some good illustrative pictures on his post that support his claim that sensor size just doesn't matter that much. Nearly, all of the movies shot digitally are technically shot on a crop sensor camera, Super 35 (i.e. not full frame) - Skyfall, Gravity, Iron Man 3, Thor 2, Zero Dark Thirty, Captain America, World War Z, Guardians of the Galaxy (and that list is just the Arri Alexa, not counting RED or Canon C cameras). I don't remember thinking in any of those movies about how bad the falloff looked due to a Super 35 sensor....!
Apparently, BMD wasn't joking around when they said a unified code base for their cameras would speed up firmware updates for their cameras. After just adding a slew of ProRes updates to all their cameras, BMD announced today that they are updating the BMPC4K with options that are sorely needed (I anticipate these will be available for the cinema camera soon):
- On Screen Histogram
- Time Remaining indicator for storage space
- Audio level indicators
More information is available here on the BMD update here. Initial testing on my BMPC4K is stable so far.
Facing stiff competition from the likes of Panasonic's GH4 and Sony's a7S Blackmagic lowered the price of the Pocket Camera to a mere $495. Keep in mind that this camera is a MFT (micro four-thirds) mount, but has the capability of shooting in any flavor or ProRes (courtesy of the latest firmware update) as well as CinemaDNG RAW. It's also a smaller sensor than the above listed cameras with its Super 16 sized sensor (12.48mm x 7.02mm), which amounts to a nearly 3X crop factor on lenses. The crop factor gets reduced to nearly APS-C sizes (~1.7x) if a Metabones speed booster gets attached.