O released s for the latest releases from Canon, Sony, Sigma, Panasonic, and Smayang. A total of d. Some of the newest camera modules have already been delivered automatically – here is the complete list:
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A good, versatile zoom is often the first lens photographers recommend after a camera kit lens, and for good reason. Covering everything from wide-angle landscapes to portraits and everyday photography, these versatile lenses handle travel and street photography, as well as events, wildlife, and video.
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The Association of Photographers (AOP) has unveiled the victorious participants of its prestigious Student Photography Awards. This annual event shines a spotlight on the finest photographic creations by students engaged in 21 diverse photography programs throughout the UK, from Higher National Diplomas to Master’s degrees.
In its 41st edition, the AOP Student Awards presented three distinct categories for competition: People, Places, and Things. Each category recognized Gold and Silver winners, along with an overall Best in Show accolade.
**Best in Show**
This year’s top honor, Best in Show, was awarded to Rupert Allen, a BA student specializing in Photojournalism and Documentary Photography at the University of Gloucestershire. His compelling series titled “Church of Coal” captured the judges’ attention. Judge Eleanor Harrison praised the series for its narrative depth and the evocative use of black-and-white imagery, enhancing the storytelling.
Allen’s award-winning project involved the use of large-format cameras to create striking portraits of coal miners, both current and retired, at the last operational drift colliery in Western Europe, situated in South Wales. His achievements earned him a Fujifilm prize package valued at £2,500 and an annual subscription to Capture One Studio. Lauren Drage, Fujifilm Electronic Imaging’s Marketing Manager, expressed the company’s excitement in nurturing the future of photography through these awards, emphasizing their commitment to fostering creativity and innovation.
Collaborating with the National Union of Miners in Pontypridd and the National Museum Wales, Allen’s journey took him across South Wales to explore the fate of the miners and collieries and their adaptations in the modern era. His project offered a profound look into the lives affected by the decline of industrial Britain, capturing their stories before they are lost to time.
**Category Winners**
Rupert Allen’s skill also earned him the top spot in the People category, while Anthony Porter, another talented student from Edinburgh College’s BA(Hons) Professional Photography program, secured Silver.
In the Places category, Lorena Bujalance Jimenez, an HND Photography student at the City of Glasgow College, won Gold with her series “Swan Lake.” Gemma McNaughton, a BA student at Edinburgh College, claimed Silver for her work, “Against the Grain.”
In the Things category, Ed Butty, a Media and Communications student from the University of Leeds, captured Gold with his series “Looking Down.” Megan Dickson, a BA Photography student from Norwich University of the Arts, took Silver with “Falcon on Fist.”
**Additional Finalists**
Among the finalists were Mariam Yaqub, Tom Gormley, Jianuan Xu, Phil Crow, Gemma McNaughton, L.C. Daniels, Johanan Eugene, Xinyi Yang, Polly White, Chloe Shelton, Justyna Cebula, Olivia White, Cezary Szczepaniak, and Louise Thomson.
**The Significance of the AOP Student Awards**
According to Isabelle Doran, CEO of The AOP, the Student Awards are a benchmark for identifying emerging talent in the industry. She commended the judges for their challenging task of selecting finalists, noting the remarkable range of perspectives offered by this year’s entrants. With a focus on celebrating authenticity and challenging conventional views, the awards provide a platform for young photographers to showcase their unique visions, setting the stage for their future endeavors.
Image credits: The AOP Student Awards. Individual photographers are credited in the image captions.
The Association of Photographers (AOP) has unveiled the victorious participants of its prestigious Student Photography Awards. This annual event shines a spotlight on the finest photographic creations by students engaged in 21 diverse photography programs throughout the UK, from Higher National Diplomas to Master’s degrees.
In its 41st edition, the AOP Student Awards presented three distinct categories for competition: People, Places, and Things. Each category recognized Gold and Silver winners, along with an overall Best in Show accolade.
**Best in Show**
This year’s top honor, Best in Show, was awarded to Rupert Allen, a BA student specializing in Photojournalism and Documentary Photography at the University of Gloucestershire. His compelling series titled “Church of Coal” captured the judges’ attention. Judge Eleanor Harrison praised the series for its narrative depth and the evocative use of black-and-white imagery, enhancing the storytelling.
Allen’s award-winning project involved the use of large-format cameras to create striking portraits of coal miners, both current and retired, at the last operational drift colliery in Western Europe, situated in South Wales. His achievements earned him a Fujifilm prize package valued at £2,500 and an annual subscription to Capture One Studio. Lauren Drage, Fujifilm Electronic Imaging’s Marketing Manager, expressed the company’s excitement in nurturing the future of photography through these awards, emphasizing their commitment to fostering creativity and innovation.
Collaborating with the National Union of Miners in Pontypridd and the National Museum Wales, Allen’s journey took him across South Wales to explore the fate of the miners and collieries and their adaptations in the modern era. His project offered a profound look into the lives affected by the decline of industrial Britain, capturing their stories before they are lost to time.
**Category Winners**
Rupert Allen’s skill also earned him the top spot in the People category, while Anthony Porter, another talented student from Edinburgh College’s BA(Hons) Professional Photography program, secured Silver.
In the Places category, Lorena Bujalance Jimenez, an HND Photography student at the City of Glasgow College, won Gold with her series “Swan Lake.” Gemma McNaughton, a BA student at Edinburgh College, claimed Silver for her work, “Against the Grain.”
In the Things category, Ed Butty, a Media and Communications student from the University of Leeds, captured Gold with his series “Looking Down.” Megan Dickson, a BA Photography student from Norwich University of the Arts, took Silver with “Falcon on Fist.”
**Additional Finalists**
Among the finalists were Mariam Yaqub, Tom Gormley, Jianuan Xu, Phil Crow, Gemma McNaughton, L.C. Daniels, Johanan Eugene, Xinyi Yang, Polly White, Chloe Shelton, Justyna Cebula, Olivia White, Cezary Szczepaniak, and Louise Thomson.
**The Significance of the AOP Student Awards**
According to Isabelle Doran, CEO of The AOP, the Student Awards are a benchmark for identifying emerging talent in the industry. She commended the judges for their challenging task of selecting finalists, noting the remarkable range of perspectives offered by this year’s entrants. With a focus on celebrating authenticity and challenging conventional views, the awards provide a platform for young photographers to showcase their unique visions, setting the stage for their future endeavors.
Image credits: The AOP Student Awards. Individual photographers are credited in the image captions.
The Association of Photographers (AOP) recently revealed the winners of its prestigious annual Student Photography Awards, recognizing outstanding work from students enrolled in 21 diverse photography courses across the UK. These programs range from Higher National Diplomas (HND) to Master’s degrees, showcasing a wide array of emerging talent.
This year marks the 41st edition of the competition, where students vied for top honors in three distinct categories: People, Places, and Things. Each category awarded Gold and Silver prizes, alongside an overall Best in Show recognition.
**Best in Show**
Rupert Allen, a BA student specializing in Photojournalism and Documentary Photography at the University of Gloucestershire, earned the Best in Show accolade with his compelling series, “Church of Coal.” This body of work, acclaimed for its mature narrative and sensitive portrayal, captivated all three judges. Eleanor Harrison, one of the judges, praised Allen’s use of black-and-white photography as a powerful tool for storytelling.
Allen’s project, which earned him a Fujifilm prize package valued at £2,500 and a one-year subscription to Capture One Studio, features large-format portraits of active and retired coal miners at Western Europe’s last operational drift colliery in South Wales. “Fujifilm is thrilled to support the upcoming generation of photographers through AOP’s Student Awards in 2026,” stated Lauren Drage, Fujifilm Electronic Imaging’s Marketing Manager. “We are committed to fostering creativity and innovation in photography and eagerly await the incredible talent that this competition will unveil.”
In partnership with the National Union of Miners and the National Museum Wales, Allen’s project explores the evolution of miners and collieries in the 21st century. He expressed, “Listening to their stories and capturing their current realities provided me with insight into their struggles and resilience—their stories must not fade into obscurity, much like the forgotten remnants of their workplaces.”
**Category Winners**
In addition to securing the top award, Rupert Allen also claimed Gold in the People category. The Silver prize went to Anthony Porter, a BA (Hons) student in Professional Photography at Edinburgh College, for his series “Seeing the Unseen.”
In the Places category, Lorena Bujalance Jimenez, an HND Photography student from City of Glasgow College, received Gold. Her work was followed by Gemma McNaughton, a BA student from Edinburgh College, who took Silver with her series “Against the Grain.”
In the Things category, Ed Butty, a Media and Communications student at the University of Leeds, won Gold with his series “Looking Down.” Megan Dickson, a BA Photography student from Norwich University of the Arts, earned Silver for “Falcon on Fist.”
**Why the AOP Student Awards Matter**
Isabelle Doran, CEO of The AOP, highlighted the significance of these awards: “Our annual AOP Student Awards are recognized as a benchmark for identifying emerging talent. The judges faced a monumental challenge in narrowing down the finalists for our 2026 awards, and their selection of images—both still and moving—demonstrates incredible skill and thoughtfulness. Whether depicting people, places, or things, the works of this year’s finalists challenge perceptions and celebrate authenticity. We are excited to celebrate their achievements and anticipate their future endeavors.”
Image Credits: The AOP Student Awards. Individual photographers are credited in the image captions.
The Association of Photographers (AOP) recently revealed the winners of its prestigious annual Student Photography Awards, recognizing outstanding work from students enrolled in 21 diverse photography courses across the UK. These programs range from Higher National Diplomas (HND) to Master’s degrees, showcasing a wide array of emerging talent.
This year marks the 41st edition of the competition, where students vied for top honors in three distinct categories: People, Places, and Things. Each category awarded Gold and Silver prizes, alongside an overall Best in Show recognition.
**Best in Show**
Rupert Allen, a BA student specializing in Photojournalism and Documentary Photography at the University of Gloucestershire, earned the Best in Show accolade with his compelling series, “Church of Coal.” This body of work, acclaimed for its mature narrative and sensitive portrayal, captivated all three judges. Eleanor Harrison, one of the judges, praised Allen’s use of black-and-white photography as a powerful tool for storytelling.
Allen’s project, which earned him a Fujifilm prize package valued at £2,500 and a one-year subscription to Capture One Studio, features large-format portraits of active and retired coal miners at Western Europe’s last operational drift colliery in South Wales. “Fujifilm is thrilled to support the upcoming generation of photographers through AOP’s Student Awards in 2026,” stated Lauren Drage, Fujifilm Electronic Imaging’s Marketing Manager. “We are committed to fostering creativity and innovation in photography and eagerly await the incredible talent that this competition will unveil.”
In partnership with the National Union of Miners and the National Museum Wales, Allen’s project explores the evolution of miners and collieries in the 21st century. He expressed, “Listening to their stories and capturing their current realities provided me with insight into their struggles and resilience—their stories must not fade into obscurity, much like the forgotten remnants of their workplaces.”
**Category Winners**
In addition to securing the top award, Rupert Allen also claimed Gold in the People category. The Silver prize went to Anthony Porter, a BA (Hons) student in Professional Photography at Edinburgh College, for his series “Seeing the Unseen.”
In the Places category, Lorena Bujalance Jimenez, an HND Photography student from City of Glasgow College, received Gold. Her work was followed by Gemma McNaughton, a BA student from Edinburgh College, who took Silver with her series “Against the Grain.”
In the Things category, Ed Butty, a Media and Communications student at the University of Leeds, won Gold with his series “Looking Down.” Megan Dickson, a BA Photography student from Norwich University of the Arts, earned Silver for “Falcon on Fist.”
**Why the AOP Student Awards Matter**
Isabelle Doran, CEO of The AOP, highlighted the significance of these awards: “Our annual AOP Student Awards are recognized as a benchmark for identifying emerging talent. The judges faced a monumental challenge in narrowing down the finalists for our 2026 awards, and their selection of images—both still and moving—demonstrates incredible skill and thoughtfulness. Whether depicting people, places, or things, the works of this year’s finalists challenge perceptions and celebrate authenticity. We are excited to celebrate their achievements and anticipate their future endeavors.”
Image Credits: The AOP Student Awards. Individual photographers are credited in the image captions.
The Association of Photographers (AOP) recently unveiled the victors of its esteemed annual Student Awards, an event that highlights outstanding photography created by students from 21 diverse photography courses throughout the UK, ranging from Higher National Diploma (HND) to Master’s programs.
In its 41st edition, this year’s AOP Student Awards challenged photographers to compete in three distinct categories: People, Places, and Things. Each category honored Gold and Silver winners, alongside an overall Best in Show award.
The standout talent of this year was Rupert Allen, a BA Photojournalism and Documentary Photography student at the University of Gloucestershire, who earned the Best in Show title for his series “Church of Coal.” This compelling series captivated all three judges, who praised its narrative maturity and the effective use of black-and-white photography to convey powerful visual stories. Allen’s project involved using large-format cameras to photograph both active and retired coal miners at the final working drift colliery in Western Europe, situated in South Wales. His achievements were rewarded with a Fujifilm prize kit valued at £2,500 and a yearly subscription to Capture One Studio.
Lauren Drage, Fujifilm Electronic Imaging’s Marketing Manager, expressed the company’s enthusiasm for supporting upcoming photographers through the AOP’s Student Awards in 2026, emphasizing a commitment to fostering creativity and innovation in photography and imaging.
Allen’s collaboration with the National Union of Miners (NUM) in Pontypridd and the National Museum Wales provided a platform to explore the impact of industrial decline in South Wales. Through personal stories, Allen documented how these communities navigated the challenges of the 21st century, aiming to preserve the memories of people and places now fading into obscurity.
In the category honors, Rupert Allen also secured the top spot in the People category, while Anthony Porter, a Professional Photography BA (Hons) student from Edinburgh College, claimed Silver. Lorena Bujalance Jimenez, an HND Photography student from City of Glasgow College, triumphed in the Places category, with Gemma McNaughton from Edinburgh College earning Silver. Finally, Ed Butty, a Media and Communications student from the University of Leeds, achieved Gold in the Things category, while Megan Dickson, a BA Photography student from Norwich University of the Arts, was the runner-up.
The AOP Student Awards are a cornerstone for identifying promising photography talent, according to Isabelle Doran, CEO of The AOP. The 2026 awards presented judges with a challenging task of selecting from exceptional still and moving images. This year’s finalists, with their diverse visual perspectives, have demonstrated both confidence and a deep understanding of their subjects, whether by challenging perceptions or celebrating authenticity. The AOP looks forward to celebrating these achievements and observing the future endeavors of these emerging photographers.
Image credits: The AOP Student Awards. Individual photographers are credited in the image captions.
The Association of Photographers (AOP) recently unveiled the victors of its esteemed annual Student Awards, an event that highlights outstanding photography created by students from 21 diverse photography courses throughout the UK, ranging from Higher National Diploma (HND) to Master’s programs.
In its 41st edition, this year’s AOP Student Awards challenged photographers to compete in three distinct categories: People, Places, and Things. Each category honored Gold and Silver winners, alongside an overall Best in Show award.
The standout talent of this year was Rupert Allen, a BA Photojournalism and Documentary Photography student at the University of Gloucestershire, who earned the Best in Show title for his series “Church of Coal.” This compelling series captivated all three judges, who praised its narrative maturity and the effective use of black-and-white photography to convey powerful visual stories. Allen’s project involved using large-format cameras to photograph both active and retired coal miners at the final working drift colliery in Western Europe, situated in South Wales. His achievements were rewarded with a Fujifilm prize kit valued at £2,500 and a yearly subscription to Capture One Studio.
Lauren Drage, Fujifilm Electronic Imaging’s Marketing Manager, expressed the company’s enthusiasm for supporting upcoming photographers through the AOP’s Student Awards in 2026, emphasizing a commitment to fostering creativity and innovation in photography and imaging.
Allen’s collaboration with the National Union of Miners (NUM) in Pontypridd and the National Museum Wales provided a platform to explore the impact of industrial decline in South Wales. Through personal stories, Allen documented how these communities navigated the challenges of the 21st century, aiming to preserve the memories of people and places now fading into obscurity.
In the category honors, Rupert Allen also secured the top spot in the People category, while Anthony Porter, a Professional Photography BA (Hons) student from Edinburgh College, claimed Silver. Lorena Bujalance Jimenez, an HND Photography student from City of Glasgow College, triumphed in the Places category, with Gemma McNaughton from Edinburgh College earning Silver. Finally, Ed Butty, a Media and Communications student from the University of Leeds, achieved Gold in the Things category, while Megan Dickson, a BA Photography student from Norwich University of the Arts, was the runner-up.
The AOP Student Awards are a cornerstone for identifying promising photography talent, according to Isabelle Doran, CEO of The AOP. The 2026 awards presented judges with a challenging task of selecting from exceptional still and moving images. This year’s finalists, with their diverse visual perspectives, have demonstrated both confidence and a deep understanding of their subjects, whether by challenging perceptions or celebrating authenticity. The AOP looks forward to celebrating these achievements and observing the future endeavors of these emerging photographers.
Image credits: The AOP Student Awards. Individual photographers are credited in the image captions.
The Association of Photographers (AOP) recently revealed the victors of its annual Student Awards, an esteemed competition that honors the exceptional photographic creations of students enrolled in 21 different photography programs throughout the United Kingdom. These programs span a range of levels from Higher National Diploma (HND) to Master’s programs.
This year’s contest marked the 41st iteration of the AOP Student Awards, where participants showcased their talents in three distinct categories: People, Places, and Things. Each category featured a Gold and Silver winner, along with an overall Best in Show.
The Best in Show honor was awarded to Rupert Allen, a BA student specializing in Photojournalism and Documentary Photography at the University of Gloucestershire, for his project titled “Church of Coal.” Allen’s series impressed the judges with its narrative maturity and sensitivity, brilliantly employing black and white photography to convey compelling visual stories.
For his outstanding documentary work, Allen utilized large-format cameras to capture portraits of both active and retired coal miners at the last operational drift colliery in Western Europe, situated in South Wales. His achievements earned him a Fujifilm prize kit valued at £2,500 and an annual subscription to Capture One Studio.
Lauren Drage, Fujifilm Electronic Imaging’s Marketing Manager, expressed the company’s excitement to support emerging photographers through the AOP’s Student Awards in the coming years, emphasizing the importance of nurturing creativity and innovation in photography.
Allen’s series, created in collaboration with the National Union of Miners (NUM) in Pontypridd and the National Museum Wales, explores the fate of miners and collieries in the 21st century. His documentation provides a rare glimpse into the lives of people and places often overlooked, capturing stories before they fade from public memory much like the remnants of the once-thriving industrial sites.
In the awards categories, Rupert Allen also claimed the top spot in the People category, with Anthony Porter from Edinburgh College receiving Silver for his series “Seeing the Unseen.” In the Places category, Lorena Bujalance Jimenez, an HND Photography student at the City of Glasgow College, clinched the Gold award, while Gemma McNaughton from Edinburgh College earned Silver for “Against the Grain.” The Things category saw Ed Butty from the University of Leeds secure Gold with his series “Looking Down,” and Megan Dickson from Norwich University of the Arts followed up with Silver for “Falcon on Fist.”
Additional finalists included Mariam Yaqub, Tom Gormley, Jianuan Xu, and several other talented individuals, showcasing a diverse array of perspectives and creative expressions.
Isabelle Doran, CEO of The AOP, highlighted the significance of the Student Awards as a benchmark for discovering the next generation of photography talent. The judges faced a challenging task in selecting the finalists for the 2026 AOP Student Awards, given the impressive array of entries. The competition’s finalists captured a wide range of subjects with confidence and thoughtful consideration, challenging perspectives and celebrating authenticity.
The AOP Student Awards continue to be a pivotal platform for young photographers, and the organization eagerly anticipates the future achievements of this year’s participants.
The Association of Photographers (AOP) recently revealed the victors of its annual Student Awards, an esteemed competition that honors the exceptional photographic creations of students enrolled in 21 different photography programs throughout the United Kingdom. These programs span a range of levels from Higher National Diploma (HND) to Master’s programs.
This year’s contest marked the 41st iteration of the AOP Student Awards, where participants showcased their talents in three distinct categories: People, Places, and Things. Each category featured a Gold and Silver winner, along with an overall Best in Show.
The Best in Show honor was awarded to Rupert Allen, a BA student specializing in Photojournalism and Documentary Photography at the University of Gloucestershire, for his project titled “Church of Coal.” Allen’s series impressed the judges with its narrative maturity and sensitivity, brilliantly employing black and white photography to convey compelling visual stories.
For his outstanding documentary work, Allen utilized large-format cameras to capture portraits of both active and retired coal miners at the last operational drift colliery in Western Europe, situated in South Wales. His achievements earned him a Fujifilm prize kit valued at £2,500 and an annual subscription to Capture One Studio.
Lauren Drage, Fujifilm Electronic Imaging’s Marketing Manager, expressed the company’s excitement to support emerging photographers through the AOP’s Student Awards in the coming years, emphasizing the importance of nurturing creativity and innovation in photography.
Allen’s series, created in collaboration with the National Union of Miners (NUM) in Pontypridd and the National Museum Wales, explores the fate of miners and collieries in the 21st century. His documentation provides a rare glimpse into the lives of people and places often overlooked, capturing stories before they fade from public memory much like the remnants of the once-thriving industrial sites.
In the awards categories, Rupert Allen also claimed the top spot in the People category, with Anthony Porter from Edinburgh College receiving Silver for his series “Seeing the Unseen.” In the Places category, Lorena Bujalance Jimenez, an HND Photography student at the City of Glasgow College, clinched the Gold award, while Gemma McNaughton from Edinburgh College earned Silver for “Against the Grain.” The Things category saw Ed Butty from the University of Leeds secure Gold with his series “Looking Down,” and Megan Dickson from Norwich University of the Arts followed up with Silver for “Falcon on Fist.”
Additional finalists included Mariam Yaqub, Tom Gormley, Jianuan Xu, and several other talented individuals, showcasing a diverse array of perspectives and creative expressions.
Isabelle Doran, CEO of The AOP, highlighted the significance of the Student Awards as a benchmark for discovering the next generation of photography talent. The judges faced a challenging task in selecting the finalists for the 2026 AOP Student Awards, given the impressive array of entries. The competition’s finalists captured a wide range of subjects with confidence and thoughtful consideration, challenging perspectives and celebrating authenticity.
The AOP Student Awards continue to be a pivotal platform for young photographers, and the organization eagerly anticipates the future achievements of this year’s participants.
The Association of Photographers (AOP) has revealed the talented winners of its 41st annual Student Awards, an event showcasing outstanding photographic achievements by students enrolled in 21 different photography programs across the UK, from Higher National Diploma (HND) to Master’s levels.
This year’s competition featured three categories: People, Places, and Things, each with Gold and Silver awards, as well as an overall champion. The Best in Show accolade was claimed by Rupert Allen, a Photojournalism and Documentary Photography student at the University of Gloucestershire. His compelling series, “Church of Coal,” achieved top honors.
Judge Eleanor Harrison praised Allen’s work, commenting on its “narrative maturity and sensitivity,” and applauding its “glorious use of black and white imagery for powerful visual storytelling.” Allen’s project employed large-format cameras to capture the lives of coal miners—active and retired—at the last operational drift colliery in Western Europe, situated in South Wales. As a reward for his success, Allen received a Fujifilm prize bundle valued at £2,500 and a year-long subscription to Capture One Studio.
Lauren Drage, Marketing Manager at Fujifilm Electronic Imaging, expressed enthusiasm for supporting the next wave of photographers, stating, “Fujifilm is thrilled to back the AOP Student Awards, fostering creativity and innovation in the field of photography.”
Allen’s series was developed in collaboration with the National Union of Miners (NUM) in Pontypridd and the National Museum Wales. It explored the fate of miners and collieries in the 21st century. His project took him on a journey across South Wales, seeking to understand the transformations and resilience of mining communities amidst industrial challenges.
In addition to winning Best in Show, Allen also triumphed in the People category. Anthony Porter, studying Professional Photography at Edinburgh College, secured the Silver award in the same category with his series, “Seeing the Unseen.”
In the Places category, Lorena Bujalance Jimenez from the City of Glasgow College claimed the Gold award with her piece “Swan Lake.” Meanwhile, Gemma McNaughton, from Edinburgh College, earned Silver for her work “Against the Grain.”
The Things category saw Ed Butty, a Media and Communications student at the University of Leeds, take home the Gold award for his series “Looking Down.” Megan Dickson, a BA Photography student at Norwich University of the Arts, was the runner-up with her piece “Falcon on Fist.”
Isabelle Doran, CEO of The AOP, emphasized the significance of the awards, stating, “Our annual AOP Student Awards are recognized as a benchmark for discovering the next generation of photographic talent. The professional judges had a monumental task narrowing down finalists for this year, and their selections reflect a profound confidence and thoughtfulness in the subjects they’ve captured.”
Image credits: The AOP Student Awards. Individual photographers are credited alongside their images.
—
This article was prepared in collaboration with AOP and various educational institutions committed to nurturing future photographic talent.
The Association of Photographers (AOP) has revealed the talented winners of its 41st annual Student Awards, an event showcasing outstanding photographic achievements by students enrolled in 21 different photography programs across the UK, from Higher National Diploma (HND) to Master’s levels.
This year’s competition featured three categories: People, Places, and Things, each with Gold and Silver awards, as well as an overall champion. The Best in Show accolade was claimed by Rupert Allen, a Photojournalism and Documentary Photography student at the University of Gloucestershire. His compelling series, “Church of Coal,” achieved top honors.
Judge Eleanor Harrison praised Allen’s work, commenting on its “narrative maturity and sensitivity,” and applauding its “glorious use of black and white imagery for powerful visual storytelling.” Allen’s project employed large-format cameras to capture the lives of coal miners—active and retired—at the last operational drift colliery in Western Europe, situated in South Wales. As a reward for his success, Allen received a Fujifilm prize bundle valued at £2,500 and a year-long subscription to Capture One Studio.
Lauren Drage, Marketing Manager at Fujifilm Electronic Imaging, expressed enthusiasm for supporting the next wave of photographers, stating, “Fujifilm is thrilled to back the AOP Student Awards, fostering creativity and innovation in the field of photography.”
Allen’s series was developed in collaboration with the National Union of Miners (NUM) in Pontypridd and the National Museum Wales. It explored the fate of miners and collieries in the 21st century. His project took him on a journey across South Wales, seeking to understand the transformations and resilience of mining communities amidst industrial challenges.
In addition to winning Best in Show, Allen also triumphed in the People category. Anthony Porter, studying Professional Photography at Edinburgh College, secured the Silver award in the same category with his series, “Seeing the Unseen.”
In the Places category, Lorena Bujalance Jimenez from the City of Glasgow College claimed the Gold award with her piece “Swan Lake.” Meanwhile, Gemma McNaughton, from Edinburgh College, earned Silver for her work “Against the Grain.”
The Things category saw Ed Butty, a Media and Communications student at the University of Leeds, take home the Gold award for his series “Looking Down.” Megan Dickson, a BA Photography student at Norwich University of the Arts, was the runner-up with her piece “Falcon on Fist.”
Isabelle Doran, CEO of The AOP, emphasized the significance of the awards, stating, “Our annual AOP Student Awards are recognized as a benchmark for discovering the next generation of photographic talent. The professional judges had a monumental task narrowing down finalists for this year, and their selections reflect a profound confidence and thoughtfulness in the subjects they’ve captured.”
Image credits: The AOP Student Awards. Individual photographers are credited alongside their images.
—
This article was prepared in collaboration with AOP and various educational institutions committed to nurturing future photographic talent.
The Association of Photographers (AOP) has recently revealed the victors of its annual Student Awards, a prestigious competition that highlights outstanding photographic work from students enrolled in 21 different photography programs across the UK. These programs range from Higher National Diplomas (HND) to Master’s degrees. This year’s contest, marking the 41st edition, featured three categories: People, Places, and Things, with Gold and Silver awards for each, and an overall winner.
**Best in Show**
Rupert Allen, a BA student specializing in Photojournalism and Documentary Photography at the University of Gloucestershire, earned the Best in Show title for his compelling series “Church of Coal.” This series captivated the judges with its narrative depth and sensitive portrayal, as noted by judge Eleanor Harrison, who praised Allen’s exceptional use of black and white photography for storytelling.
Allen’s award-winning project involved using large-format cameras to document portraits of both current and former coal miners at the last operating drift colliery in Western Europe, situated in South Wales. In recognition of his achievement, Allen received a Fujifilm prize package valued at £2,500 and a one-year subscription to Capture One Studio. Lauren Drage, Fujifilm’s Marketing Manager, expressed the company’s commitment to supporting emerging photographers through initiatives like the AOP Student Awards, emphasizing the importance of fostering creativity and innovation in the field.
Allen collaborated with the National Union of Miners (NUM) in Pontypridd and the National Museum Wales to explore the fate of the miners and collieries, as well as their adaptation in the 21st century. He stated, “Listening to their stories and capturing their current reality has offered insight into the true experiences of these individuals, revealing what has transpired and how some have managed to overcome the challenges faced by industrial Britain. With time running out for many of these individuals, their stories risk fading into obscurity, much like the remnants of the mines they once worked.”
**Category Winners**
In addition to his Best in Show accolade, Rupert Allen also secured the top spot in the People category. Anthony Porter, a BA (Hons) Professional Photography student at Edinburgh College, earned the Silver award for his work.
In the Places category, Lorena Bujalance Jimenez, an HND Photography student at the City of Glasgow College, clinched the Gold award. Gemma McNaughton, a BA Professional Photography student from Edinburgh College, was awarded Silver for her series “Against the Grain.”
In the Things category, Ed Butty, a Media and Communications student from the University of Leeds, took home the Gold award. Megan Dickson, a BA Photography student at Norwich University of the Arts, was the runner-up.
**Significance of the AOP Student Awards**
Isabelle Doran, CEO of The AOP, highlighted the importance of the AOP Student Awards in identifying and nurturing the next generation of photographic talent. She acknowledged the challenging task faced by professional judges in selecting finalists for the 2026 Awards, and commended their selections for showcasing confident and thoughtful visual perspectives across various subjects. “We eagerly anticipate celebrating the achievements of these talented individuals and are excited to see their future endeavors,” she added.
Image credits: The AOP Student Awards. Individual photographers are credited in the image captions.
The Association of Photographers (AOP) has recently revealed the victors of its annual Student Awards, a prestigious competition that highlights outstanding photographic work from students enrolled in 21 different photography programs across the UK. These programs range from Higher National Diplomas (HND) to Master’s degrees. This year’s contest, marking the 41st edition, featured three categories: People, Places, and Things, with Gold and Silver awards for each, and an overall winner.
**Best in Show**
Rupert Allen, a BA student specializing in Photojournalism and Documentary Photography at the University of Gloucestershire, earned the Best in Show title for his compelling series “Church of Coal.” This series captivated the judges with its narrative depth and sensitive portrayal, as noted by judge Eleanor Harrison, who praised Allen’s exceptional use of black and white photography for storytelling.
Allen’s award-winning project involved using large-format cameras to document portraits of both current and former coal miners at the last operating drift colliery in Western Europe, situated in South Wales. In recognition of his achievement, Allen received a Fujifilm prize package valued at £2,500 and a one-year subscription to Capture One Studio. Lauren Drage, Fujifilm’s Marketing Manager, expressed the company’s commitment to supporting emerging photographers through initiatives like the AOP Student Awards, emphasizing the importance of fostering creativity and innovation in the field.
Allen collaborated with the National Union of Miners (NUM) in Pontypridd and the National Museum Wales to explore the fate of the miners and collieries, as well as their adaptation in the 21st century. He stated, “Listening to their stories and capturing their current reality has offered insight into the true experiences of these individuals, revealing what has transpired and how some have managed to overcome the challenges faced by industrial Britain. With time running out for many of these individuals, their stories risk fading into obscurity, much like the remnants of the mines they once worked.”
**Category Winners**
In addition to his Best in Show accolade, Rupert Allen also secured the top spot in the People category. Anthony Porter, a BA (Hons) Professional Photography student at Edinburgh College, earned the Silver award for his work.
In the Places category, Lorena Bujalance Jimenez, an HND Photography student at the City of Glasgow College, clinched the Gold award. Gemma McNaughton, a BA Professional Photography student from Edinburgh College, was awarded Silver for her series “Against the Grain.”
In the Things category, Ed Butty, a Media and Communications student from the University of Leeds, took home the Gold award. Megan Dickson, a BA Photography student at Norwich University of the Arts, was the runner-up.
**Significance of the AOP Student Awards**
Isabelle Doran, CEO of The AOP, highlighted the importance of the AOP Student Awards in identifying and nurturing the next generation of photographic talent. She acknowledged the challenging task faced by professional judges in selecting finalists for the 2026 Awards, and commended their selections for showcasing confident and thoughtful visual perspectives across various subjects. “We eagerly anticipate celebrating the achievements of these talented individuals and are excited to see their future endeavors,” she added.
Image credits: The AOP Student Awards. Individual photographers are credited in the image captions.
Reto, the creative force behind the viral Kodak Charmera and the much-lauded Snapic A1, has unveiled the EC35, an effortlessly stylish 35mm film camera designed for everyday use. This compact device is crafted to catch the eye while remaining user-friendly, ideal for both newcomers and seasoned photographers seeking simplicity. The EC35 eliminates the intricacies of film photography, fostering a pure sense of joy in every captured moment. It features manual wind and rewind functions, a static 1/100 second shutter speed, and a 25mm lens with a fixed f/10 aperture. To top it off, it includes an electronic flash powered by a single AA battery. The camera’s lightweight, all-plastic design weighs just 102 grams and measures 119mm by 65mm by 41.5mm, with an uncomplicated optical viewfinder positioned above the lens. While the technological aspects of the EC35 may not represent groundbreaking innovation, Reto emphasizes its aesthetic appeal and ergonomic design. Available in a vibrant array of seven colors—midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green—the EC35’s standout feature is its nostalgic slide cover. This tactile component snaps securely over the lens and viewfinder, offering protection when the camera is stowed away. Although slide covers were commonplace during the film and early digital photography eras, they have become a rarity today. “With a tactile slide cover for instant protection and a built-in flash, it’s designed for life on the go, ready to capture every golden moment,” says Reto. The Kodak EC35 can be purchased individually or as a bundle, which includes a strap and a 24-frame Kodak Ultramax 400 roll, though it excludes the battery. This marks Reto’s most significant collaboration with the Kodak brand by aligning its product with a film designed and produced by Eastman Kodak. Available for purchase now, the camera is priced at $35, with the bundle option available for $45.
Reto, the creative force behind the viral Kodak Charmera and the much-lauded Snapic A1, has unveiled the EC35, an effortlessly stylish 35mm film camera designed for everyday use. This compact device is crafted to catch the eye while remaining user-friendly, ideal for both newcomers and seasoned photographers seeking simplicity. The EC35 eliminates the intricacies of film photography, fostering a pure sense of joy in every captured moment. It features manual wind and rewind functions, a static 1/100 second shutter speed, and a 25mm lens with a fixed f/10 aperture. To top it off, it includes an electronic flash powered by a single AA battery. The camera’s lightweight, all-plastic design weighs just 102 grams and measures 119mm by 65mm by 41.5mm, with an uncomplicated optical viewfinder positioned above the lens. While the technological aspects of the EC35 may not represent groundbreaking innovation, Reto emphasizes its aesthetic appeal and ergonomic design. Available in a vibrant array of seven colors—midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green—the EC35’s standout feature is its nostalgic slide cover. This tactile component snaps securely over the lens and viewfinder, offering protection when the camera is stowed away. Although slide covers were commonplace during the film and early digital photography eras, they have become a rarity today. “With a tactile slide cover for instant protection and a built-in flash, it’s designed for life on the go, ready to capture every golden moment,” says Reto. The Kodak EC35 can be purchased individually or as a bundle, which includes a strap and a 24-frame Kodak Ultramax 400 roll, though it excludes the battery. This marks Reto’s most significant collaboration with the Kodak brand by aligning its product with a film designed and produced by Eastman Kodak. Available for purchase now, the camera is priced at $35, with the bundle option available for $45.
Reto, renowned for its popular Kodak Charmera and the impressive Snapic A1, has unveiled the Kodak EC35 film camera, a compact device designed for everyday use. This new model focuses on simplicity and charm, ideal for those who want easy photography without the hassle. True to its straightforward design, the EC35 is a basic point-and-shoot film camera. It aims to bring the joy back to photography by eliminating complexities, making it perfect for beginners. Similar to a disposable model, this camera features manual wind and rewind functions, a fixed shutter speed of 1/100 second, and a 25mm lens with a fixed f/10 aperture. It also includes an electronic flash powered by a single AA battery. Weighing just 102 grams, the camera’s dimensions are 119mm by 65mm by 41.5mm.
The minimalist optical viewfinder is positioned just above the lens. While the EC35 doesn’t break new technological ground, Reto emphasizes its aesthetic appeal. It’s available in a vibrant palette of seven colors: midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green. A key feature is its tactile slide cover, which secures the viewfinder and lens, reminiscent of designs from the film and early digital eras. These covers add a nostalgic aspect, akin to the original fidget spinners. “With a tactile slide cover for instant protection and a built-in flash, it’s crafted to be effortlessly carried and ready for memorable moments,” Reto states.
The Kodak EC35 is available for purchase as a standalone product or in a bundle that includes a strap and a 24-frame roll of Kodak Ultramax 400 film, although a battery is not provided. This release marks a significant collaboration with the Kodak brand, as it pairs this iconic camera design with Kodak’s own film product. The camera is now on sale for $35 for just the device or $45 with the film bundle.
Image credits: Reto Analog, Equipment, News. Articles may contain affiliate links which could earn commissions. Support PetaPixel, the leading independent photography publication, by becoming a member. Enjoy ad-free content, exclusive discounts, and more benefits.
Reto, renowned for its popular Kodak Charmera and the impressive Snapic A1, has unveiled the Kodak EC35 film camera, a compact device designed for everyday use. This new model focuses on simplicity and charm, ideal for those who want easy photography without the hassle. True to its straightforward design, the EC35 is a basic point-and-shoot film camera. It aims to bring the joy back to photography by eliminating complexities, making it perfect for beginners. Similar to a disposable model, this camera features manual wind and rewind functions, a fixed shutter speed of 1/100 second, and a 25mm lens with a fixed f/10 aperture. It also includes an electronic flash powered by a single AA battery. Weighing just 102 grams, the camera’s dimensions are 119mm by 65mm by 41.5mm.
The minimalist optical viewfinder is positioned just above the lens. While the EC35 doesn’t break new technological ground, Reto emphasizes its aesthetic appeal. It’s available in a vibrant palette of seven colors: midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green. A key feature is its tactile slide cover, which secures the viewfinder and lens, reminiscent of designs from the film and early digital eras. These covers add a nostalgic aspect, akin to the original fidget spinners. “With a tactile slide cover for instant protection and a built-in flash, it’s crafted to be effortlessly carried and ready for memorable moments,” Reto states.
The Kodak EC35 is available for purchase as a standalone product or in a bundle that includes a strap and a 24-frame roll of Kodak Ultramax 400 film, although a battery is not provided. This release marks a significant collaboration with the Kodak brand, as it pairs this iconic camera design with Kodak’s own film product. The camera is now on sale for $35 for just the device or $45 with the film bundle.
Image credits: Reto Analog, Equipment, News. Articles may contain affiliate links which could earn commissions. Support PetaPixel, the leading independent photography publication, by becoming a member. Enjoy ad-free content, exclusive discounts, and more benefits.
The newest release from Reto, the Kodak EC35 35mm film camera, pays homage to the classic slide cover, making it an appealing choice for photography enthusiasts seeking simplicity and style. Reto, known for its viral Kodak Charmera and the surprisingly efficient Snapic A1, unveils the EC35 as a chic, everyday companion that is as easy to use as it is visually captivating.
The EC35 is designed as a straightforward, point-and-shoot option, touted as ideal for beginners by removing the complexities often associated with film photography and focusing instead on the sheer joy of capturing moments. Resembling a disposable camera experience, this user-friendly device features manual wind and rewind, a fixed shutter speed of 1/100 second, and a 25mm lens with a fixed aperture of f/10. Additionally, it includes an electronic flash powered by a single AA battery. Weighing in at just 102 grams and measuring 119mm by 65mm by 41.5mm, this all-plastic camera is compact and lightweight. Its optical viewfinder is a simple window positioned above the lens.
While the EC35 doesn’t introduce groundbreaking camera technology, Reto emphasizes its aesthetic appeal, offering the camera in seven vibrant colors: midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green. A standout feature is its tactile slide cover, which snaps securely over the lens and viewfinder, providing protection when stored in a bag. These covers, reminiscent of an era when they were prevalent, now offer a nostalgic touch rarely seen in contemporary designs.
“With a tactile slide cover for instant protection and an integrated flash, this camera is crafted to be effortlessly tossed into your bag, ready for those golden moments!” Reto exclaims.
Available now, the Kodak EC35 can be purchased alone or as part of a bundle, which includes a strap and a 24-frame roll of Kodak Ultramax 400 film, though the battery must be purchased separately. This release signifies Reto’s strongest partnership with Kodak to date, blending the timeless brand with Eastman Kodak’s authentic film product.
Priced at $35 for the standalone camera or $45 with the film bundle, the EC35 is accessible for both new and seasoned film photographers.
Image credits belong to Reto. Note that PetaPixel articles might contain affiliate links, potentially generating a commission for purchases made through them. To support PetaPixel and access high-quality reviews and news without ads, consider becoming a member.
The newest release from Reto, the Kodak EC35 35mm film camera, pays homage to the classic slide cover, making it an appealing choice for photography enthusiasts seeking simplicity and style. Reto, known for its viral Kodak Charmera and the surprisingly efficient Snapic A1, unveils the EC35 as a chic, everyday companion that is as easy to use as it is visually captivating.
The EC35 is designed as a straightforward, point-and-shoot option, touted as ideal for beginners by removing the complexities often associated with film photography and focusing instead on the sheer joy of capturing moments. Resembling a disposable camera experience, this user-friendly device features manual wind and rewind, a fixed shutter speed of 1/100 second, and a 25mm lens with a fixed aperture of f/10. Additionally, it includes an electronic flash powered by a single AA battery. Weighing in at just 102 grams and measuring 119mm by 65mm by 41.5mm, this all-plastic camera is compact and lightweight. Its optical viewfinder is a simple window positioned above the lens.
While the EC35 doesn’t introduce groundbreaking camera technology, Reto emphasizes its aesthetic appeal, offering the camera in seven vibrant colors: midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green. A standout feature is its tactile slide cover, which snaps securely over the lens and viewfinder, providing protection when stored in a bag. These covers, reminiscent of an era when they were prevalent, now offer a nostalgic touch rarely seen in contemporary designs.
“With a tactile slide cover for instant protection and an integrated flash, this camera is crafted to be effortlessly tossed into your bag, ready for those golden moments!” Reto exclaims.
Available now, the Kodak EC35 can be purchased alone or as part of a bundle, which includes a strap and a 24-frame roll of Kodak Ultramax 400 film, though the battery must be purchased separately. This release signifies Reto’s strongest partnership with Kodak to date, blending the timeless brand with Eastman Kodak’s authentic film product.
Priced at $35 for the standalone camera or $45 with the film bundle, the EC35 is accessible for both new and seasoned film photographers.
Image credits belong to Reto. Note that PetaPixel articles might contain affiliate links, potentially generating a commission for purchases made through them. To support PetaPixel and access high-quality reviews and news without ads, consider becoming a member.
Reto, the brand renowned for its viral Kodak Charmera and the unexpectedly impressive Snapic A1, has unveiled the Kodak EC35—a 35mm film camera crafted to be a stylish and user-friendly “everyday carry.” With a focus on simplicity, this compact camera aims to bring the joy back to film photography by eliminating complexities, making it ideal for beginners.
Equipped with manual wind and rewind features, the EC35 functions much like a disposable camera, featuring a fixed 1/100 second shutter speed and a 25mm lens with a fixed f/10 aperture. An electronic flash, powered by a single AA alkaline battery, adds to its basic but functional design. Weighing only 102 grams and measuring 119mm by 65mm by 41.5mm, this all-plastic camera is easy to carry around. Its optical viewfinder is a straightforward window positioned above the lens.
While the EC35 doesn’t push technological boundaries, Reto’s marketing emphasizes its aesthetic appeal and user experience. Available in a variety of colors—midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green—the camera stands out with its nostalgic design. The most striking feature is its slide cover, which serves as a protective shield for the lens and viewfinder when not in use. This design element is reminiscent of a bygone era, adding a tactile aspect similar to fidget spinners.
Reto describes this camera as having a “tactile slide cover for instant protection and a built-in flash, making it perfect for spontaneous photography moments on the go.” The Kodak EC35 is available for purchase either as a standalone product or bundled with a strap and a 24-frame roll of Kodak Ultramax 400 film, though the battery is not included.
This launch marks Reto’s strongest collaboration with Kodak to date, pairing the camera with Kodak-manufactured film. Priced at $35 for the camera alone or $45 with the film bundle, the Kodak EC35 is now available for purchase.
Reto, the brand renowned for its viral Kodak Charmera and the unexpectedly impressive Snapic A1, has unveiled the Kodak EC35—a 35mm film camera crafted to be a stylish and user-friendly “everyday carry.” With a focus on simplicity, this compact camera aims to bring the joy back to film photography by eliminating complexities, making it ideal for beginners.
Equipped with manual wind and rewind features, the EC35 functions much like a disposable camera, featuring a fixed 1/100 second shutter speed and a 25mm lens with a fixed f/10 aperture. An electronic flash, powered by a single AA alkaline battery, adds to its basic but functional design. Weighing only 102 grams and measuring 119mm by 65mm by 41.5mm, this all-plastic camera is easy to carry around. Its optical viewfinder is a straightforward window positioned above the lens.
While the EC35 doesn’t push technological boundaries, Reto’s marketing emphasizes its aesthetic appeal and user experience. Available in a variety of colors—midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green—the camera stands out with its nostalgic design. The most striking feature is its slide cover, which serves as a protective shield for the lens and viewfinder when not in use. This design element is reminiscent of a bygone era, adding a tactile aspect similar to fidget spinners.
Reto describes this camera as having a “tactile slide cover for instant protection and a built-in flash, making it perfect for spontaneous photography moments on the go.” The Kodak EC35 is available for purchase either as a standalone product or bundled with a strap and a 24-frame roll of Kodak Ultramax 400 film, though the battery is not included.
This launch marks Reto’s strongest collaboration with Kodak to date, pairing the camera with Kodak-manufactured film. Priced at $35 for the camera alone or $45 with the film bundle, the Kodak EC35 is now available for purchase.
Reto, the innovative company behind the famous Kodak Charmera and the acclaimed Snapic A1, has introduced its latest creation—the EC35 35mm film camera. This new model is designed as an “everyday carry” compact camera, making a statement with its simplicity and visual appeal. The EC35, available brand new at B&H or pre-owned at KEH.com, is a straightforward point-and-shoot camera. Its user-friendly design simplifies film photography, bringing back the sheer delight of capturing each frame without the hassle.
Mirroring the experience of using a disposable camera, the EC35 features manual wind and rewind functions, a fixed 1/100 second shutter speed, and a 25mm lens with a set f/10 aperture. Additionally, it includes an electronic flash powered by a single AA alkaline battery. Weighing just 102 grams and measuring 119mm by 65mm by 41.5mm, this all-plastic camera is lightweight and portable. Its optical viewfinder is a basic window positioned above the lens.
While the EC35’s technical specifications don’t introduce groundbreaking innovations, Reto’s marketing strategy focuses entirely on its aesthetic and tactile charm. The camera is available in seven attractive colors: midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green. A standout feature is its tactile slide cover, reminiscent of the original “fidget spinners,” which snaps into place to protect the lens and viewfinder when not in use. Such designs were common during the film and early digital eras but are rare today.
Reto emphasizes that the EC35, with its slide cover and built-in flash, is designed to be tossed in a bag and ready for capturing any memorable moment. Customers can purchase the Kodak EC35 35mm film camera on its own or opt for a bundle that includes the camera, a strap, and a roll of Kodak Ultramax 400 film, although a battery is not part of the package.
This release signifies Reto’s strongest partnership with Kodak to date, combining their branded camera with genuine Kodak film products. The camera is now available for purchase at $35 on its own or $45 with the film bundle. Image credits go to Reto Analog.
Note: PetaPixel articles may contain affiliate links, and purchasing through them supports PetaPixel’s mission to deliver high-quality photography content. To enjoy an ad-free experience and access exclusive content, consider becoming a PetaPixel Member.
Reto, the innovative company behind the famous Kodak Charmera and the acclaimed Snapic A1, has introduced its latest creation—the EC35 35mm film camera. This new model is designed as an “everyday carry” compact camera, making a statement with its simplicity and visual appeal. The EC35, available brand new at B&H or pre-owned at KEH.com, is a straightforward point-and-shoot camera. Its user-friendly design simplifies film photography, bringing back the sheer delight of capturing each frame without the hassle.
Mirroring the experience of using a disposable camera, the EC35 features manual wind and rewind functions, a fixed 1/100 second shutter speed, and a 25mm lens with a set f/10 aperture. Additionally, it includes an electronic flash powered by a single AA alkaline battery. Weighing just 102 grams and measuring 119mm by 65mm by 41.5mm, this all-plastic camera is lightweight and portable. Its optical viewfinder is a basic window positioned above the lens.
While the EC35’s technical specifications don’t introduce groundbreaking innovations, Reto’s marketing strategy focuses entirely on its aesthetic and tactile charm. The camera is available in seven attractive colors: midnight black, vanilla white, butter yellow, lavender, powder blue, blush pink, and avocado green. A standout feature is its tactile slide cover, reminiscent of the original “fidget spinners,” which snaps into place to protect the lens and viewfinder when not in use. Such designs were common during the film and early digital eras but are rare today.
Reto emphasizes that the EC35, with its slide cover and built-in flash, is designed to be tossed in a bag and ready for capturing any memorable moment. Customers can purchase the Kodak EC35 35mm film camera on its own or opt for a bundle that includes the camera, a strap, and a roll of Kodak Ultramax 400 film, although a battery is not part of the package.
This release signifies Reto’s strongest partnership with Kodak to date, combining their branded camera with genuine Kodak film products. The camera is now available for purchase at $35 on its own or $45 with the film bundle. Image credits go to Reto Analog.
Note: PetaPixel articles may contain affiliate links, and purchasing through them supports PetaPixel’s mission to deliver high-quality photography content. To enjoy an ad-free experience and access exclusive content, consider becoming a PetaPixel Member.
Squarespace has announced significant price increases, reaching up to 26%, for its users, sparking widespread discussions and concerns among photographers, designers, and other visual artists online. Many users have received emails about these changes, leading to discussions on platforms like Threads where individuals are seeking alternatives to Squarespace. Filmmaker Mike Reda expressed his frustration, saying, “Like many of you, I’m leaving @squarespace after their ridiculous pricing increase. But where are we all moving to? I have a basic landing page of a website that hosts my film and video work, what’s the next best plug-and-play solution?” Similarly, photographer Stephen Broome is exploring other options: “Anybody have recommendations for photo and video portfolio site hosting other than Squarespace (or Wix)? The price has long been hard to justify and I have new reason to find something more affordable that’s still customizable.” Photographer Ryan Neeven adds, “Since we’re all ditching Squarespace with their crazy new pricing, what are good options to use for website hosting?”
This conversation is widespread among photographers and filmmakers, communities where Squarespace has heavily marketed through influencer partnerships. Many photography YouTube channels, for example, have offered Squarespace discounts to their viewers. It’s unclear how many photographers have been influenced by these promotions, but the impact is significant. Rising costs, whether due to inflation, corporate strategies, or other factors, are a growing concern for photographers who feel the sting of another essential service becoming more expensive.
Squarespace, which went private in October 2024 after a $7.2 billion acquisition by private equity firm Permira, has joined the ranks of other photo industry companies that have raised prices post-acquisition. While Squarespace has opted to communicate price changes directly via email rather than through a public announcement, historical pricing data reveals the extent of these changes. For annual plans, the Basic plan increases from $16 to $19 per month—a 19% hike. The popular Core plan jumps from $23 to $29 per month, marking a 26% increase. The Plus plan follows the same pattern, rising from $39 to $49 per month. Meanwhile, the Advanced plan remains steady at $99 per month. Monthly subscribers also see changes: the Core plan increases from $36 to $39 monthly, and the Plus plan rises from $56 to $65 monthly.
Discussions about the price hikes are further complicated by the varied promotional discounts different users may have previously enjoyed. Some users, like Redditor CheesecakeOdd3075, express dissatisfaction with features they didn’t ask for, such as AI tools, contributing to the feeling of an unjustified price increase. Despite these increases, Squarespace has introduced new business tools, such as features for selling limited-release products, which may appeal to some photographers. However, these additions do little to justify the 26% price rise for many users.
While Squarespace is a leading choice for photographers, it is not the only option. Alternatives like Format, Smugmug, Zenfolio, and Wix offer similar templates, tools, and custom domain options. PetaPixel attempted to contact Squarespace for comments on the pricing changes but did not receive a response before publication.
Squarespace’s decision to raise prices continues to fuel discussions among users about the value of their services in a competitive market filled with capable alternatives.
Squarespace has announced significant price increases, reaching up to 26%, for its users, sparking widespread discussions and concerns among photographers, designers, and other visual artists online. Many users have received emails about these changes, leading to discussions on platforms like Threads where individuals are seeking alternatives to Squarespace. Filmmaker Mike Reda expressed his frustration, saying, “Like many of you, I’m leaving @squarespace after their ridiculous pricing increase. But where are we all moving to? I have a basic landing page of a website that hosts my film and video work, what’s the next best plug-and-play solution?” Similarly, photographer Stephen Broome is exploring other options: “Anybody have recommendations for photo and video portfolio site hosting other than Squarespace (or Wix)? The price has long been hard to justify and I have new reason to find something more affordable that’s still customizable.” Photographer Ryan Neeven adds, “Since we’re all ditching Squarespace with their crazy new pricing, what are good options to use for website hosting?”
This conversation is widespread among photographers and filmmakers, communities where Squarespace has heavily marketed through influencer partnerships. Many photography YouTube channels, for example, have offered Squarespace discounts to their viewers. It’s unclear how many photographers have been influenced by these promotions, but the impact is significant. Rising costs, whether due to inflation, corporate strategies, or other factors, are a growing concern for photographers who feel the sting of another essential service becoming more expensive.
Squarespace, which went private in October 2024 after a $7.2 billion acquisition by private equity firm Permira, has joined the ranks of other photo industry companies that have raised prices post-acquisition. While Squarespace has opted to communicate price changes directly via email rather than through a public announcement, historical pricing data reveals the extent of these changes. For annual plans, the Basic plan increases from $16 to $19 per month—a 19% hike. The popular Core plan jumps from $23 to $29 per month, marking a 26% increase. The Plus plan follows the same pattern, rising from $39 to $49 per month. Meanwhile, the Advanced plan remains steady at $99 per month. Monthly subscribers also see changes: the Core plan increases from $36 to $39 monthly, and the Plus plan rises from $56 to $65 monthly.
Discussions about the price hikes are further complicated by the varied promotional discounts different users may have previously enjoyed. Some users, like Redditor CheesecakeOdd3075, express dissatisfaction with features they didn’t ask for, such as AI tools, contributing to the feeling of an unjustified price increase. Despite these increases, Squarespace has introduced new business tools, such as features for selling limited-release products, which may appeal to some photographers. However, these additions do little to justify the 26% price rise for many users.
While Squarespace is a leading choice for photographers, it is not the only option. Alternatives like Format, Smugmug, Zenfolio, and Wix offer similar templates, tools, and custom domain options. PetaPixel attempted to contact Squarespace for comments on the pricing changes but did not receive a response before publication.
Squarespace’s decision to raise prices continues to fuel discussions among users about the value of their services in a competitive market filled with capable alternatives.
Squarespace is set to increase its prices by as much as 26%, a change that has sparked widespread discussions among its users, especially within the photography and creative communities. Many clients have received emails outlining these upcoming price adjustments, with the impact varying based on their chosen plan and payment preferences. This topic is generating considerable buzz on platforms like Threads, where photographers, designers, and visual artists are voicing their concerns and seeking advice for alternative website services.
Filmmaker Mike Reda expressed his decision to move away from Squarespace, questioning, “Where are we all moving to? I have a basic landing page showcasing my film and video work; what’s the next best plug-and-play solution?” Similarly, photographer Stephen Broome is on the hunt for a more budget-friendly yet customizable platform, saying, “The price has long been hard to justify.” Photographer Ryan Neeven also chimed in, asking for suggestions on alternative hosting options. These comments reflect a broader dialogue happening online among photographers and creatives.
Squarespace has long been a popular choice within the photography community, with many photographers promoting it as influencer-style marketers. Numerous photography YouTube channels have offered special Squarespace discount codes and promotional links. The exact number of photographers using Squarespace because of these promotions is uncertain, but it’s significant.
With prices rising everywhere due to factors like tariffs, memory shortages, corporate strategies, or inflation, photographers are understandably concerned about yet another essential service becoming more expensive. Many feel the timing is unfortunate, as it seems like everything is becoming pricier simultaneously. This frustration is compounded by the fact that Squarespace went private in October 2024, acquired by the private equity firm Permira for $7.2 billion. Often, when private equity firms take over companies, price increases follow to boost revenue and satisfy investors.
So, what’s changing with Squarespace? While the company hasn’t released a specific public memo regarding its price changes, it has communicated these adjustments directly to customers via email. Archived webpages have allowed users to track how Squarespace’s pricing has evolved. As of July 17, 2026, for annual plans, the Basic plan’s cost will increase by $3 per month, rising from $16 to $19, marking a 19% increase. The Core plan, which includes advanced features like website analytics and professional email services, will go up from $23 to $29 monthly, a 26% increase. The Plus plan will also see a 26% hike, moving from $39 to $49 per month. The Advanced plan remains at $99 per month, unchanged.
For those opting for monthly payments, the Basic and Advanced plans will remain the same, but the Core plan will rise by 8%, from $36 to $39 monthly. The Plus tier will increase by 16%, from $56 to $65 monthly.
The online conversation about Squarespace’s price increase is complicated by the fact that users come from different price backgrounds, with some having started with significant promotional discounts. For those now renewing their subscriptions, the price jump could seem dramatic. Additionally, various promotions and discounts offered by Squarespace at different times add another layer of complexity to the situation.
Most users agree that they will face higher costs, a change they find unwelcome. There is a belief that Squarespace is raising prices to cover the costs of adding new AI tools to its platform, tools that many users did not ask for and are uninterested in. For some, paying more for features they don’t use is frustrating. A Reddit user shared their struggle, stating that their costs have increased by 61% since they first signed up in 2021, despite not using new features like AI.
On the positive side, Squarespace recently introduced a new suite of tools to support businesses looking to sell limited releases, which could be beneficial for photographers selling limited-edition prints. However, many users feel this doesn’t justify the steep price hike.
Photographers have a wide array of alternative website builders to consider if they decide to leave Squarespace. Options like Format, Smugmug, Zenfolio, and Wix offer similar features like templates, custom domains, and storefront experiences.
PetaPixel contacted Squarespace for comments on the price changes but did not receive a response before publication.
Image credits: Header photo licensed via Depositphotos.com.
Squarespace is set to increase its prices by as much as 26%, a change that has sparked widespread discussions among its users, especially within the photography and creative communities. Many clients have received emails outlining these upcoming price adjustments, with the impact varying based on their chosen plan and payment preferences. This topic is generating considerable buzz on platforms like Threads, where photographers, designers, and visual artists are voicing their concerns and seeking advice for alternative website services.
Filmmaker Mike Reda expressed his decision to move away from Squarespace, questioning, “Where are we all moving to? I have a basic landing page showcasing my film and video work; what’s the next best plug-and-play solution?” Similarly, photographer Stephen Broome is on the hunt for a more budget-friendly yet customizable platform, saying, “The price has long been hard to justify.” Photographer Ryan Neeven also chimed in, asking for suggestions on alternative hosting options. These comments reflect a broader dialogue happening online among photographers and creatives.
Squarespace has long been a popular choice within the photography community, with many photographers promoting it as influencer-style marketers. Numerous photography YouTube channels have offered special Squarespace discount codes and promotional links. The exact number of photographers using Squarespace because of these promotions is uncertain, but it’s significant.
With prices rising everywhere due to factors like tariffs, memory shortages, corporate strategies, or inflation, photographers are understandably concerned about yet another essential service becoming more expensive. Many feel the timing is unfortunate, as it seems like everything is becoming pricier simultaneously. This frustration is compounded by the fact that Squarespace went private in October 2024, acquired by the private equity firm Permira for $7.2 billion. Often, when private equity firms take over companies, price increases follow to boost revenue and satisfy investors.
So, what’s changing with Squarespace? While the company hasn’t released a specific public memo regarding its price changes, it has communicated these adjustments directly to customers via email. Archived webpages have allowed users to track how Squarespace’s pricing has evolved. As of July 17, 2026, for annual plans, the Basic plan’s cost will increase by $3 per month, rising from $16 to $19, marking a 19% increase. The Core plan, which includes advanced features like website analytics and professional email services, will go up from $23 to $29 monthly, a 26% increase. The Plus plan will also see a 26% hike, moving from $39 to $49 per month. The Advanced plan remains at $99 per month, unchanged.
For those opting for monthly payments, the Basic and Advanced plans will remain the same, but the Core plan will rise by 8%, from $36 to $39 monthly. The Plus tier will increase by 16%, from $56 to $65 monthly.
The online conversation about Squarespace’s price increase is complicated by the fact that users come from different price backgrounds, with some having started with significant promotional discounts. For those now renewing their subscriptions, the price jump could seem dramatic. Additionally, various promotions and discounts offered by Squarespace at different times add another layer of complexity to the situation.
Most users agree that they will face higher costs, a change they find unwelcome. There is a belief that Squarespace is raising prices to cover the costs of adding new AI tools to its platform, tools that many users did not ask for and are uninterested in. For some, paying more for features they don’t use is frustrating. A Reddit user shared their struggle, stating that their costs have increased by 61% since they first signed up in 2021, despite not using new features like AI.
On the positive side, Squarespace recently introduced a new suite of tools to support businesses looking to sell limited releases, which could be beneficial for photographers selling limited-edition prints. However, many users feel this doesn’t justify the steep price hike.
Photographers have a wide array of alternative website builders to consider if they decide to leave Squarespace. Options like Format, Smugmug, Zenfolio, and Wix offer similar features like templates, custom domains, and storefront experiences.
PetaPixel contacted Squarespace for comments on the price changes but did not receive a response before publication.
Image credits: Header photo licensed via Depositphotos.com.
Squarespace users are experiencing a significant price hike of up to 26%, with notifications circulating through emails and stirring discussions across platforms like Threads. This change is causing concern among photographers, designers, and other visual artists who are exploring alternatives and seeking suggestions from their peers. Filmmaker Mike Reda, for instance, expressed frustration over the increase, seeking a new platform for his film and video work. Photographer Stephen Broome also voiced his disappointment, questioning the justification for the price rise and exploring more affordable yet customizable hosting options. Echoing these sentiments, photographer Ryan Neeven inquired about viable alternatives to Squarespace for website hosting.
This wave of user feedback reflects a broader conversation happening in creative communities, notably because Squarespace has been a favored choice among photographers. The company’s success has partly been attributed to partnerships with professional photographers who have acted as influential marketers, promoting Squarespace through discounts and special offers. These collaborations have likely contributed to the platform’s popularity, though it’s unclear just how many users were influenced in this way.
This price escalation adds to users’ frustrations over rising costs in various sectors, attributed to factors such as tariffs, inflation, and corporate strategies. Many see this as yet another financial burden, exacerbating concerns about the affordability of essential services. In October 2024, Squarespace went private after its acquisition by the private equity firm Permira for $7.2 billion—a move that often aligns with price increases across industries to boost revenue and satisfy investors.
Squarespace has not released a detailed public statement about the price adjustments, opting to communicate changes directly to users via email. However, archived webpages reveal the updated pricing structure effective from July 17, 2026. The Basic plan, offering essential features like templates and a free custom domain, has increased from $16 to $19 per month when paid annually, marking a 19% hike. The popular Core plan, which includes analytics, customization options, and professional email integration, has risen from $23 to $29 monthly, a 26% increase. Similarly, the Plus plan’s cost has jumped from $39 to $49, reflecting the same percentage rise, while the Advanced plan remains steady at $99 per month.
For monthly subscribers, the Core plan has increased from $36 to $39 a month, an 8% rise, and the Plus plan from $56 to $65, a 16% increase. These changes are causing confusion and grievances among users, especially those transitioning from discounted promotional rates.
The general consensus is that Squarespace’s price adjustments are linked to the introduction of new AI tools, which many users feel are unnecessary and contribute to the unwelcome price inflation. A Reddit user, CheesecakeOdd3075, expressed dissatisfaction, noting a total price increase of 61% since 2021, mainly due to these AI enhancements, which they find irrelevant to their needs.
Despite the discontent, Squarespace recently introduced new tools for businesses aiming to sell limited releases or drops, a potential benefit for photographers offering short-term print sales. Yet, this addition may not justify the 26% price increase for many users.
In the competitive landscape of photography website builders, numerous alternatives to Squarespace exist, including Format, Smugmug, Zenfolio, and Wix. Each offers a range of templates, tools, and customization options similar to Squarespace.
PetaPixel reached out to Squarespace for a comment on the price adjustments but had not received a response by publication time.
Recently, Squarespace users have been voicing concerns about upcoming price increases of up to 26% for their website plans. These changes, detailed in emails to customers, have sparked widespread discussions on platforms like Threads, with many photographers, designers, and artists seeking advice on alternative website services.
Filmmaker Mike Reda expressed his frustration, saying, “I’m leaving @squarespace after their ridiculous pricing increase. But where are we all moving to? I have a basic landing page for my film and video work. What’s the next best plug-and-play solution?” Similarly, photographer Stephen Broome questioned the cost-effectiveness, asking, “Anybody have recommendations for photo and video portfolio site hosting other than Squarespace (or Wix)? The price has long been hard to justify.” Photographer Ryan Neeven also joined the conversation, seeking alternative hosting options. These comments are a snapshot of the broader debate among creative professionals online.
Squarespace holds a significant place in the photography community, often leveraging photographers as influencer-style marketers. Many popular photography YouTube channels have featured Squarespace discount codes and promotions. While it’s unclear how many photographers use Squarespace due to such sponsorships, the number is substantial.
Amidst rising costs across the board—whether from tariffs, supply shortages, or inflation—photographers are understandably upset about yet another price hike. The sense of everything getting costlier at once adds to the frustration about Squarespace’s increased fees. Notably, Squarespace went private in October 2024 after being acquired by private equity firm Permira for $7.2 billion. Price hikes are a known strategy for private equity-owned companies in the photography industry to boost revenue and satisfy investors.
So, what’s changing? Squarespace hasn’t released a formal announcement regarding the price increases, opting instead to inform customers via email. However, examining archived web pages reveals the shift in Squarespace’s pricing. The company offers four annual plans: Basic, Core, Plus, and Advanced. As of July 17, 2026, the Basic plan’s annual cost increases by $3 per month, rising from $16 to $19, marking a 19% increase. The Core plan, which includes extensive features like analytics and professional email, sees a 26% hike from $23 to $29 monthly. The Plus plan also jumps 26%, from $39 to $49 per month. The Advanced plan remains at $99 monthly. For those opting for monthly payments, the Basic and Advanced plans remain unchanged, while the Core plan rises by 8% to $39, and Plus increases by 16% to $65.
The confusion among users about the price increase stems from varying initial prices due to promotional discounts or special offers, like those from YouTube content creators. Nevertheless, most users will face higher costs, which is unwelcome news for many. The sentiment is that Squarespace is raising prices to integrate more AI tools, which many users neither requested nor find useful. As one Reddit user, CheesecakeOdd3075, lamented, “I feel like I’m paying for things I sincerely did not ask for, the biggest thing being AI. I don’t use AI at all in Squarespace’s features because I don’t need it. I’m having a hard time coping with this because I now have less than a month to decommission using Squarespace and self-host.”
Despite these frustrations, Squarespace recently launched tools aimed at businesses wanting to offer limited releases, which might benefit photographers selling short-term print drops. However, this feature alone may not justify a 26% price increase for users.
The market for photography website builders offers many alternatives to Squarespace, such as Format, SmugMug, Zenfolio, and Wix, all providing similar features. PetaPixel reached out to Squarespace for comments but did not receive a response before publication.
Image credits: Header photo licensed via Depositphotos.com.
Recently, Squarespace users have been voicing concerns about upcoming price increases of up to 26% for their website plans. These changes, detailed in emails to customers, have sparked widespread discussions on platforms like Threads, with many photographers, designers, and artists seeking advice on alternative website services.
Filmmaker Mike Reda expressed his frustration, saying, “I’m leaving @squarespace after their ridiculous pricing increase. But where are we all moving to? I have a basic landing page for my film and video work. What’s the next best plug-and-play solution?” Similarly, photographer Stephen Broome questioned the cost-effectiveness, asking, “Anybody have recommendations for photo and video portfolio site hosting other than Squarespace (or Wix)? The price has long been hard to justify.” Photographer Ryan Neeven also joined the conversation, seeking alternative hosting options. These comments are a snapshot of the broader debate among creative professionals online.
Squarespace holds a significant place in the photography community, often leveraging photographers as influencer-style marketers. Many popular photography YouTube channels have featured Squarespace discount codes and promotions. While it’s unclear how many photographers use Squarespace due to such sponsorships, the number is substantial.
Amidst rising costs across the board—whether from tariffs, supply shortages, or inflation—photographers are understandably upset about yet another price hike. The sense of everything getting costlier at once adds to the frustration about Squarespace’s increased fees. Notably, Squarespace went private in October 2024 after being acquired by private equity firm Permira for $7.2 billion. Price hikes are a known strategy for private equity-owned companies in the photography industry to boost revenue and satisfy investors.
So, what’s changing? Squarespace hasn’t released a formal announcement regarding the price increases, opting instead to inform customers via email. However, examining archived web pages reveals the shift in Squarespace’s pricing. The company offers four annual plans: Basic, Core, Plus, and Advanced. As of July 17, 2026, the Basic plan’s annual cost increases by $3 per month, rising from $16 to $19, marking a 19% increase. The Core plan, which includes extensive features like analytics and professional email, sees a 26% hike from $23 to $29 monthly. The Plus plan also jumps 26%, from $39 to $49 per month. The Advanced plan remains at $99 monthly. For those opting for monthly payments, the Basic and Advanced plans remain unchanged, while the Core plan rises by 8% to $39, and Plus increases by 16% to $65.
The confusion among users about the price increase stems from varying initial prices due to promotional discounts or special offers, like those from YouTube content creators. Nevertheless, most users will face higher costs, which is unwelcome news for many. The sentiment is that Squarespace is raising prices to integrate more AI tools, which many users neither requested nor find useful. As one Reddit user, CheesecakeOdd3075, lamented, “I feel like I’m paying for things I sincerely did not ask for, the biggest thing being AI. I don’t use AI at all in Squarespace’s features because I don’t need it. I’m having a hard time coping with this because I now have less than a month to decommission using Squarespace and self-host.”
Despite these frustrations, Squarespace recently launched tools aimed at businesses wanting to offer limited releases, which might benefit photographers selling short-term print drops. However, this feature alone may not justify a 26% price increase for users.
The market for photography website builders offers many alternatives to Squarespace, such as Format, SmugMug, Zenfolio, and Wix, all providing similar features. PetaPixel reached out to Squarespace for comments but did not receive a response before publication.
Image credits: Header photo licensed via Depositphotos.com.
Tamron has unveiled its latest offering, the 12-20mm f/2.8 full-frame ultrawide zoom lens, available for $1,699. This lens is compatible with both Sony E and Nikon Z mounts, catering to landscape and architecture photographers, content creators, and enthusiasts seeking dramatic perspectives without the burden of heavy gear.
The lens provides an extremely wide field of view starting at 12mm on a full-frame sensor, ideal for capturing tight interiors, expansive landscapes, or incorporating a broad foreground in astrophotography. The constant f/2.8 aperture across the zoom range is particularly beneficial for both still photography and videography. In addition, the VXD linear motor ensures fast and quiet autofocus, preventing any audio disturbance in video recordings.
Another notable feature is its impressive 7.1-inch minimum focus distance at the wide end, allowing photographers to get very close to their subjects while still including vast backgrounds. The lens also boasts a 12-blade rounded diaphragm, which is expected to produce attractive sunstars at smaller apertures—an appealing feature for landscape photographers.
This lens is the first to showcase Tamron’s new Toned Profile Next design, offering enhanced ergonomics and a refined appearance compared to previous models. Practical additions include a click on/off switch for the aperture ring (smooth for video, clicked for stills), a focus set button, and a rear sheet-filter holder. Additionally, it features a built-in USB-C port for accessing the Tamron Lens Utility, allowing for firmware updates and lens customization.
Although the Tamron 12-20mm f/2.8 lacks optical image stabilization, this is not a significant drawback. Ultrawide focal lengths typically require less stabilization, and both Sony and Nikon mirrorless cameras support robust in-body stabilization.
Specifications:
– Focal Length: 12 to 20mm
– Aperture: Maximum f/2.8 / Minimum f/16
– Lens Mount: Sony E
– Lens Format Coverage: Full-Frame
– Minimum Focus Distance: 7.1 inches / 18 cm (Wide) to 11.1 inches / 28.2 cm (Tele)
– Magnification: 1:5.8 Macro Reproduction Ratio / 0.11 to 0.17x Magnification
– Optical Design: 17 Elements in 12 Groups
– Aperture/Iris Blades: 12, Rounded
– Focus Type: Autofocus
– Image Stabilization: No
– Dimensions: ø: x L: 4.7 inches / ø: x L: 11.9 cm
– Weight: 1.3 lb / 570 g
The Tamron 12-20mm f/2.8 lens is expected to be available for purchase on July 30, 2025, in both Sony E and Nikon Z mounts.
Flashbacks. They are a hot topic for debate! Some love them, while others despise them. Certain filmmakers are celebrated for their skillful use of flashbacks, whereas others falter, losing their audience due to poor implementation. Ultimately, flashbacks are a narrative tool. When wielded wisely, they can greatly enhance a story. Let’s delve into this timeless filmmaking technique and explore how to seamlessly weave flashbacks into your movie narratives.
Cinema possesses a remarkable power: the ability to manipulate time. We’ve previously discussed this in our detailed analysis of frame rate. Flashbacks present another opportunity to disrupt linear storytelling, linking different moments in time.
First, a note: Visual storytelling is a subjective art form, often influenced by personal preference. If you dislike flashbacks, there’s no obligation to use them. However, understanding their types, functionality, and potential to enrich a story is beneficial. That’s the focus of this article. Ready? Let’s begin!
Technically referred to as “analepsis,” flashbacks involve presenting past events later than they occur within the story’s timeline. Simply put, they provide a window into events preceding the main narrative, offering vital backstory or context. For example, when young Harry Potter learns the truth about his parents’ demise, viewers experience these past events unfold visually:
Flashbacks vary based on their dramatic intent. Some revisit scenes already within the story, while others reveal moments occurring outside the primary timeline.
In addition to flashbacks, filmmakers employ techniques such as flashforwards and “flash-sideways,” the latter made famous by the popular series “Lost,” which explored alternate realities in its final season.
The textbook “Cinematic Storytelling” describes flashbacks as follows:
Many screenwriting guides caution against flashbacks, labeling them as mere “catch-up devices.” While this is true, their effectiveness hinges on their execution.
I concur. Condemning a tool simply due to its misuse in some films is unwarranted. Flashbacks offer more than just context. For instance, they can deepen character understanding and foster emotional connections. In the psychological horror film “Smile,” glimpses into Mary’s childhood reveal her personal struggles, enriching the narrative complexity.
Flashbacks can also play with narrative expectations, introducing puzzle pieces that initially seem disjointed. This technique, brilliantly employed by Denis Villeneuve in “Arrival,” subverts viewer assumptions, creating a memorable storytelling experience.
In an earlier work by Villeneuve, “Incendies” (2010), flashbacks unfold across various timelines. A significant flashback follows a climactic revelation, providing deeper insight into the events, enhancing the narrative’s impact without overtly explaining the plot twist.
Why are such examples impactful? They connect narrative dots laid throughout the story, allowing viewers to piece together the plot without feeling patronized. This careful crafting avoids the common pitfall of using flashbacks solely to patch plot holes.
Despite their potential, flashbacks are often criticized due to poor execution. Common misuses include inserting flashbacks to fill plot gaps or reiterating recent events unnecessarily—what I call the “goldfish effect.”
Consider a show where a character realizes something simultaneously as the audience, yet a flashback replays scenes from mere moments earlier. This is what frustrated me about “Squid Game.” The show’s creators underestimated the audience’s ability to connect plot points, over-relying on flashbacks for clarity.
The worst misuse I’ve seen was in “Oblivion.” The film’s suspense unraveled as the ending resorted to a flashback montage to clarify the plot, diminishing the narrative’s intrigue.
Filmmakers can employ various visual techniques to distinguish flashbacks, such as using stylized overlapping footage, as seen in “Memento,” or altering color palettes to signify a shift in timelines. However, such techniques can also remind viewers they’re watching a film, potentially disrupting immersion.
A common transition into flashbacks is a white fade followed by slow-motion memory sequences, a technique parodied by the comedy series “Scrubs.” While clichés can aid quick comprehension, striving for originality often enhances a story’s authenticity.
Filmmakers like Christopher Nolan have redefined flashbacks, integrating them seamlessly into scenes, as seen in “Tenet,” where action unfolds in reverse. Even simple hard cuts can be effective if timed correctly, as demonstrated in “Train Dreams” by Clint Bentley, where flashbacks are subtly interwoven into the narrative climax.
To create impactful flashbacks, ensure they serve a genuine narrative function—be it heightening stakes, enhancing character depth, or reinforcing plot twists. If a flashback feels unnecessary, reconsider its inclusion. The strongest flashbacks often stem from a character’s memories, integrating clues that enrich the storyline.
The series “Lost” exemplifies masterful flashback use, revealing character backgrounds, crafting independent storylines, and linking past elements to the present narrative.
Do you have favorite flashbacks from films or series? Share your thoughts on effective or poorly executed examples in the comments!
Feature image: film stills from “Kill Bill: Vol. 1” by Quentin Tarantino, 2003; and “Train Dreams” by Clint Bentley, 2025.
Full disclosure: Cined is D.
Additional source: “Cinematic Storytelling” by Jennifer Van Sijll, 2005.
Flashbacks. They are a hot topic for debate! Some love them, while others despise them. Certain filmmakers are celebrated for their skillful use of flashbacks, whereas others falter, losing their audience due to poor implementation. Ultimately, flashbacks are a narrative tool. When wielded wisely, they can greatly enhance a story. Let’s delve into this timeless filmmaking technique and explore how to seamlessly weave flashbacks into your movie narratives.
Cinema possesses a remarkable power: the ability to manipulate time. We’ve previously discussed this in our detailed analysis of frame rate. Flashbacks present another opportunity to disrupt linear storytelling, linking different moments in time.
First, a note: Visual storytelling is a subjective art form, often influenced by personal preference. If you dislike flashbacks, there’s no obligation to use them. However, understanding their types, functionality, and potential to enrich a story is beneficial. That’s the focus of this article. Ready? Let’s begin!
Technically referred to as “analepsis,” flashbacks involve presenting past events later than they occur within the story’s timeline. Simply put, they provide a window into events preceding the main narrative, offering vital backstory or context. For example, when young Harry Potter learns the truth about his parents’ demise, viewers experience these past events unfold visually:
Flashbacks vary based on their dramatic intent. Some revisit scenes already within the story, while others reveal moments occurring outside the primary timeline.
In addition to flashbacks, filmmakers employ techniques such as flashforwards and “flash-sideways,” the latter made famous by the popular series “Lost,” which explored alternate realities in its final season.
The textbook “Cinematic Storytelling” describes flashbacks as follows:
Many screenwriting guides caution against flashbacks, labeling them as mere “catch-up devices.” While this is true, their effectiveness hinges on their execution.
I concur. Condemning a tool simply due to its misuse in some films is unwarranted. Flashbacks offer more than just context. For instance, they can deepen character understanding and foster emotional connections. In the psychological horror film “Smile,” glimpses into Mary’s childhood reveal her personal struggles, enriching the narrative complexity.
Flashbacks can also play with narrative expectations, introducing puzzle pieces that initially seem disjointed. This technique, brilliantly employed by Denis Villeneuve in “Arrival,” subverts viewer assumptions, creating a memorable storytelling experience.
In an earlier work by Villeneuve, “Incendies” (2010), flashbacks unfold across various timelines. A significant flashback follows a climactic revelation, providing deeper insight into the events, enhancing the narrative’s impact without overtly explaining the plot twist.
Why are such examples impactful? They connect narrative dots laid throughout the story, allowing viewers to piece together the plot without feeling patronized. This careful crafting avoids the common pitfall of using flashbacks solely to patch plot holes.
Despite their potential, flashbacks are often criticized due to poor execution. Common misuses include inserting flashbacks to fill plot gaps or reiterating recent events unnecessarily—what I call the “goldfish effect.”
Consider a show where a character realizes something simultaneously as the audience, yet a flashback replays scenes from mere moments earlier. This is what frustrated me about “Squid Game.” The show’s creators underestimated the audience’s ability to connect plot points, over-relying on flashbacks for clarity.
The worst misuse I’ve seen was in “Oblivion.” The film’s suspense unraveled as the ending resorted to a flashback montage to clarify the plot, diminishing the narrative’s intrigue.
Filmmakers can employ various visual techniques to distinguish flashbacks, such as using stylized overlapping footage, as seen in “Memento,” or altering color palettes to signify a shift in timelines. However, such techniques can also remind viewers they’re watching a film, potentially disrupting immersion.
A common transition into flashbacks is a white fade followed by slow-motion memory sequences, a technique parodied by the comedy series “Scrubs.” While clichés can aid quick comprehension, striving for originality often enhances a story’s authenticity.
Filmmakers like Christopher Nolan have redefined flashbacks, integrating them seamlessly into scenes, as seen in “Tenet,” where action unfolds in reverse. Even simple hard cuts can be effective if timed correctly, as demonstrated in “Train Dreams” by Clint Bentley, where flashbacks are subtly interwoven into the narrative climax.
To create impactful flashbacks, ensure they serve a genuine narrative function—be it heightening stakes, enhancing character depth, or reinforcing plot twists. If a flashback feels unnecessary, reconsider its inclusion. The strongest flashbacks often stem from a character’s memories, integrating clues that enrich the storyline.
The series “Lost” exemplifies masterful flashback use, revealing character backgrounds, crafting independent storylines, and linking past elements to the present narrative.
Do you have favorite flashbacks from films or series? Share your thoughts on effective or poorly executed examples in the comments!
Feature image: film stills from “Kill Bill: Vol. 1” by Quentin Tarantino, 2003; and “Train Dreams” by Clint Bentley, 2025.
Full disclosure: Cined is D.
Additional source: “Cinematic Storytelling” by Jennifer Van Sijll, 2005.
Flashbacks. They are a hot topic for debate! Some love them, while others despise them. Certain filmmakers are celebrated for their skillful use of flashbacks, whereas others falter, losing their audience due to poor implementation. Ultimately, flashbacks are a narrative tool. When wielded wisely, they can greatly enhance a story. Let’s delve into this timeless filmmaking technique and explore how to seamlessly weave flashbacks into your movie narratives.
Cinema possesses a remarkable power: the ability to manipulate time. We’ve previously discussed this in our detailed analysis of frame rate. Flashbacks present another opportunity to disrupt linear storytelling, linking different moments in time.
First, a note: Visual storytelling is a subjective art form, often influenced by personal preference. If you dislike flashbacks, there’s no obligation to use them. However, understanding their types, functionality, and potential to enrich a story is beneficial. That’s the focus of this article. Ready? Let’s begin!
Technically referred to as “analepsis,” flashbacks involve presenting past events later than they occur within the story’s timeline. Simply put, they provide a window into events preceding the main narrative, offering vital backstory or context. For example, when young Harry Potter learns the truth about his parents’ demise, viewers experience these past events unfold visually:
Flashbacks vary based on their dramatic intent. Some revisit scenes already within the story, while others reveal moments occurring outside the primary timeline.
In addition to flashbacks, filmmakers employ techniques such as flashforwards and “flash-sideways,” the latter made famous by the popular series “Lost,” which explored alternate realities in its final season.
The textbook “Cinematic Storytelling” describes flashbacks as follows:
Many screenwriting guides caution against flashbacks, labeling them as mere “catch-up devices.” While this is true, their effectiveness hinges on their execution.
I concur. Condemning a tool simply due to its misuse in some films is unwarranted. Flashbacks offer more than just context. For instance, they can deepen character understanding and foster emotional connections. In the psychological horror film “Smile,” glimpses into Mary’s childhood reveal her personal struggles, enriching the narrative complexity.
Flashbacks can also play with narrative expectations, introducing puzzle pieces that initially seem disjointed. This technique, brilliantly employed by Denis Villeneuve in “Arrival,” subverts viewer assumptions, creating a memorable storytelling experience.
In an earlier work by Villeneuve, “Incendies” (2010), flashbacks unfold across various timelines. A significant flashback follows a climactic revelation, providing deeper insight into the events, enhancing the narrative’s impact without overtly explaining the plot twist.
Why are such examples impactful? They connect narrative dots laid throughout the story, allowing viewers to piece together the plot without feeling patronized. This careful crafting avoids the common pitfall of using flashbacks solely to patch plot holes.
Despite their potential, flashbacks are often criticized due to poor execution. Common misuses include inserting flashbacks to fill plot gaps or reiterating recent events unnecessarily—what I call the “goldfish effect.”
Consider a show where a character realizes something simultaneously as the audience, yet a flashback replays scenes from mere moments earlier. This is what frustrated me about “Squid Game.” The show’s creators underestimated the audience’s ability to connect plot points, over-relying on flashbacks for clarity.
The worst misuse I’ve seen was in “Oblivion.” The film’s suspense unraveled as the ending resorted to a flashback montage to clarify the plot, diminishing the narrative’s intrigue.
Filmmakers can employ various visual techniques to distinguish flashbacks, such as using stylized overlapping footage, as seen in “Memento,” or altering color palettes to signify a shift in timelines. However, such techniques can also remind viewers they’re watching a film, potentially disrupting immersion.
A common transition into flashbacks is a white fade followed by slow-motion memory sequences, a technique parodied by the comedy series “Scrubs.” While clichés can aid quick comprehension, striving for originality often enhances a story’s authenticity.
Filmmakers like Christopher Nolan have redefined flashbacks, integrating them seamlessly into scenes, as seen in “Tenet,” where action unfolds in reverse. Even simple hard cuts can be effective if timed correctly, as demonstrated in “Train Dreams” by Clint Bentley, where flashbacks are subtly interwoven into the narrative climax.
To create impactful flashbacks, ensure they serve a genuine narrative function—be it heightening stakes, enhancing character depth, or reinforcing plot twists. If a flashback feels unnecessary, reconsider its inclusion. The strongest flashbacks often stem from a character’s memories, integrating clues that enrich the storyline.
The series “Lost” exemplifies masterful flashback use, revealing character backgrounds, crafting independent storylines, and linking past elements to the present narrative.
Do you have favorite flashbacks from films or series? Share your thoughts on effective or poorly executed examples in the comments!
Feature image: film stills from “Kill Bill: Vol. 1” by Quentin Tarantino, 2003; and “Train Dreams” by Clint Bentley, 2025.
Full disclosure: Cined is D.
Additional source: “Cinematic Storytelling” by Jennifer Van Sijll, 2005.
Flashbacks are a storytelling tool that can ignite passionate debates. While some audiences love them, others are less enthusiastic. Some directors gain acclaim for masterful flashback use, while others falter with poor execution. Ultimately, flashbacks are a narrative device that, when used wisely, can greatly enhance a story. Let’s explore this classic cinematic technique and discover how to seamlessly incorporate flashbacks into your films!
One of cinema’s remarkable capabilities is its manipulation of time. As we discussed in our comprehensive look at frame rates, flashbacks offer another method to disrupt chronological order, linking disparate moments in time.
But first, a word of caution. Visual storytelling, while powerful, is deeply subjective and often guided by personal preference. If you dislike flashbacks, their use is optional. However, understanding the various types and their potential to enrich stories is advantageous. Ready to dive in?
The technical term for a flashback is “analepsis,” defined by the Cambridge Dictionary as “the act of depicting a past event later than its chronological occurrence in the story.” In simpler terms, flashbacks reveal past events that preceded the main plot. Their main role is to provide crucial backstory or context, enhancing viewer comprehension. For example, when young Harry Potter learns about his parents’ demise, viewers relive those past events vividly:
Flashbacks serve different dramatic purposes, sometimes revisiting scenes within the main narrative or showcasing events outside the plot’s timeframe.
Besides flashbacks, filmmakers employ techniques like flashforwards and “flash-sideways,” a term popularized by the early 2000s series “Lost,” which introduced alternate realities in its final season.
“Cinematic Storytelling” notes that many screenwriting guides warn against flashbacks, labeling them as catch-up devices. While this is true of their function, their effectiveness hinges on proper execution.
I concur. Condemning a tool due to its misuse in some films is unnecessary. Flashbacks transcend mere context-providing; they can deepen character understanding and foster emotional connections.
For instance, in the psychological horror “Smile,” brief glimpses into Mary’s childhood—though she isn’t the lead—reveal her personal struggles, clarifying her actions and enhancing the film’s complexity.
Flashbacks can also play with audience expectations. Instead of clarifying, they introduce seemingly unrelated puzzle pieces, amplifying the eventual revelation. Denis Villeneuve’s “Arrival” exemplifies this, misleading viewers to believe they are witnessing character memories, only to upend this assumption in a unique twist.
An earlier Villeneuve work, the 2010 mystery drama “Incendies,” showcases another compelling use of flashbacks. The narrative unfolds across timelines, but a standout flashback follows a climactic revelation.
Post-revelation, viewers revisit the pool scene where it all began, newly understanding the mother’s reaction to a stranger’s tattoo. This flashback reinforces the plot twist without over-explaining, much like the climax of “The Sixth Sense.” Avoid that scene if you haven’t watched the film—it’s a classic twist!
Why do these examples succeed? They connect dots that attentive viewers can piece together themselves, rather than serving as arbitrary explanations for the ending.
If flashbacks can be so impactful, why do they sometimes provoke disdain? Often, they’re poorly used to fill plot holes or remind viewers of recent events—a pet peeve of mine known as the “goldfish effect.”
Picture this: You’re engrossed in a series, and a character realizes something simultaneously with you. Yet, the creators insert a flashback from just 20 minutes ago. This irked me in the first season of “Squid Game,” leading me to question the creators’ opinion of their audience’s intelligence. During a pivotal scene, a multi-minute flashback montage recaps the season, underestimating viewers.
The lesson here is not to underestimate your audience. Part of the viewing pleasure lies in piecing together the narrative independently. Excessive repetition can detract from the experience, resembling poor exposition.
The ending of “Now You See Me” exemplifies flashbacks’ potential to diminish story impact. Despite its engaging mystery and twists, the film concludes with a flashback montage that undermines its suspenseful buildup. Alex Buono emphasizes the importance of clarity in films, but this doesn’t justify spoon-feeding viewers. If your plot requires flashbacks for clarity, it may indicate a writing issue.
Visually, flashbacks can be integrated in numerous ways. They might be stylized, like overlapping footage in “Layer Cake,” where a traumatized protagonist’s memories unfold with no dialogue needed—just an understanding of her motivations.
Filmmakers often distinguish flashbacks with unique visual styles, such as black-and-white or distinctive filters. However, be cautious, as these techniques can pull viewers out of the story, underscoring the film’s artifice. While not inherently problematic, this effect should be considered.
The white fade transition into a slow-motion “memory” is a frequent flashback indicator. As seen earlier in “The Six Sense,” this technique has become a cliché over decades. The comedy series “Scrubs” humorously mocks this, using the transition whenever main character J.D. reminisces or daydreams.
Clichés can help audiences quickly grasp concepts when new visual ideas are scarce. However, if you seek a raw, impactful story, it’s best to avoid them.
What other visual strategies are available? Endless possibilities. For instance, “Tenet” integrates flashbacks into reverse-action scenes. While complex, even simple hard cuts can effectively convey flashbacks when well-timed.
In “Train Dreams,” a powerful scene shows the protagonist, Robert Grainier, joyously flying in an airplane. As he experiences this, a cascade of life memories unfolds without transitions. Director Clint Bentley explains this montage consists of unused footage, skillfully woven into the present-moment scene to evoke a life’s beauty, seamlessly connecting past and present.
To conclude, powerful flashbacks must meet several criteria. They should serve a narrative purpose, heightening stakes or enhancing character development. If they can be omitted, they likely aren’t essential. Flashbacks feel most genuine when rooted in character memories, containing cleverly placed clues for later use.
The series “Lost” excels in using flashbacks, especially in its first season, to:
What about you? Do you have favorite or least favorite flashbacks from films or series? Share your thoughts in the comments below!
Feature image: Film stills from “Kill Bill: Vol. 1” by Quentin Tarantino, 2003; and “Train Dreams” by Clint Bentley, 2025. Full disclosure: Cined is my workplace.
Additional source: “Cinematic Storytelling” by Jennifer Van Sijll, 2005.
Renowned for their innovative Cyclo and Elit stabilized heads, the engineering team at HD Air Studio in Lublin has unveiled their latest creation: the HALO modular three-axis gimbal. Designed primarily as a handheld system with extensive remote-head capabilities, this sophisticated gimbal can handle up to 15 kg (33 lb), offering seamless 360° roll and pan thanks to its integrated power and SDI slip rings. It’s targeted at cinema setups featuring the ARRI ALEXA 35, ALEXA Mini LF, and Sony VENICE 2.
The HALO enters a largely unchanged segment of high-payload, two-handle gimbals, aiming to provide a fresh alternative to long-dominant models like the 2 and the L. With insights from professional camera operators, HD Air Studio has focused on maintaining the natural movement of the footage, rather than completely eliminating it—though these claims remain to be verified independently.
HALO boasts a flexible design, with a complete handheld setup weighing about 6 kg (13.2 lb) and a stripped-down head-only version at approximately 4 kg (8.8 lb). This adaptability means it can easily transition to a remote head when mounted on cranes, vehicles, or cables—a dual functionality that echoes the popularity of the Ronin 2. However, HALO will need to prove itself against competitors with established accessory ecosystems.
Modularity is key here, allowing each axis to be individually configured. HD Air Studio emphasizes HALO’s ease of setup and balance, which is particularly crucial for high-payload gimbals that often consume valuable shooting time. The true efficiency of balancing remains uncertain until operators can test the system firsthand.
The HALO’s 15 kg (33 lb) payload capacity places it firmly within the professional category. For comparison, DJI’s Ronin 2 supports up to 30 lb (13.6 kg), giving HALO a slight edge in headroom. Meanwhile, the Freefly MōVI XL accommodates up to 50 lb (22.67 kg), indicating HALO’s focus on the middle-to-upper range typical of most digital cinema setups. This capacity is essential when accounting for additional equipment like matte boxes, lenses, and monitors, where total weight can significantly increase.
Featuring built-in power and SDI slip rings, the HALO enables continuous 360° roll and pan without cumbersome cable wraps. Slip rings allow uninterrupted power and signal transfer through rotating joints, freeing operators to execute smooth whip-pans and barrel rolls without cable constraints—a design approach HD Air Studio has successfully applied in its other products.
This capability allows operators to achieve the kind of dynamic shots that remote heads are designed to facilitate, enhancing creative possibilities on set.
The HALO offers various control options, including a touchscreen, mobile app, joystick, motion controller, geared wheels, and compatibility with third-party systems. This flexibility caters to both solo operators and two-person wheel setups typical of high-end remote heads. The inclusion of wheel control and professional integrations emphasizes HD Air Studio’s focus on serving the professional market rather than targeting casual users.
However, specific details regarding transmission range, latency, and the radio system remain undisclosed, factors critical to evaluating HALO against well-established wireless remote-head systems.
With a history dating back to 2009, HD Air Studio is no stranger to the industry. They claim to have delivered over 1,000 gimbals and stabilized heads across 65 countries. Their product lineup includes the Cyclo Lite and Cyclo 1 heads, geared towards Steadicam operators, and the Elit gyro head for cameras up to 20 kg (44 lb), all manufactured in Poland. This European Union-based production is a notable advantage in today’s market.
The company’s expertise in aerial and gyro-stabilized systems lends credibility to HALO, which aims to bridge the gap between handheld gimbals and remote heads. Whether HALO can challenge established competitors remains to be seen and will depend on real-world testing and a commercially available version.
Currently in development, HALO’s pricing and availability have yet to be announced. HD Air Studio is offering a sign-up for updates and beta access, with eventual pricing listed in EUR, USD, and PLN. As full specs become available, prospective buyers will want to compare them to existing market options before making any decisions. For more information and updates, interested parties can register on the company’s website.
Could this expertly crafted European system finally offer strong competition to the aging Ronin 2 and the robust MōVI XL in the cinema payload class? Share your thoughts in the comments below!
Renowned for their innovative Cyclo and Elit stabilized heads, the engineering team at HD Air Studio in Lublin has unveiled their latest creation: the HALO modular three-axis gimbal. Designed primarily as a handheld system with extensive remote-head capabilities, this sophisticated gimbal can handle up to 15 kg (33 lb), offering seamless 360° roll and pan thanks to its integrated power and SDI slip rings. It’s targeted at cinema setups featuring the ARRI ALEXA 35, ALEXA Mini LF, and Sony VENICE 2.
The HALO enters a largely unchanged segment of high-payload, two-handle gimbals, aiming to provide a fresh alternative to long-dominant models like the 2 and the L. With insights from professional camera operators, HD Air Studio has focused on maintaining the natural movement of the footage, rather than completely eliminating it—though these claims remain to be verified independently.
HALO boasts a flexible design, with a complete handheld setup weighing about 6 kg (13.2 lb) and a stripped-down head-only version at approximately 4 kg (8.8 lb). This adaptability means it can easily transition to a remote head when mounted on cranes, vehicles, or cables—a dual functionality that echoes the popularity of the Ronin 2. However, HALO will need to prove itself against competitors with established accessory ecosystems.
Modularity is key here, allowing each axis to be individually configured. HD Air Studio emphasizes HALO’s ease of setup and balance, which is particularly crucial for high-payload gimbals that often consume valuable shooting time. The true efficiency of balancing remains uncertain until operators can test the system firsthand.
The HALO’s 15 kg (33 lb) payload capacity places it firmly within the professional category. For comparison, DJI’s Ronin 2 supports up to 30 lb (13.6 kg), giving HALO a slight edge in headroom. Meanwhile, the Freefly MōVI XL accommodates up to 50 lb (22.67 kg), indicating HALO’s focus on the middle-to-upper range typical of most digital cinema setups. This capacity is essential when accounting for additional equipment like matte boxes, lenses, and monitors, where total weight can significantly increase.
Featuring built-in power and SDI slip rings, the HALO enables continuous 360° roll and pan without cumbersome cable wraps. Slip rings allow uninterrupted power and signal transfer through rotating joints, freeing operators to execute smooth whip-pans and barrel rolls without cable constraints—a design approach HD Air Studio has successfully applied in its other products.
This capability allows operators to achieve the kind of dynamic shots that remote heads are designed to facilitate, enhancing creative possibilities on set.
The HALO offers various control options, including a touchscreen, mobile app, joystick, motion controller, geared wheels, and compatibility with third-party systems. This flexibility caters to both solo operators and two-person wheel setups typical of high-end remote heads. The inclusion of wheel control and professional integrations emphasizes HD Air Studio’s focus on serving the professional market rather than targeting casual users.
However, specific details regarding transmission range, latency, and the radio system remain undisclosed, factors critical to evaluating HALO against well-established wireless remote-head systems.
With a history dating back to 2009, HD Air Studio is no stranger to the industry. They claim to have delivered over 1,000 gimbals and stabilized heads across 65 countries. Their product lineup includes the Cyclo Lite and Cyclo 1 heads, geared towards Steadicam operators, and the Elit gyro head for cameras up to 20 kg (44 lb), all manufactured in Poland. This European Union-based production is a notable advantage in today’s market.
The company’s expertise in aerial and gyro-stabilized systems lends credibility to HALO, which aims to bridge the gap between handheld gimbals and remote heads. Whether HALO can challenge established competitors remains to be seen and will depend on real-world testing and a commercially available version.
Currently in development, HALO’s pricing and availability have yet to be announced. HD Air Studio is offering a sign-up for updates and beta access, with eventual pricing listed in EUR, USD, and PLN. As full specs become available, prospective buyers will want to compare them to existing market options before making any decisions. For more information and updates, interested parties can register on the company’s website.
Could this expertly crafted European system finally offer strong competition to the aging Ronin 2 and the robust MōVI XL in the cinema payload class? Share your thoughts in the comments below!
Renowned for their innovative Cyclo and Elit stabilized heads, the engineering team at HD Air Studio in Lublin has unveiled their latest creation: the HALO modular three-axis gimbal. Designed primarily as a handheld system with extensive remote-head capabilities, this sophisticated gimbal can handle up to 15 kg (33 lb), offering seamless 360° roll and pan thanks to its integrated power and SDI slip rings. It’s targeted at cinema setups featuring the ARRI ALEXA 35, ALEXA Mini LF, and Sony VENICE 2.
The HALO enters a largely unchanged segment of high-payload, two-handle gimbals, aiming to provide a fresh alternative to long-dominant models like the 2 and the L. With insights from professional camera operators, HD Air Studio has focused on maintaining the natural movement of the footage, rather than completely eliminating it—though these claims remain to be verified independently.
HALO boasts a flexible design, with a complete handheld setup weighing about 6 kg (13.2 lb) and a stripped-down head-only version at approximately 4 kg (8.8 lb). This adaptability means it can easily transition to a remote head when mounted on cranes, vehicles, or cables—a dual functionality that echoes the popularity of the Ronin 2. However, HALO will need to prove itself against competitors with established accessory ecosystems.
Modularity is key here, allowing each axis to be individually configured. HD Air Studio emphasizes HALO’s ease of setup and balance, which is particularly crucial for high-payload gimbals that often consume valuable shooting time. The true efficiency of balancing remains uncertain until operators can test the system firsthand.
The HALO’s 15 kg (33 lb) payload capacity places it firmly within the professional category. For comparison, DJI’s Ronin 2 supports up to 30 lb (13.6 kg), giving HALO a slight edge in headroom. Meanwhile, the Freefly MōVI XL accommodates up to 50 lb (22.67 kg), indicating HALO’s focus on the middle-to-upper range typical of most digital cinema setups. This capacity is essential when accounting for additional equipment like matte boxes, lenses, and monitors, where total weight can significantly increase.
Featuring built-in power and SDI slip rings, the HALO enables continuous 360° roll and pan without cumbersome cable wraps. Slip rings allow uninterrupted power and signal transfer through rotating joints, freeing operators to execute smooth whip-pans and barrel rolls without cable constraints—a design approach HD Air Studio has successfully applied in its other products.
This capability allows operators to achieve the kind of dynamic shots that remote heads are designed to facilitate, enhancing creative possibilities on set.
The HALO offers various control options, including a touchscreen, mobile app, joystick, motion controller, geared wheels, and compatibility with third-party systems. This flexibility caters to both solo operators and two-person wheel setups typical of high-end remote heads. The inclusion of wheel control and professional integrations emphasizes HD Air Studio’s focus on serving the professional market rather than targeting casual users.
However, specific details regarding transmission range, latency, and the radio system remain undisclosed, factors critical to evaluating HALO against well-established wireless remote-head systems.
With a history dating back to 2009, HD Air Studio is no stranger to the industry. They claim to have delivered over 1,000 gimbals and stabilized heads across 65 countries. Their product lineup includes the Cyclo Lite and Cyclo 1 heads, geared towards Steadicam operators, and the Elit gyro head for cameras up to 20 kg (44 lb), all manufactured in Poland. This European Union-based production is a notable advantage in today’s market.
The company’s expertise in aerial and gyro-stabilized systems lends credibility to HALO, which aims to bridge the gap between handheld gimbals and remote heads. Whether HALO can challenge established competitors remains to be seen and will depend on real-world testing and a commercially available version.
Currently in development, HALO’s pricing and availability have yet to be announced. HD Air Studio is offering a sign-up for updates and beta access, with eventual pricing listed in EUR, USD, and PLN. As full specs become available, prospective buyers will want to compare them to existing market options before making any decisions. For more information and updates, interested parties can register on the company’s website.
Could this expertly crafted European system finally offer strong competition to the aging Ronin 2 and the robust MōVI XL in the cinema payload class? Share your thoughts in the comments below!
HD Air Studio, an engineering powerhouse based in Lublin, renowned for its Cyclo and Elit stabilized heads, has unveiled the HALO—a versatile three-axis gimbal system. Designed primarily for handheld use, it also boasts advanced remote-head functionalities. This innovative gimbal can support up to 15 kg (33 lb) and offers uninterrupted 360° roll and pan, facilitated by integrated power and SDI slip rings. It’s tailored for top-tier cinema setups, including the ARRI ALEXA 35, ALEXA Mini LF, and Sony VENICE 2.
The HALO enters a niche market where high-end two-handle gimbals have long been dominated by a few major players. HD Air Studio aims to position HALO as a fresh alternative for professionals seeking innovation. Developed in collaboration with experienced camera operators, the system focuses on retaining natural camera movements. However, these claims await independent verification.
The HALO’s key selling point is its adaptability. HD Air Studio notes that a full handheld setup weighs approximately 6 kg (13.2 lb), while a head-only configuration is about 4 kg (8.8 lb). This modular design allows for quick adaptation when the gimbal is used as a remote head on cranes, car mounts, or cable rigs. This dual functionality is reminiscent of the Ronin 2’s success, making HALO a potential competitor in terms of flexibility and accessory compatibility.
Modularity is at the core of HALO’s design, with each axis configurable independently. The company asserts that the gimbal is straightforward to set up and balance—an important consideration for high-payload gimbals known for consuming valuable shooting time. However, the true ease of setup remains to be seen until operators can test it firsthand.
With a 15 kg (33 lb) payload rating, HALO enters the professional arena. For comparison, DJI’s Ronin 2 supports around 30 lb (13.6 kg), giving HALO a slight advantage. However, Freefly’s MōVI XL surpasses this with a 50 lb (22.67 kg) capacity. HALO targets the mid-to-upper range of digital cinema rigs, accommodating popular payloads like the 5, the F, and the 2, among others.
In practical terms, the payload limit is crucial when mounting additional equipment like matte boxes, lenses, follow focus motors, wireless transmitters, and monitors. Even a lightweight camera can double in weight when fully equipped, making HALO’s payload margin a key detail for prospective users once complete specifications are released.
A notable technical feature is HALO’s use of integrated power and SDI slip rings for endless 360° rotation without cable tangling. Slip rings enable signal and power transmission through continuous rotation, eliminating the limitations of tethered cables. This technology, already utilized in HD Air Studio’s other products like the Cyclo heads, allows operators to execute complex shots like whip-pans and barrel rolls with ease.
HALO offers multiple control methods, including a built-in touchscreen, a mobile app, joysticks, motion controllers, geared wheels, and third-party integrations. This wide range caters to both solo operators and professional two-person remote-head setups. The inclusion of wheel control and compatibility with third-party systems indicates HD Air Studio’s intent to appeal to the professional market.
However, details about the remote operation’s range, latency, and radio system are currently unavailable, which are crucial factors for operators comparing HALO to established wireless remote-head solutions.
HD Air Studio is not new to the industry. With 17 years of experience, the company has produced over 1,000 gimbals and stabilized heads for users in 65 countries. Its portfolio includes models like the Cyclo Lite and Cyclo 1, as well as the Elit gyro head for heavier cameras, all manufactured in Poland. This extensive background in stabilization systems positions HD Air Studio as a credible player in the market.
The HALO is still in development, and pricing or shipping details remain undisclosed. Interested parties can sign up for technical updates and potential beta-testing opportunities through HD Air Studio’s website. Full specifications, including weight, materials, motor torque, and battery details, are pending release and will be crucial for potential buyers evaluating the HALO against market leaders.
Will this European-engineered system challenge the dominance of the Ronin 2 and MōVI XL in the high-capacity gimbal market? Share your thoughts in the comments below!
In June 2026, 2D House made history as the first rental house in North America to receive the ZEISS Aatma lenses. The lenses were quickly rented out, indicating their anticipated popularity.
This achievement marks a pivotal moment for 2D House, enhancing its already diverse selection of gear and cementing its reputation as a premier resource for filmmakers and commercial producers in search of cutting-edge cinema technology.
The ZEISS Aatma full-frame prime lenses redefine cinematic optics by combining the timeless essence and emotional depth of classic Zeiss glass with contemporary optical engineering to meet today’s rigorous cinematography demands. This set of nine T1.5 prime lenses (18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm) is known for its soft skin tone rendering, smooth focus transitions, and rich bokeh, maintaining consistency across focal lengths. Additionally, Zeiss eXtended Data (XD) and CinCraft ecosystem integration optimize the lenses for visual effects, camera tracking, and virtual production workflows.
“The Aatma lenses are the first set from a major manufacturer in a long time that have really excited me,” says David Dvir, founder and CEO of 2D House. “They truly belong in their own category.” With his background in still and motion photography, Dvir was particularly impressed by the test footage of exterior foliage. “Shooting scenes like that is challenging due to the difficulty in separating foreground from background. The Aatma’s distinctive bokeh effect beautifully highlights different planes, creating an appealing visual.”
Having received the lenses in early June 2026, 2D House anticipates their widespread adoption in various production types, especially for commercials and streaming narratives where both reliability and unique aesthetics are crucial. “People have mentioned they resemble Super Speeds,” comments Dvir. “But they offer something new and versatile, enhancing the creative potential for our clients. Zeiss really hit the mark.”
In early June 2026, the first set of ZEISS Aatma lenses arrived at 2D House and were immediately rented out, highlighting their anticipated popularity.
This milestone achievement for 2D House establishes it as the premier rental house in North America to acquire the latest in lens technology. This addition not only broadens the range of equipment available but also solidifies 2D House’s standing as a top-tier destination for filmmakers and commercial producers seeking advanced cinematic tools.
The Aatma full-frame primes blend the nostalgic allure and emotional depth of classic Zeiss lenses with cutting-edge optical advancements, designed to meet the rigorous demands of modern cinematography. The set includes nine T1.5 prime lenses (18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm), offering features like smooth skin tone rendering, artistic focus transitions, and a distinctive soap-bubble bokeh. These lenses also ensure consistency across various focal lengths while being integrated with Zeiss eXtended Data (XD) and the CinCraft ecosystem, enhancing their application in visual effects, camera tracking, and virtual production.
David Dvir, the founder and CEO of 2D House, expresses his excitement, noting, “The Aatma lenses are the first set in many years from a major manufacturer that has truly impressed me. They stand in a category of their own.” With extensive experience in photography, Dvir was particularly captivated by how the lenses handle outdoor scenes. “I understand the complexities of distinguishing between foreground and background in such shots, and the Aatma’s unique bokeh effect beautifully highlights different planes, which is exceptionally appealing.”
Upon receiving the lenses in June, they were quickly rented out, with expectations that they will become a favorite in various production genres, especially commercials and streaming content where both reliability and visual uniqueness are vital. “Clients have remarked that they feel and perform like Super Speeds,” Dvir mentions. Yet, there’s more to these lenses. “They offer something new and adaptable, enhancing the creative potential for our clients,” he adds. “Zeiss has truly excelled with this release.”
The ZEISS Aatma lenses, which made their debut at 2D House in early June 2026, were quickly rented out, indicating their likely popularity among filmmakers.
Being the first in North America to offer this innovative lens set, 2D House celebrates a key milestone in enhancing its extensive range of cinematic equipment. This development cements the company’s status as a premier destination for filmmakers and producers seeking the latest in cinema technology.
The Aatma full-frame prime lenses redefine cinematic optics by blending the timeless quality and emotive character of classic Zeiss lenses with cutting-edge optical engineering. The nine T1.5 primes (18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm) offer beautifully rendered skin tones, seamless focus transitions, and a distinctive soap-bubble bokeh, maintaining consistency across focal lengths. Enhanced with Zeiss eXtended Data (XD) and CinCraft ecosystem compatibility, these lenses are optimized for visual effects, camera tracking, and virtual production.
“The Aatma lenses are the first in a long time from a major manufacturer that have truly excited me,” says David Dvir, founder and CEO of 2D House. “They stand in a class of their own.” With a rich background in both still and motion photography, Dvir was particularly impressed by the test footage of exterior foliage. “Capturing such scenes is challenging due to the difficulty in distinguishing between foreground and background, yet the Aatma lenses’ unique bokeh effect remarkably highlights these planes,” he notes.
Upon receiving the Aatma lenses in early June 2026, they were promptly rented out. Looking forward, 2D House anticipates these lenses will become the preferred choice for various production types, especially commercials and streaming narratives where both reliability and visual distinction are vital. “People have compared them to Super Speeds,” Dvir comments, adding, “But they offer something innovative and versatile, enhancing the creative potential for our clients. Zeiss has truly excelled with these lenses.”
In June 2026, 2D House became the first rental service in North America to offer the ZEISS Aatma lenses. The initial batch was quickly rented out, indicating the high demand for this new optical technology.
Securing the exclusive rights to this lens set marked a significant achievement for 2D House. It enhances the range of gear available, positioning the company as a premier destination for filmmakers and commercial producers who require state-of-the-art cinema tools.
The ZEISS Aatma full-frame primes redefine cinematic optics by blending the emotional depth of classic Zeiss lenses with cutting-edge optical advancements. This set of nine T1.5 primes, ranging from 18mm to 135mm, is known for its gentle skin tone rendering, seamless focus transitions, and distinctive soap-bubble bokeh. The lenses ensure consistency across focal lengths and include Zeiss eXtended Data (XD) and CinCraft ecosystem integration, making them ideal for visual effects, camera tracking, and virtual production.
David Dvir, founder and CEO of 2D House, expressed his enthusiasm for the Aatma lenses, stating, “It’s been a long time since a major manufacturer released a set that excites me this much. They stand in a class of their own.” With experience in both still and motion photography, Dvir was impressed by the test footage of exterior scenes, highlighting the difficulty of distinguishing between foreground and background. He praised the lenses’ unique bokeh for enhancing depth perception, which he finds tremendously appealing.
Following their arrival in June 2026, the Aatma lenses were swiftly rented out. Looking forward, 2D House anticipates these lenses will become a favored choice for various production types, especially commercials and streaming content, where reliability and aesthetic appeal are crucial. “Clients have compared them to Super Speeds,” Dvir notes, but he insists they offer much more. “They introduce a fresh and versatile element that elevates creative possibilities for our clients. Zeiss has truly excelled with these lenses.”
In early June 2026, the highly anticipated ZEISS Aatma lenses made their debut at 2D House, marking a significant milestone. As the first rental house in North America to provide these lenses, 2D House has enhanced its extensive collection of filmmaking gear, solidifying its reputation as a premier destination for filmmakers and commercial producers in search of top-tier cinematic technology.
The Aatma lens series redefines cinematic optics by combining the classic Zeiss lens “soul” with advanced optical engineering, meeting the rigorous demands of contemporary cinematography. This set of nine T1.5 prime lenses (18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm) excels in capturing soft skin tones, smooth focus transitions, and stunning soap-bubble bokeh, while maintaining consistency across all focal lengths. Additionally, the integration of Zeiss eXtended Data (XD) and the CinCraft ecosystem ensures these lenses are optimized for visual effects, camera tracking, and virtual production workflows.
David Dvir, the founder and CEO of 2D House, expressed his enthusiasm for the Aatma lenses, stating, “These lenses are a game-changer from a major manufacturer. They belong to a category of their own.” Dvir, with his background in both still and motion photography, was particularly impressed by the test footage of outdoor scenes. He noted, “Capturing exterior foliage is notoriously challenging, especially when trying to differentiate between foreground and background. The Aatma’s unique bokeh effect beautifully separates these planes in a way that is visually striking.”
Since their arrival in June 2026, the Aatma lenses have quickly become sought after for rental, and 2D House anticipates their popularity to rise across various production types, including commercial and streaming projects where both reliability and aesthetic distinction are crucial. “People have compared them to Super Speeds,” Dvir mentioned, adding, “but they offer something innovative and adaptable, elevating the creative possibilities for our clients. Zeiss has truly outdone themselves.
In early June 2026, 2D House became the first in North America to offer the ZEISS Aatma lenses for rent, and they were immediately in high demand, indicating their potential popularity.
This milestone sets 2D House apart, expanding their comprehensive selection of gear and reinforcing their status as a leading source for filmmakers and commercial producers in pursuit of advanced cinema technology.
The full-frame prime lenses redefine cinematic optics by combining the unique character of classic Zeiss lenses with state-of-the-art optical engineering, meeting the needs of contemporary cinematography. The set includes nine T1.5 primes (18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm), which beautifully capture soft skin tones, artistic focus transitions, and lush soap-bubble bokeh, maintaining uniformity across all focal lengths. Additionally, the integration of Zeiss eXtended Data (XD) and CinCraft ecosystem optimizes the lenses for visual effects, camera tracking, and virtual production workflows.
“The Aatma lenses represent the first set in years from a major manufacturer that I find truly exciting,” says David Dvir, founder, president, and CEO of 2D House. “They have created their own unique category of lens.” With his background in still and motion photography, Dvir was particularly impressed by their test footage of outdoor scenery. “Capturing scenes like that can make it hard to define the foreground and background. The Aatma’s distinctive bokeh effect beautifully separates the planes, which I find highly appealing.”
Receiving the lenses in early June 2026, 2D House immediately saw them go out for rental. They anticipate these lenses will become a favorite for various production types, especially commercials and streaming narratives where both reliability and unique aesthetic qualities are crucial. “Clients have told me they remind them of Super Speeds,” Dvir notes. However, there’s more to them: “They offer something new and versatile, enhancing the creative possibilities for our clients,” he adds. “Zeiss has truly excelled.”
The latest Blackmagic Camera 3.4 update for Android phones introduces versatile enhancements to streamline production workflows.
Blackmagic Design continues to broaden the functionality of its app, introducing user-requested features in the latest update that enhance the app’s utility for various production scenarios.
Now available as version 3.4, the update incorporates 4K HDMI output complete with audio, camera controls via a WearOS companion app, remote management through REST API, options for continuous recording without interruption, and support for Blackmagic Focus and Zoom commands, along with proxy clip management and more.
This enhancement allows Android phones using Blackmagic Camera to adapt to varied production environments, whether for capturing from challenging angles or managing recordings remotely. The 4K HDMI video output with audio connects seamlessly to external monitors, switchers, or recorders, ensuring a top-tier image feed from your mobile device.
The WearOS camera control feature simplifies starting and stopping recordings directly from your wrist, which is particularly useful when the phone is mounted on rigs, vehicles, gimbals, or other hard-to-reach locations. Additionally, the REST API and the new Remote Camera Manager facilitate multi-camera setups, enabling centralized management of multiple Android devices.
With the continuous recording pause feature, users can pause and resume recordings without creating new clips, making the management of extended shoots, such as interviews, events, or behind-the-scenes footage, more efficient.
The 3.4 update for Blackmagic Camera on Android also includes support for Blackmagic Focus and Zoom demands, remote functionalities for Blackmagic URSA Cine Immersive, a new proxy clip manager, and a PCM audio option. Improvements in LUT handling on certain Android devices and general performance and stability enhancements are also part of this update.
Key Features in Blackmagic Camera for Android 3.4:
* 4K HDMI output support.
* HDMI audio output support.
* Camera control via WearOS companion app.
* REST API for remote control.
* Continuous recording with pause functionality.
* Blackmagic Focus and Zoom demands support.
* Immersive Camera remote support.
* Introduction of Remote Camera Manager.
* Integration of Proxy Clip Manager.
Follow the link to download the update.
The latest release, version 3.4, allows Android devices utilizing the Blackmagic Camera app to integrate more seamlessly into various production environments.
Blackmagic Design is broadening the functionality of its application, addressing user requests with this update to make smartphones more capable in diverse production settings.
Version 3.4 introduces 4K HDMI output with audio, camera control via a companion WearOS app, remote control through REST API, continuous recording pause, Blackmagic Focus and Zoom demand features, and proxy clip management, among other improvements.
With these enhancements, Android phones running Blackmagic Camera can now be effectively used in complex production setups, including remote camera positions. The 4K HDMI output with audio facilitates connection to external monitors, switchers, or recorders, maintaining high-quality video output from the smartphone.
The WearOS app integration enables easy recording management from a smartwatch, ideal for setups where the phone is mounted in hard-to-reach places like rigs, vehicles, or gimbals. Additionally, the REST API and the new Remote Camera Manager simplify multicamera setups by allowing centralized control and monitoring of several Android phones.
The update’s continuous recording pause feature means you can pause and resume shooting without creating new clips, which is particularly beneficial for lengthy activities such as interviews, events, or behind-the-scenes filming.
Furthermore, Blackmagic Camera 3.4 supports Blackmagic Focus and Zoom demands, remote capabilities for the Blackmagic URSA Cine Immersive, introduces a proxy clip manager, and provides a PCM audio option. The update also enhances LUT handling for some Android models, along with overall performance and stability enhancements.
Key features in Blackmagic Camera for Android 3.4 include:
* 4K HDMI output support.
* HDMI audio output capability.
* Camera control via WearOS app.
* REST API for remote control.
* Continuous recording with pause function.
* Blackmagic Focus and Zoom demand support.
* Remote support for Immersive Camera.
* New Remote Camera Manager.
* Proxy Clip Manager addition.
Click here to download the update.
The latest update to the Blackmagic Camera app, version 3.4, introduces a host of new features that increase the versatility of Android smartphones in professional video production environments.
Blackmagic Design continues to enhance its mobile app offerings, and the 3.4 update introduces several user-requested features, further solidifying smartphones as a viable option for various production workflows.
This release, version 3.4, includes enhancements such as 4K HDMI output complete with audio, the ability to control the camera via a WearOS companion app, remote operations through REST API, options for continuous recording pauses, and support for Blackmagic Focus and Zoom demands, alongside proxy clip management and additional features.
With these updates, Android phones equipped with the Blackmagic Camera app can be integrated into more adaptable production workflows, enabling operations in hard-to-reach camera positions or scenarios where remote monitoring and control are essential. The 4K HDMI video output with audio allows the phone to connect seamlessly to external monitors, switchers, or recorders, maintaining a high-quality image stream.
The WearOS camera control feature allows users to conveniently start and stop recordings from their wrist, particularly useful when the phone is mounted on rigs, vehicles, or gimbals that are hard to access. Additionally, the REST API remote control and the new Remote Camera Manager simplify multi-camera setups, enabling centralized control and monitoring of multiple Android devices.
A new continuous recording pause feature lets users pause and resume recordings seamlessly, eliminating the need to create separate clips for each segment. This is particularly beneficial for managing extended shooting sessions, such as interviews, events, or behind-the-scenes footage.
The Blackmagic Camera for Android 3.4 update also includes support for Blackmagic Focus and Zoom demands, remote functionalities for the Blackmagic URSA Cine Immersive camera, a new proxy clip manager, and a PCM audio option. Other enhancements include improved LUT handling on select Android phones and overall performance and stability upgrades.
Key Features of Blackmagic Camera for Android 3.4:
* 4K HDMI output support.
* HDMI audio output support.
* Camera control via a WearOS companion app.
* Remote Control support via REST API.
* Continuous recording with pause functionality.
* Blackmagic Focus and Zoom demands support.
* Remote support for Immersive Camera.
* Introduction of a Remote Camera Manager.
* Addition of a Proxy Clip Manager.
Download the latest version now by following this link.
The latest update to Blackmagic Camera, version 3.4, significantly enhances the flexibility of Android phones in production workflows.
Blackmagic Design is broadening the capabilities of its app with this new release, which incorporates several user-suggested features that enhance smartphone usability in various production environments.
The new version 3.4 introduces 4K HDMI output with audio, WearOS app camera control, and remote control through REST API. It also offers continuous recording pause, Blackmagic Focus and Zoom demand support, proxy clip management, and more.
This enhancement allows Android devices with Blackmagic Camera to be integrated into diverse production scenarios, from hard-to-reach camera setups to situations where remote monitoring and control are necessary. The 4K HDMI video with audio output enables connections to external monitors, switchers, or recorders, maintaining high image quality from the phone.
With WearOS camera control, recording can be started or stopped conveniently from your wrist, even if the phone is mounted on difficult-to-access equipment like rigs, vehicles, or gimbals. Additionally, the REST API remote control and the new Remote Camera Manager facilitate multi-camera workflows, allowing centralized management of several Android devices.
The update also introduces a continuous recording pause feature, simplifying the management of long shoots such as interviews or events by allowing you to pause and resume recording without creating new clips each time.
Moreover, Blackmagic Camera for Android 3.4 supports Blackmagic Focus and Zoom demands, provides remote support for Blackmagic URSA Cine Immersive, includes a new proxy clip manager, and offers a PCM audio option. Improvements have also been made to LUT handling on some Android devices, along with general performance and stability enhancements.
New Features in Blackmagic Camera for Android 3.4:
* 4K HDMI output support.
* HDMI audio output support.
* Camera control via WearOS app.
* Remote Control support through REST API.
* Continuous recording pause.
* Support for Blackmagic Focus and Zoom demands.
* Remote support for Immersive Camera.
* Introduction of Remote Camera Manager.
* Inclusion of Proxy Clip Manager.
Click here to download the update.
The recent release of Blackmagic Camera version 3.4 introduces increased flexibility for Android devices, optimizing them for diverse production environments.
Blackmagic Design has once again broadened the capabilities of its camera app. The latest update responds to user feedback by adding features that make Android smartphones running the app even more adaptable in various production scenarios.
The new 3.4 version now includes features such as 4K HDMI output with audio, camera control via the WearOS companion app, and remote management through a REST API. Other enhancements include continuous recording pause, Blackmagic Focus and Zoom demand support, and improved proxy clip management.
This update allows Android phones using the Blackmagic Camera app to be more effectively used in challenging production settings. Whether cameras are positioned in hard-to-reach areas or operators need to manage recordings remotely, the 4K HDMI output with audio enables connections to external displays, switchers, or recorders, maintaining high-quality image feeds.
With camera control compatibility for WearOS, users can easily manage recording from a smartwatch when the phone is set in inaccessible places like rigs, vehicles, or gimbals. Additionally, the REST API remote control and the newly introduced Remote Camera Manager simplify the coordination of multi-camera workflows, enabling centralized management of multiple Android devices.
The update also incorporates the continuous recording pause feature, allowing users to pause and resume recording seamlessly without starting a new clip each time, an asset for long-duration recordings such as interviews, events, or behind-the-scenes footage.
Furthermore, Blackmagic Camera for Android 3.4 includes support for Blackmagic Focus and Zoom demands, remote functionality for the Blackmagic URSA Cine Immersive, a new proxy clip manager, and PCM audio options. There are also enhancements to LUT handling on certain Android devices, along with overall performance and stability improvements.
Highlights of the Blackmagic Camera for Android 3.4 Update:
* 4K HDMI output support.
* HDMI audio output capability.
* WearOS companion app for camera control.
* Remote control via REST API.
* Continuous recording with pause support.
* Blackmagic Focus and Zoom demand compatibility.
* Remote support for Immersive Cameras.
* Introduction of a Remote Camera Manager.
* Addition of a Proxy Clip Manager.
Click here to download the update.
The latest Blackmagic Camera update for Android, version 3.4, introduces new features that enhance the adaptability of Android phones in various production settings.
Blackmagic Design continues to broaden the capabilities of its app, incorporating features often requested by users. This latest update significantly enhances the viability of smartphones equipped with the app for diverse production workflows.
Version 3.4 introduces several key features: 4K HDMI output with audio, integration with WearOS for camera control, remote management through REST API, continuous recording pause, support for Blackmagic Focus and Zoom demands, and proxy clip management, among others.
These enhancements allow Android phones with Blackmagic Camera to be more versatile in production environments, facilitating use in hard-to-reach locations or scenarios where operators must manage recording from afar. With 4K HDMI output and audio, users can connect phones to external monitors, switchers, or recorders, ensuring a high-quality image stream.
The WearOS integration allows users to start and stop recording directly from their wrist, which is particularly useful when the phone is mounted in challenging positions such as on rigs, vehicles, or gimbals. Additionally, the REST API and the new Remote Camera Manager streamline multi-camera setups, enabling centralized control and management of several Android phones.
Continuous recording pause is another valuable feature, allowing users to pause and resume recordings seamlessly, which is beneficial for longer projects like interviews or events.
The update also supports Blackmagic Focus and Zoom demands, provides remote support for Blackmagic URSA Cine Immersive, introduces a proxy clip manager, and offers a PCM audio option. Additionally, improvements have been made in LUT handling for some Android devices, and overall performance and stability have been enhanced.
Key Features of Blackmagic Camera for Android 3.4:
* 4K HDMI output support.
* HDMI audio output support.
* Camera control via WearOS app.
* Remote Control through REST API.
* Continuous recording pause feature.
* Blackmagic Focus and Zoom support.
* Immersive Camera remote support.
* New Remote Camera Manager.
* Proxy Clip Manager added.
Follow the link to download the update.
Godox has introduced the KNOWLED AM800R, an innovative 800W full-color LED light featuring a 4’×4′ (1.2 x 1.2m) inflatable mat design. This fixture boasts a broad CCT range from 1,800K to 10,000K and offers IP65 weatherproofing for its light body and controller. Initially showcased at NAB 2026, this product can be inflated to 8 PSI in about a minute and is currently available for pre-order at $3,990.
The AM800R marks the latest addition to Godox’s expanding KNOWLED series. Previously, the company unveiled similar inflatables, such as the 4’×8′ and 8’×8′ models, and has continually grown its lineup with models like the D, B, and the newly released s. The AM800R’s 4’×4′ size is particularly favored by gaffers for its versatility in interviews, commercials, and medium-sized narrative productions.
Echoing the larger AM1600R model, the AM800R replaces traditional aluminum frames with an inflatable butterfly airframe, which takes just one minute to inflate to 8 PSI. Godox claims it can maintain its shape for up to 15 days, making it ideal for extended shoots without needing re-inflation. The light body alone measures 120 x 120cm (4 x 4ft) and weighs 4.95kg (10.9 lb), with the separate controller adding 6.40kg (14.1 lb) and measuring 31.5 x 18 x 14cm (12.4 x 7.1 x 5.5in).
Built to endure production demands, the AM800R features reinforced construction with a carbon fiber backplate to support the flexible PCB, thereby minimizing deformation stress. The durable airframe fabric is resistant to scratches and abrasions from frequent handling. While these are manufacturer claims, their design addresses potential issues with inflatable structures on active sets. Should a puncture occur, a repair kit is provided, and the replaceable LED modules help minimize long-term costs for rental companies.
The AM800R is equipped with a full-color engine, adhering to the proven KNOWLED framework. Its CCT spans from 1,800K to 10,000K, with a green/magenta adjustment range from -100 to +100. The fixture supports CCT, HSI, RGBW, GEL, X-Y, and FX modes, offering 12 integrated effects. It boasts a CRI of around 96, a TLCI of 98, and a TM-30 Rf of 96, though these figures require independent verification. Dimming ranges from 0 to 100% with options for linear, S-curve, exponential, and logarithmic curves.
Light diffusion is customizable with detachable microstructure diffusion fabrics, available in three variants (D11-32, D11-32+, D13-30+) for varying softness levels. A honeycomb grid (model AF44G) is included to minimize spill and focus the beam, particularly useful when the mat is positioned close to subjects to prevent lighting the background.
Thanks to its lightweight design, the AM800R supports various rigging methods, including truss-free, floor-mounted, and boom-arm setups. It comes with a foldable U-bracket featuring a quick-mount design and a 300° adjustment range. High-strength D-rings around the edges allow multiple units to be linked, creating larger lighting surfaces akin to the fixed sizes of the AM1600R, with combinations forming 4’×8′ or 8’×8′ sources.
The IP65 rating, covering both the light and controller, is a significant improvement from the AM1600R’s IP54. This level of weatherproofing eliminates the need for rain covers, easing wet-weather operations. The fixture operates in temperatures from -20°C to 45°C (-4°F to 113°F) and runs on 110-240V AC at 800W. It includes an 8m (26.2ft) DC cable attached to the body to keep the controller out of view.
Control options are extensive, featuring wired DMX/RDM, wireless CRMX, and Ethernet with Art-Net and sACN for console-driven setups. The Godox KNOWLED app provides Bluetooth control within a 60m (197ft) range, and onboard controls are accessible via the controller unit. Firmware updates are managed through a USB-A port, which also serves as a 5V power source.
The AM800R 44K kit includes the light body with a built-in DC cable, the controller, folding yoke, grid, diffusion fabrics, an air pump, a repair kit, an AC power cable, and a custom flight case. Everything fits into the single case, simplifying transport compared to traditional 4’×4′ frames with separate components.
Our previous discussions with Godox at IBC 2025 highlighted the company’s strategy in the professional lighting space, particularly in the high-output segment. The AM800R continues this trend in the soft light category, showcasing the potential of inflatable designs.
Pre-orders for the Godox KNOWLED AM800R are priced at $3,990. Pricing may differ by region due to VAT and other local taxes. Additional details can be found on their official site.
Could the inflatable 4’×4′ design replace your current frame-and-rag setups, or do you favor tried-and-true rigid solutions? Share your thoughts in the comments below!
Godox has introduced the KNOWLED AM800R, an innovative 800W full-color LED light featuring a 4’×4′ (1.2 x 1.2m) inflatable mat design. This fixture boasts a broad CCT range from 1,800K to 10,000K and offers IP65 weatherproofing for its light body and controller. Initially showcased at NAB 2026, this product can be inflated to 8 PSI in about a minute and is currently available for pre-order at $3,990.
The AM800R marks the latest addition to Godox’s expanding KNOWLED series. Previously, the company unveiled similar inflatables, such as the 4’×8′ and 8’×8′ models, and has continually grown its lineup with models like the D, B, and the newly released s. The AM800R’s 4’×4′ size is particularly favored by gaffers for its versatility in interviews, commercials, and medium-sized narrative productions.
Echoing the larger AM1600R model, the AM800R replaces traditional aluminum frames with an inflatable butterfly airframe, which takes just one minute to inflate to 8 PSI. Godox claims it can maintain its shape for up to 15 days, making it ideal for extended shoots without needing re-inflation. The light body alone measures 120 x 120cm (4 x 4ft) and weighs 4.95kg (10.9 lb), with the separate controller adding 6.40kg (14.1 lb) and measuring 31.5 x 18 x 14cm (12.4 x 7.1 x 5.5in).
Built to endure production demands, the AM800R features reinforced construction with a carbon fiber backplate to support the flexible PCB, thereby minimizing deformation stress. The durable airframe fabric is resistant to scratches and abrasions from frequent handling. While these are manufacturer claims, their design addresses potential issues with inflatable structures on active sets. Should a puncture occur, a repair kit is provided, and the replaceable LED modules help minimize long-term costs for rental companies.
The AM800R is equipped with a full-color engine, adhering to the proven KNOWLED framework. Its CCT spans from 1,800K to 10,000K, with a green/magenta adjustment range from -100 to +100. The fixture supports CCT, HSI, RGBW, GEL, X-Y, and FX modes, offering 12 integrated effects. It boasts a CRI of around 96, a TLCI of 98, and a TM-30 Rf of 96, though these figures require independent verification. Dimming ranges from 0 to 100% with options for linear, S-curve, exponential, and logarithmic curves.
Light diffusion is customizable with detachable microstructure diffusion fabrics, available in three variants (D11-32, D11-32+, D13-30+) for varying softness levels. A honeycomb grid (model AF44G) is included to minimize spill and focus the beam, particularly useful when the mat is positioned close to subjects to prevent lighting the background.
Thanks to its lightweight design, the AM800R supports various rigging methods, including truss-free, floor-mounted, and boom-arm setups. It comes with a foldable U-bracket featuring a quick-mount design and a 300° adjustment range. High-strength D-rings around the edges allow multiple units to be linked, creating larger lighting surfaces akin to the fixed sizes of the AM1600R, with combinations forming 4’×8′ or 8’×8′ sources.
The IP65 rating, covering both the light and controller, is a significant improvement from the AM1600R’s IP54. This level of weatherproofing eliminates the need for rain covers, easing wet-weather operations. The fixture operates in temperatures from -20°C to 45°C (-4°F to 113°F) and runs on 110-240V AC at 800W. It includes an 8m (26.2ft) DC cable attached to the body to keep the controller out of view.
Control options are extensive, featuring wired DMX/RDM, wireless CRMX, and Ethernet with Art-Net and sACN for console-driven setups. The Godox KNOWLED app provides Bluetooth control within a 60m (197ft) range, and onboard controls are accessible via the controller unit. Firmware updates are managed through a USB-A port, which also serves as a 5V power source.
The AM800R 44K kit includes the light body with a built-in DC cable, the controller, folding yoke, grid, diffusion fabrics, an air pump, a repair kit, an AC power cable, and a custom flight case. Everything fits into the single case, simplifying transport compared to traditional 4’×4′ frames with separate components.
Our previous discussions with Godox at IBC 2025 highlighted the company’s strategy in the professional lighting space, particularly in the high-output segment. The AM800R continues this trend in the soft light category, showcasing the potential of inflatable designs.
Pre-orders for the Godox KNOWLED AM800R are priced at $3,990. Pricing may differ by region due to VAT and other local taxes. Additional details can be found on their official site.
Could the inflatable 4’×4′ design replace your current frame-and-rag setups, or do you favor tried-and-true rigid solutions? Share your thoughts in the comments below!
Godox has introduced the KNOWLED AM800R, an innovative 800W full-color LED light featuring a 4’×4′ (1.2 x 1.2m) inflatable mat design. This fixture boasts a broad CCT range from 1,800K to 10,000K and offers IP65 weatherproofing for its light body and controller. Initially showcased at NAB 2026, this product can be inflated to 8 PSI in about a minute and is currently available for pre-order at $3,990.
The AM800R marks the latest addition to Godox’s expanding KNOWLED series. Previously, the company unveiled similar inflatables, such as the 4’×8′ and 8’×8′ models, and has continually grown its lineup with models like the D, B, and the newly released s. The AM800R’s 4’×4′ size is particularly favored by gaffers for its versatility in interviews, commercials, and medium-sized narrative productions.
Echoing the larger AM1600R model, the AM800R replaces traditional aluminum frames with an inflatable butterfly airframe, which takes just one minute to inflate to 8 PSI. Godox claims it can maintain its shape for up to 15 days, making it ideal for extended shoots without needing re-inflation. The light body alone measures 120 x 120cm (4 x 4ft) and weighs 4.95kg (10.9 lb), with the separate controller adding 6.40kg (14.1 lb) and measuring 31.5 x 18 x 14cm (12.4 x 7.1 x 5.5in).
Built to endure production demands, the AM800R features reinforced construction with a carbon fiber backplate to support the flexible PCB, thereby minimizing deformation stress. The durable airframe fabric is resistant to scratches and abrasions from frequent handling. While these are manufacturer claims, their design addresses potential issues with inflatable structures on active sets. Should a puncture occur, a repair kit is provided, and the replaceable LED modules help minimize long-term costs for rental companies.
The AM800R is equipped with a full-color engine, adhering to the proven KNOWLED framework. Its CCT spans from 1,800K to 10,000K, with a green/magenta adjustment range from -100 to +100. The fixture supports CCT, HSI, RGBW, GEL, X-Y, and FX modes, offering 12 integrated effects. It boasts a CRI of around 96, a TLCI of 98, and a TM-30 Rf of 96, though these figures require independent verification. Dimming ranges from 0 to 100% with options for linear, S-curve, exponential, and logarithmic curves.
Light diffusion is customizable with detachable microstructure diffusion fabrics, available in three variants (D11-32, D11-32+, D13-30+) for varying softness levels. A honeycomb grid (model AF44G) is included to minimize spill and focus the beam, particularly useful when the mat is positioned close to subjects to prevent lighting the background.
Thanks to its lightweight design, the AM800R supports various rigging methods, including truss-free, floor-mounted, and boom-arm setups. It comes with a foldable U-bracket featuring a quick-mount design and a 300° adjustment range. High-strength D-rings around the edges allow multiple units to be linked, creating larger lighting surfaces akin to the fixed sizes of the AM1600R, with combinations forming 4’×8′ or 8’×8′ sources.
The IP65 rating, covering both the light and controller, is a significant improvement from the AM1600R’s IP54. This level of weatherproofing eliminates the need for rain covers, easing wet-weather operations. The fixture operates in temperatures from -20°C to 45°C (-4°F to 113°F) and runs on 110-240V AC at 800W. It includes an 8m (26.2ft) DC cable attached to the body to keep the controller out of view.
Control options are extensive, featuring wired DMX/RDM, wireless CRMX, and Ethernet with Art-Net and sACN for console-driven setups. The Godox KNOWLED app provides Bluetooth control within a 60m (197ft) range, and onboard controls are accessible via the controller unit. Firmware updates are managed through a USB-A port, which also serves as a 5V power source.
The AM800R 44K kit includes the light body with a built-in DC cable, the controller, folding yoke, grid, diffusion fabrics, an air pump, a repair kit, an AC power cable, and a custom flight case. Everything fits into the single case, simplifying transport compared to traditional 4’×4′ frames with separate components.
Our previous discussions with Godox at IBC 2025 highlighted the company’s strategy in the professional lighting space, particularly in the high-output segment. The AM800R continues this trend in the soft light category, showcasing the potential of inflatable designs.
Pre-orders for the Godox KNOWLED AM800R are priced at $3,990. Pricing may differ by region due to VAT and other local taxes. Additional details can be found on their official site.
Could the inflatable 4’×4′ design replace your current frame-and-rag setups, or do you favor tried-and-true rigid solutions? Share your thoughts in the comments below!
The latest release from Godox, the KNOWLED AM800R, is an innovative 800W full-color LED inflatable mat light with a 4’×4′ (1.2 x 1.2m) surface. It features a broad color temperature range from 1,800K to 10,000K and comes with an IP65 weather-resistance rating, applicable to both the light unit and its controller. Unveiled initially at NAB 2026, this fixture inflates to 8 PSI in just about a minute and is available for pre-order at a price of $3,990.
The AM800R marks a significant addition to Godox’s evolving product lineup. Previously, the company launched larger inflatable mat lights in 4’×8′ and 8’×8′ sizes. With continuous expansion of their KNOWLED series, including products like the D, the B, and the newly released s, Godox now introduces the AM800R in a 4’×4′ size. This format is often favored by lighting professionals for use in interviews, commercials, and medium-scale narrative productions.
Like its larger counterpart, the AM1600R, this light utilizes a pressurized inflatable frame instead of traditional rigid setups. The AM800R inflates to 8 PSI in about a minute, and Godox claims it can maintain its structure for up to 15 days, allowing crews to keep it set up across multiple days without needing to inflate it again. The light body measures 120 x 120 cm (4 x 4 ft) without the airframe and weighs 4.95 kg (10.9 lb). Meanwhile, its controller weighs 6.40 kg (14.1 lb) and measures 31.5 x 18 x 14 cm (12.4 x 7.1 x 5.5 in).
Godox has reinforced the AM800R for production use. Its carbon fiber backplate supports the flexible PCB to minimize deformation, and the airframe fabric is engineered to resist scratches and abrasions. These features address practical concerns about inflatable gear on busy sets. In the event of a puncture, an airframe repair kit is included, and the LED modules are replaceable, helping to keep long-term maintenance costs low, especially for rental companies.
The AM800R follows the established color programming of the KNOWLED series. It offers a CCT range from 1,800K to 10,000K with green/magenta adjustments from -100 to +100. It features multiple modes, including CCT, HSI, RGBW, GEL, X-Y, and FX, with 12 pre-installed effects. Godox rates its CRI at around 96, TLCI at approximately 98, and TM-30 Rf near 96, though these numbers should be independently tested. The light allows dimming from 0 to 100% with four curve options: linear, S-curve, exponential, and logarithmic.
The light’s versatility is enhanced by interchangeable microstructure diffusion fabrics, available in three variants (D11-32, D11-32+, and D13-30+) for different softness levels. A honeycomb grid (model AF44G) helps manage spill and direct the beam, making it particularly beneficial when keeping light focused on the subject and away from the background.
Due to its lightweight design, the AM800R can be rigged without a truss, supporting more conventional floor-mounted or boom-arm setups. A foldable U-bracket allows a 300° adjustment range, and high-strength D-rings enable the connection of multiple units to create larger lighting surfaces. The 4’×4′ can be combined to form a 4’×8′ source or a large 8’×8′ wall, mimicking the fixed sizes of the AM1600R.
Highlighting its IP65 rating, both the light and controller are protected, which marks an improvement from the AM1600R’s IP54 rating. This fully sealed system eliminates the need for rain covers, simplifying outdoor shoots in wet conditions. Its operating temperature range is -20°C to 45°C (-4°F to 113°F), and it functions on 110-240V AC at 800W, with an 8m (26.2ft) DC cable integrated into the light body to keep the controller out of the frame.
The AM800R supports multiple professional protocols, including wired DMX/RDM, wireless CRMX, and Ethernet with Art-Net and sACN for extensive light networks. Bluetooth control via the Godox KNOWLED app works up to 60m (197ft), while the onboard controller provides direct management. A USB-A port facilitates firmware updates and acts as a 5V power supply.
The AM800R 44K kit includes the light body with a built-in DC cable, controller, folding yoke, grid, diffusion fabrics, air pump, repair kit, AC power cable, and a custom flight case. Everything fits into the case, making transportation much simpler compared to a standard 4’×4′ frame with separate accessories.
As Godox continues to stake its claim in professional lighting, particularly with our discussion at IBC 2025 about their s model, the AM800R represents their ongoing innovation in soft light solutions, where inflatable setups offer a unique alternative.
The Godox KNOWLED AM800R is now available for pre-order at $3,990. Regional prices may vary due to VAT and local taxes. For more information, visit their website.
Could the innovative 4’×4′ inflatable light replace your traditional frame setups, or do you prefer the tried-and-true rigid designs? Share your thoughts in the comments below!
Understanding the exposure triangle is fundamental for any aspiring photographer. This concept, which ties together aperture, shutter speed, and ISO, is crucial for controlling photo exposure. By mastering this triangle, photographers can exercise full creative control, regardless of whether they are using Aperture Priority, Shutter Priority, or Manual mode.
The exposure triangle is a balancing act involving three main settings: aperture, shutter speed, and ISO. Aperture and shutter speed regulate the amount of light that reaches the camera sensor, while ISO measures the sensor’s sensitivity to light. Adjusting one of these settings usually necessitates changing at least one of the others to maintain the desired exposure.
Each element of the exposure triangle has its unique role. Aperture, measured in f-stops, affects the depth of field. Shutter speed determines the length of time the sensor is exposed to light, influencing motion blur. ISO, on the other hand, controls the sensor’s light sensitivity, impacting the level of digital noise in the image.
To use the exposure triangle effectively, one must understand the interplay between these settings. For instance, if a photograph is too dark but the aperture is set at f/8, reducing the shutter speed or increasing the ISO can compensate for the lack of light. Similarly, if more depth of field is desired and the aperture is adjusted to f/8 from f/5.6, you might need to increase the ISO or reduce the shutter speed to maintain exposure.
Determining the correct exposure isn’t always straightforward. It depends on the scene and creative intent. The goal is to balance the lightest and darkest parts of an image, ensuring that blacks appear black and whites are correctly exposed without overexposing. Cameras often do a good job of reading scenes, but in complex lighting scenarios, manual adjustments or exposure compensation might be necessary.
Exposure compensation is helpful in situations where the camera’s meter might misjudge the scene, such as when shooting a white subject against a white background. In such cases, slight overexposure might be necessary for the correct visual outcome.
Even when using semi-automatic modes like Aperture Priority or Shutter Priority, an understanding of the exposure triangle allows photographers to make precise adjustments to achieve their desired results. This includes compensating for tricky lighting conditions or achieving specific artistic effects.
For practice, photographers can test different scenarios: adjusting ISO in low-light concert settings, correcting overexposure in bright sunlight, or fine-tuning settings for indoor portraits. Each situation provides an opportunity to apply the principles of the exposure triangle in real-world settings.
In conclusion, the exposure triangle is the cornerstone of photography. Mastering its elements allows photographers to confidently navigate various lighting conditions and achieve their creative visions. Understanding how aperture, shutter speed, and ISO interact will empower you to make informed choices with your camera, ensuring you capture the best possible images.
A breathtaking 570-megapixel image captured by the Dark Energy Camera (DECam) brings to mind the swirling beauty of Vincent van Gogh’s “Starry Night.” Captured by Soumyadeep Mukherjee, an acclaimed astrophotographer from India, this image showcases the Corona Australis Molecular Cloud in stunning detail. Mukherjee, with a doctorate in Linguistics, has been widely published in prestigious platforms such as Astronomy, BBC Sky at Night, and National Geographic. Notably, he was the first Indian to clinch the “Astronomy Photographer of the Year” award in a major category.
Using the state-of-the-art DECam mounted on the Víctor M. Blanco 4-meter Telescope in Chile, astronomers have obtained one of the most comprehensive wide-field views of the Corona Australis Molecular Cloud, a stellar nursery located about 430 light-years away. This cloud is renowned among scientists and amateur astronomers alike for its rich variety of astronomical phenomena.
The Corona Australis Molecular Cloud, despite its modest size in the southern sky, boasts an array of fascinating objects. It is a part of a larger collection of cold molecular clouds that are crucial to star formation. Gravity accumulates gas and dust within these clouds, eventually giving birth to new stars. Although large sections of the cloud remain obscured by dense dust, nearby stars illuminate the dust, creating beautiful reflection nebulae with a characteristic blue hue. This phenomenon also explains the color of Earth’s sky, as tiny particles scatter blue light more effectively than red.
In contrast to the bright emission nebulae, the Corona Australis Molecular Cloud does not glow on its own. Instead, it is illuminated by nearby stars, making it a picturesque target for optical observations. These observations help scientists understand how young stars interact with their environment, with light from stars illuminating dust while stellar winds reshape the cloud.
The DECam image captures several renowned astronomical features within the cloud, including the bright reflection nebula NGC 6729, illuminated by the evolving star R Coronae Australis. Adjacent to this are NGC 6726 and NGC 6727, two more reflection nebulae, as well as the dense star cluster NGC 6723, which houses hundreds of thousands of ancient stars.
Although DECam was originally designed to investigate why the universe’s expansion is accelerating, it has become an invaluable tool for a variety of astronomical studies. Housing 62 science CCDs, the camera can capture images with a resolution of 570 megapixels. Positioned at the Cerro Tololo Inter-American Observatory in Chile, it benefits from some of the darkest and clearest skies on Earth. Even after the primary objectives of the Dark Energy Survey were achieved, DECam continues to be a vital instrument for exploring nearby galaxies, supernovae, and star-forming regions like the Corona Australis Molecular Cloud.
The Víctor M. Blanco 4-meter Telescope, with DECam at its helm, remains a prominent feature of the Cerro Tololo Inter-American Observatory, offering astronomers around the world an unparalleled glimpse into the cosmic wonders that surround us.
New camera models have been registered by both Canon and Fuji in the Asian market. Canon’s latest registration, the DS126965, was filed on July 1st and includes dual-band Wi-Fi capability. This addition marks the third new camera registration for Canon in the fiscal year 2026, following the DS126947 and DS126973 models, which do not correspond to any existing cameras:
Currently, Fuji has two cameras that have been registered but not yet announced:
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The post continues on s.
Recently, both Fuji and Canon have listed new camera models in the Asian market. Canon’s latest addition, the DS126965, was registered on July 1st and comes equipped with dual-band Wi-Fi capabilities. This new registration adds to Canon’s 2026 fiscal year lineup, which now includes three models: DS126947, DS126973, and DS126965, all of which are new entries with no existing counterparts:
Fuji, on the other hand, has also registered two upcoming cameras yet to be announced:
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The post was originally published on [source].
In recent developments, both Fuji and Canon have registered new cameras across Asia. Canon announced a new model, the DS126965, on July 1st, equipped with dual-band Wi-Fi. This marks Canon’s third camera registration this fiscal year, alongside the DS126947 and DS126973, as all these models await formal release:
Fuji, on the other hand, has two new registrations awaiting announcement:
Stay updated as more details on these fresh models emerge.
Related posts:
Fuji and Canon have both introduced new camera models in the Asian market. Canon has registered a DS126965 model on July 1st, equipped with dual-band Wi-Fi. This addition marks Canon’s third new registration for the fiscal year 2026, joining the DS126947 and DS126973 models. None of these has an existing counterpart:
Fuji has also registered two new cameras that are yet to be announced:
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This post originally appeared on s.
Both Fuji and Canon have recently registered new camera models in Asia. On July 1st, Canon officially registered a new camera model identified as DS126965, which is equipped with dual-band Wi-Fi capabilities. This latest addition brings the total number of Canon camera registrations for the fiscal year 2026 to three, including models DS126947, DS126973, and DS126965, none of which currently match any existing models:
Fuji, on the other hand, has two cameras that have been registered but not yet announced:
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This article was first published on Photo Rumors.
Both Fujifilm and Canon have recently registered new camera models in the Asian market. Canon officially registered the DS126965 model on July 1, which is equipped with dual-band Wi-Fi. This addition raises Canon’s total camera registrations for the 2026 fiscal year to three distinct models: DS126947, DS126973, and the latest DS126965, none of which correspond to any existing product lines:
Meanwhile, Fujifilm has registered two new cameras that have yet to be unveiled:
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This update initially appeared on [source] and highlights the latest advancements in camera technology.
Meike has officially introduced its AF 85mm f/1.4 MIX II lens for L, E, and Z mounts:
Below are the enhancements made to this lens:
The new t will be unveiled on July 20th:
The announcement will appear on the official site.
Meike has officially introduced the AF 85mm f/1.4 MIX II lens, designed for full-frame cameras. This new lens supports L, E, and Z mounts, offering photographers more flexibility in their equipment choices:
The lens is packed with enhancements:
The new model will be officially announced on July 20th:
This announcement marks Meike’s continued expansion of their lens lineup, catering to the diverse needs of professional and hobbyist photographers alike.
Meike has officially introduced its AF 85mm f/1.4 MIX Ⅱ lens, tailored for L, E, and Z mounts:
Notable features of the new lens include:
This new lens is set to be officially announced on July 20th:
Originally published on Photo Rumors.
The Meike AF 85mm f/1.4 MIX Ⅱ lens has officially been launched and is compatible with L, E, and Z mounts:
The lens has undergone several key enhancements:
This new model is set to be officially announced on July 20th:
Originally posted on the s website.
Meike has officially unveiled its new 85mm f/1.4 MIX Ⅱ full-frame lens, compatible with L, E, and Z mounts:
The updated lens features:
Anticipate more details about the new release on July 20th:
The original announcement appeared first on the site.
Meike has officially unveiled its AF 85mm f/1.4 MIX Ⅱ lens compatible with L, E, and Z mounts:
Outlined below are the updated features of this lens:
The official announcement of the new model is scheduled for July 20th:
The post originally appeared on a leading photography rumors website.
At the Innoprom 2026 exhibition, Shvabe Holding, a part of Rostec State Corporation, introduced the 80mm Russian anamorphic cinema lens (e), marking a significant milestone for the domestic production of anamorphic cinema lenses in Russia. This achievement represents Russia’s first prototype of an anamorphic film lens. Developed by the Lytkarinsky Optical Glass Plant (LZOS) under Shvabe, the lens series offers four distinct focal lengths:
Each lens in the series features a 2x anamorphic squeeze and a standard PL mount, with additional adapters available for various mounts, specifically designed for digital cinema cameras.
s
Highlighted features of these lenses include:
“Creating anamorphic lenses represents a critical advancement by a domestic manufacturer for the Russian film industry. Beyond the extended horizontal frames and superior image quality, these lenses enable the creation of exclusive cinematic effects. We plan to commence mass production of these film lenses next year, starting with an initial batch of four sets. Test copies are expected later this year and will be available to film studios at a cost lower than that of foreign counterparts,” stated Lev Borisov, Deputy General Director for Sales of Civilian Products at Shvabe Holding.
Development Timeline & Availability
LZOS & Shvabe Overview
The Lytkarinsky Optical Glass Plant stands out as one of Russia’s leading optical manufacturers, known for its capacity to produce large-scale mirrors for both terrestrial and space-based telescopes globally. The plant is also recognized for its Rubinar mirror lenses.
Earlier discussions on Russian lenses e.
The post s appeared first on s.
Shvabe Holding, part of the Rostec State Corporation, has unveiled the first Russian-made 80mm anamorphic cinema lens at the Innoprom 2026 exhibition. This event marks a milestone in the Russian film industry, showcasing the country’s first prototype of an in-house developed anamorphic lens. Crafted by the Lytkarinsky Optical Glass Plant (LZOS) under Shvabe, this anamorphic lens series is available in four focal lengths:
These lenses are designed with a 2x anamorphic squeeze and a standard PL mount, with adaptability options for other mounts, specifically tailored for digital cinema cameras.
Key features of these lenses include:
“Creating anamorphic lenses is a crucial step for a domestic company in advancing the Russian cinema sector. These lenses not only expand the horizontal view and enhance image quality but also enable the creation of unique cinematic effects. We aim to start mass production next year, initially releasing four sets. Test models will be available this year for film studios, offering a more affordable alternative to foreign lenses.” — Lev Borisov, Deputy General Director for Sales of Civilian Products at Shvabe Holding
Timeline & Availability
About LZOS & Shvabe
Lytkarinsky Optical Glass Plant is a leading Russian optical manufacturer, recognized for being the sole domestic producer of large-scale mirrors used in significant telescopes globally. The plant is also known for its Rubinar mirror lenses.
The post s appeared first on s.
In a major development for Russian cinema technology, Shvabe Holding, a division of Rostec State Corporation, introduced the first 80mm anamorphic cinema lens produced in Russia at the Innoprom 2026 exhibition. This milestone is the first instance where a Russian-made anamorphic lens has reached the prototype stage. The lens series, crafted by Lytkarinsky Optical Glass Plant (LZOS) under Shvabe, encompasses four distinct focal lengths:
These lenses are characterized by a 2x anamorphic squeeze and come with a standard PL mount, which can be adapted to other mounts, making them suitable for digital cinema cameras.
s
Notable features of the lenses include:
“Crafting anamorphic lenses is a significant advancement by a local manufacturer for the Russian film industry. Besides the extended horizontal field and high-quality imagery, these lenses allow for unique cinematic effects. Our plan is to commence mass production next year, initially producing four sets. Test units will be available this year and offered to film studios at prices lower than foreign counterparts.” — Lev Borisov, Deputy General Director for Sales of Civilian Products at Shvabe Holding
Development Schedule & Release
About LZOS & Shvabe
The Lytkarinsky Optical Glass Plant is a leading optical manufacturer in Russia, renowned for its capability to produce large-scale mirrors for both terrestrial and space telescopes globally, as well as the Rubinar mirror lenses.
Previous reports on Russian lens developments e.
The post s appeared first on s.
Shvabe Holding, a division of Rostec State Corporation, has debuted the first 80mm Russian anamorphic cinema lens at the Innoprom 2026 exhibition. This event marks a significant milestone, as it is the first time Russia has developed a complete prototype of an anamorphic cinema lens domestically. The series, crafted by the Lytkarinsky Optical Glass Plant (LZOS) under Shvabe’s umbrella, comprises lenses with four different focal lengths:
These lenses are characterized by a 2x anamorphic squeeze and come standard with a PL mount, although adapters for other mounts are available. They are specifically designed for use with digital cinema cameras.
s
Key features of these lenses include:
“The creation of anamorphic lenses is a pivotal move for a domestic producer in fostering the Russian film sector. Besides providing extended horizontal frames and superior image quality, these lenses offer unique cinematic effects. We plan to commence mass production of these film lenses next year, with an initial batch of four sets. Test samples will be available this year and will be distributed to film studios at a lower price than imported counterparts.” — Lev Borisov, Deputy General Director for Sales of Civilian Products at Shvabe Holding
Development Timeline & Availability
About LZOS & Shvabe
The Lytkarinsky Optical Glass Plant stands as one of Russia’s leading optical manufacturers. It is the only Russian facility capable of producing large-scale mirrors for ground and space-based telescopes used globally. The plant also produces the renowned Rubinar mirror lenses.
Earlier reports on Russian lenses e.
The article first appeared on s.
Shvabe Holding, a subsidiary of Rostec State Corporation, recently unveiled Russia’s first anamorphic cinema lens at the Innoprom 2026 event. This 80mm lens is the first domestically-produced anamorphic lens prototype to be showcased in Russia. The Lytkarinsky Optical Glass Plant (LZOS), part of the Shvabe group, developed the anamorphic lens series, which includes four different focal lengths:
These lenses offer a 2x anamorphic squeeze and come with a standard PL mount, with adapters available for alternative mounts, making them ideal for digital cinema cameras.
s
Key features of these lenses include:
“The creation of anamorphic lenses is a crucial advancement for domestic manufacturers and the Russian film industry. Along with wide horizontal frames and superior image quality, these lenses offer the possibility of creating distinctive cinematic effects. We plan to commence mass production next year, with the initial batch comprising four sets. Test units will be released this year for film studios, and they will be priced lower than their international counterparts.” — Lev Borisov, Deputy General Director for Sales of Civilian Products at Shvabe Holding
Development Timeline & Availability
LZOS & Shvabe Overview
The Lytkarinsky Optical Glass Plant is one of Russia’s leading optical manufacturing facilities, noted for its ability to produce large ground and space-based mirrors used in significant telescopes around the globe. The plant is also known for its Rubinar mirror lenses.
Previous discussions on Russian lenses e.
The post s appeared first on s.
Shvabe Holding, a part of the Rostec State Corporation, has introduced Russia’s inaugural 80mm anamorphic cinema lens at the Innoprom 2026 event. This achievement represents the country’s first domestically-produced anamorphic film lens to reach the prototype stage. The lens series, crafted by the Lytkarinsky Optical Glass Plant (LZOS) within the Shvabe group, features four different focal lengths:
Each lens in the series provides a 2x anamorphic squeeze, comes with a standard PL mount (with additional mount adapters available), and is tailored for use with digital cinema cameras.
s
Notable features of these lenses include:
“The creation of anamorphic lenses represents a significant milestone for Russia’s film industry. Besides delivering extended horizontal frames and superior image quality, these lenses provide unique cinematic effects. We plan to commence mass production of these film lenses next year, starting with an initial batch of 4 sets. Film studios can expect to see test models this year, and they will be priced lower than foreign models.” — Lev Borisov, Deputy General Director for Sales of Civilian Products at Shvabe Holding
Timeline & Future Availability
LZOS and Shvabe Overview
The Lytkarinsky Optical Glass Plant stands as Russia’s top optical manufacturer, being the sole facility capable of fabricating large-scale mirrors for both ground-based and space telescopes worldwide. The plant is also known for producing the acclaimed Rubinar mirror lenses.
For more on Russian lenses, click here.
The article first appeared on s.
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The age-old debate of whether a smartphone surpasses a traditional camera in terms of photography is far from straightforward. While modern smartphones boast impressive capabilities thanks to advanced software and computational photography, dedicated cameras still offer undeniable advantages in terms of image quality, creative control, and versatility. Deciding between the two ultimately depends on your photography goals and how you plan to use your images.
Smartphones Have Come a Long Way
Over the last decade, smartphone cameras have seen tremendous advancements. With larger sensors, brighter lenses, image stabilization, and AI-driven processing, today’s phones can produce vibrant, sharp photographs with minimal effort. Their convenience is unmatched for day-to-day photography, as they are always on hand, ready to capture a moment instantly. Features like Night Mode, HDR, and Portrait Mode use computational techniques to create stunning images, often surpassing what small sensors can achieve alone. For social media, travel, and casual photography, smartphones often meet user needs flawlessly.
Cameras Offer Superior Image Quality
Despite the remarkable software innovations in smartphones, physics plays a crucial role in photography. Cameras generally house significantly larger sensors than smartphones, which allows them to capture more light and deliver superior image quality, especially in poor lighting. This results in images with less noise, better dynamic range, and more flexibility for editing, especially in RAW format. Cameras with interchangeable lenses allow photographers to select optics designed for specific purposes, such as wide-angle landscapes or telephoto wildlife shots, which are areas where smartphones still lag behind. If you print large photos or require top-tier quality for professional purposes, a dedicated camera is likely the better choice.
The Creative Edge of Cameras
While smartphones are designed for ease of use, dedicated cameras offer in-depth control over settings like shutter speed, aperture, ISO, focus, and white balance. This precision is vital for capturing challenging subjects like sports, wildlife, long exposures, or studio portraits. The ability to switch lenses opens up creative possibilities, allowing for detailed macro photography, natural background blur with fast prime lenses, or bringing distant subjects into focus with telephoto lenses. For photographers who love to experiment, this flexibility is a compelling reason to opt for a camera.
Convenience Makes Smartphones a Winner
No matter how advanced a camera is, it’s an additional piece of equipment to carry. Smartphones, on the other hand, fit snugly in your pocket, require no lens swapping, and can instantly upload photos. Many users prioritize this convenience over ultimate image quality, particularly when traveling or capturing everyday life. Smartphones make photography accessible to beginners with their automatic settings, which is one reason they have gained global popularity.
Choosing the Right Tool for the Job
For capturing everyday moments, vacations, food photos, casual portraits, and social media content, smartphones often suffice. However, for professional work, such as weddings, commercial shoots, sports, wildlife, and landscapes, dedicated cameras offer significant advantages like better low-light performance, longer battery life, and faster autofocus. Many professional photographers carry both devices, using smartphones to complement rather than replace their main cameras.
Balancing Both Worlds
The discussion doesn’t have to conclude with choosing one over the other. Many photographers leverage both their smartphone and dedicated camera. Smartphones excel in capturing spontaneous moments and sharing them quickly, while cameras are preferred when image quality and creative control take precedence. Ultimately, the focus should be on the story you wish to tell through your photography, rather than the device you use. Photography today offers more options than ever, and your next favorite photo could come from the device you least expect.
Filed Under: Inspiration
Tagged With: mobile photography | smartphone
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Alysa Gavilan has spent years exploring photography through photojournalism and street scenes. She enjoys working with both film and mirrorless cameras, and her fascination with the craft has grown over the decades. Inspired by Vivian Maier, she is drawn to capturing everyday moments that often go unnoticed.
Leading video editing platforms like Final Cut Pro, Premiere, and Resolve often adopt features from one another. This process can happen rapidly, such as Resolve incorporating FCP’s Voice Isolation, or it can take years, as seen with Premiere adopting a timeline ripple operation akin to FCP’s new version rather than the older one.
FCP’s Magnetic Mask, inspired by Resolve’s Magic Mask, and later mirrored by Premiere’s Object Mask, showcases how these tools enhance all three applications. At present, Auto Mask is exclusive to FCP, delivering outstanding performance without traditional tracking methods, offering an effective alternative in many scenarios.
Auto Mask doesn’t rely on tracking a subject through a scene; instead, it recognizes elements like individuals, scene components, or pets in real-time across each frame. This method effectively handles occlusions, making it ideal for tasks such as selective color correction and more.
Although previously discussed in my FCP 12.3 article, revisiting Auto Mask is worthwhile. Here’s a brief overview before diving deeper into its functionalities.
Getting started with Auto Mask is straightforward:
The Auto Mask menu offers a choice of 17 masks for revealing specific elements:
Person Masks
Scene Masks
Animal Masks
Auto Masks can be combined, subtracted, or intersected with others. For example, you might select foreground animals excluding cats. Options for Shrink/Expand, Erode, and Blur provide fine-tuning capability.
When applying color corrections, the standard Inside/Outside switch is available, allowing changes on either side of the mask. Masks can be inverted via the menu beside an effect header if necessary.
Alongside Auto Mask, Magnetic, Color, and Shape Masks are still available, providing flexibility for mask amendments. While usually unnecessary, some shapes may require additional recognition adjustments to maintain consistency across frames, such as side-viewed lips or gaps between over-ear headphones and the head.
Generally, Auto Mask is highly reliable, fast, and effective in most scenarios.
With the basics covered, let’s explore practical workflows utilizing Auto Mask.
One practical application is color correction for individuals. Subjects may be sensitive about their appearance in professional videos, and Auto Mask facilitates various changes effortlessly.
For instance, altering a lipstick shade that doesn’t translate well on camera is now straightforward. By adding Color Wheels and applying an Auto Mask to Lips, you can achieve desired modifications, ensuring accurate mask detection on each frame.
Teeth whitening is easy using saturation reduction with exposure adjustments, and an Auto Mask set to Teeth. Adjustments to eyebrows and skin tone work well, too. Clothing selection is straightforward, though further masking may be needed for specific limitations.
Bear in mind an essential rule from my retouching days:
Complex changes, like altering hair color, require more than a simple hue adjustment. Start with Color Wheels to tweak saturation and hue across shadows, midtones, and highlights. For intricate control, Curves are invaluable.
Jenn Jager’s video offers an excellent demonstration of these capabilities:
For covering up profanity, Auto Mask provides a straightforward solution. Blade the section to be covered, apply the Pixellate effect from the Stylize category, and set Auto Mask to Mouth. Adjust block size, Expand, and Blur as needed. For audio, replace it with a beep using the Test Oscillator audio effect.
Brad West’s video offers a visual walkthrough of this and other techniques:
To restore color to black-and-white footage, apply different corrections to various parts of the image. Alternatively, use the Tint effect on a color image to achieve a flat-color appearance.
Robin Kurz’s video provides more insights into this and other tips:
Basic sky replacement involves color correction. Add Color Wheels, tweak settings, and apply an Auto Mask set to Sky for a vibrant sky. For true replacements, integrate your own sky.
Robin covers most of this, while Dylan Bates explains how to manage moving shots effectively:
Integrating titles into scenes is more accessible with Auto Mask. Use a tripod shot with clear foreground and background elements:
Brad West and Dylan Bates demonstrate this technique in their videos.
While tracked shape masks are ideal for simulating dynamic lighting, Auto Mask excels in subtly altering background or foreground lighting.
Simply apply a Color Board or Wheels to a clip, then mask to the Foreground or Background. Selective exposure adjustments are also possible, enabling easy fixes for unexpected lighting discrepancies on clothing or skin.
If your project embraces a lo-fi aesthetic, Auto Mask offers creative possibilities:
Note that effects altering image movement adhere to the original mask position. Experiment with Handheld effects to shift shots within the subject’s outline.
While altering skin color is simple, smoothing wrinkles is trickier. Gaussian Blur isn’t suitable, and none of FCP’s built-in blurs address this effectively. I’m currently developing a skin smoothing plug-in; feel free to inquire if interested. In the meantime, Pixelmator Pro’s Selective Clarity adjustment can help, although it requires external processing before importing back into FCP with a Skin mask.
Applying blur to backgrounds can appear unnatural. Ideally, a depth mask applying blur selectively across the image is required—a technique not yet perfected. Large sensors with wide apertures still have their advantages.
Auto Mask can serve as a green screen alternative, but flickering may occur with smaller masks or around larger mask edges. Enhancing temporal stability control could address these challenges.
Additionally, while Auto Mask playback is impressive, it can affect render times. For smooth playback, use ⌃R to render specific clips as needed.
Auto Mask simplifies the isolation of various shot elements without preliminary tracking, streamlining experimentation and changes that were once tedious or complex. Although not a universal solution, its utility is significant, likely prompting similar features in Resolve and Premiere soon. Upgrade to FCP 12.3 to explore these innovative possibilities.
In the world of video editing, the major players—Final Cut Pro, Premiere, and Resolve—often borrow features from one another. Sometimes, this happens quickly, as seen with FCP’s Voice Isolation being mirrored in Resolve, or Resolve’s curves being adopted by both FCP and Premiere. At other times, it takes much longer, such as Premiere’s timeline now reflecting a ripple operation akin to the latest FCP version, a shift that took over a decade.
FCP’s (faster) Magnetic Mask, inspired by Resolve’s Magic Mask, eventually led to Premiere’s Object Mask. While these similar features are valuable across the board, Auto Mask is currently unique to FCP—and it’s exceptionally powerful. Unlike traditional tracking methods, Auto Mask offers a more efficient alternative.
Auto Mask automatically identifies elements like people, scene parts, or pets in each frame, making it resistant to occlusion and perfect for tasks like selective color correction and more.
Having touched upon some concepts in my initial FCP 12.3 article, it’s worth diving deeper into Auto Mask’s potential. Let’s begin with an overview before exploring its practical applications.
There are two straightforward methods to start using Auto Mask:
Within the Auto Mask menu, choose from 17 available masks to reveal desired elements:
Person
Scene
Animals
Masks can be combined, subtracted, or intersected for complex selections, like identifying animals in the foreground but excluding cats. Fine-tuning options like Shrink/Expand, Erode, and Blur are available.
For color corrections, you can toggle between Inside/Outside of masks easily, and inversion is possible using the menu next to an effect header.
While Magnetic, Color, and Shape Masks remain available for adjustments, they’re not always needed. Sometimes, however, shapes may not be recognized perfectly in every frame, causing parts of an object to flicker in and out of the mask—like lips in profile or gaps between over-ear headphones and heads.
Overall, Auto Mask is fast, reliable, and incredibly useful for most shots.
With the basics covered, let’s explore practical workflows for Auto Mask.
This common yet effective use of Auto Mask addresses appearance sensitivities in professional videos. For instance, if a subject dislikes how their lipstick appears on camera, Color Wheels and an Auto Mask set to Lips can easily adjust the color. Make sure the mask tracks accurately throughout each frame.
Teeth whitening is a breeze with a saturation reduction and exposure tweak, using a Teeth mask. Adjust Eyebrows, even out tanning differences, or change clothing color, though additional masks may be necessary for specific garments.
Before attempting drastic changes, consider the best practice from my retouching days:
Simply put, subtle changes look more natural than extreme ones.
Hair color changes involve more than a simple hue shift; consider using Color Wheels to adjust shadows, midtones, and highlights carefully. For precision, Curves can offer finer control.
For a demonstration of the possibilities, check out Jenn Jager’s video:
If you need to cover a mouth during a profanity-laden moment, this technique is simple. Use the Blade tool to isolate the section, then apply the Pixellate effect from the Stylize category to this segment, with an Auto Mask set to Mouth. Adjust block sizes, and expand or blur the mask as needed. For audio, add the Test Oscillator effect to replace sound with a beep.
Brad West’s video offers a visual guide to this and other creative solutions:
By applying different color corrections to various parts of a person, you can bring color back to black and white footage, one section at a time. Starting with a color image, you might use the Tint effect for a flat-color look instead of color corrections.
Robin Kurz’s video provides additional insights on this and other techniques:
The simplest method is to use color correction with Color Wheels and an Auto Mask set to Sky for a more vibrant or deeper hue. For full sky replacement, add a new sky layer.
Robin’s video covers the fundamentals, but for moving shots, you’ll need to track the replacement sky and possibly feather the edges. Dylan Bates’s video delves into these advanced techniques:
A popular effect, made easier with Auto Mask, integrates titles seamlessly. For this effect, a tripod shot with clear foreground and background elements is ideal:
Both Brad West’s and Dylan Bates’s videos illustrate this technique.
Our eyes are drawn to light, and while a tracked shape mask is ideal for simulating light following a subject, Auto Mask excels at subtly darkening backgrounds or illuminating foregrounds. This is simple: apply a Color Board, Color Wheels, or Color Adjustments to the clip, then mask to Foreground or Background. Selective exposure changes are also possible, easily correcting dark clothing or skin tones.
For projects embracing a lo-fi vibe, Auto Mask allows for creative exploration with individual or surrounding elements, such as:
Bear in mind that effects causing image movement will adhere to the original mask position. However, experimenting with effects like Handheld applied to a person, offsetting within their outline, is encouraged.
While changing skin color is straightforward, smoothing skin to reduce wrinkles is more complex. Gaussian Blur often results in an unnatural plastic look, and none of FCP’s built-in blurs adequately address this issue.
I’m currently developing a skin-smoothing plug-in—feel free to reach out if you’re interested in trying it. Meanwhile, Pixelmator Pro’s Selective Clarity adjustment, set to reduce midtones, offers a viable alternative. Although it works on video, it doesn’t function as an FCP effect. You’ll need to export your clip, process it, re-import it, and apply a Skin mask via Auto Mask.
Blurring the background of a clip often appears unrealistic. Proper execution requires a depth mask and selective blur application throughout the image, a feat rarely accomplished well. Large sensors with wide apertures still hold an advantage.
Though Auto Mask can substitute for a green screen, flickering may occur with smaller masks and at the edges of larger ones. More control over temporal stability would enhance complex mask handling.
Finally, while Auto Mask playback is generally smooth, it can slow down render times. Use ⌃R to render specific clips for full-speed playback when necessary.
Auto Mask revolutionizes the ability to swiftly isolate numerous shot elements without prior tracking. This encourages experimentation with shot types and simplifies changes that were once cumbersome or time-consuming. While not a universal solution, its effectiveness suggests it may soon appear in Resolve and Premiere. Download the latest FCP 12.3 update and explore its capabilities.
Major video editing software like Final Cut Pro, Premiere, and Resolve tend to incorporate each other’s features over time. Some features get shared quickly, such as FCP’s Voice Isolation adopted by Resolve, while others take years, such as Premiere’s timeline mimicking FCP’s ripple operation. Resolve’s Magic Mask led to the creation of FCP’s faster Magnetic Mask and Premiere’s Object Mask, both invaluable tools across these platforms. Currently, Auto Mask is exclusive to FCP and offers impressive functionality, often serving as a superior alternative to tracking.
Auto Mask in FCP automatically identifies people, scene elements, or even pets in each frame, offering a robust solution to issues like occlusion. It’s a game-changer for selective color correction and a multitude of other applications.
Having explored some features in my initial FCP 12.3 article, a deeper dive is warranted. Let’s begin with a quick overview before exploring its practical uses.
There are two straightforward methods to utilize Auto Mask:
The Auto Mask menu offers a selection of 17 potential masks:
Person
Scene
Animals
Auto Masks can be combined, subtracted, or intersected to refine selections, such as choosing animals in the foreground except cats. Settings like Shrink/Expand, Erode, and Blur allow for further adjustments.
When used for color corrections, the Inside/Outside switch provides easy access to alter both sides of the mask. The mask can be inverted via the menu next to an effect header if needed.
Alongside Auto Mask, the Magnetic Mask, Color Mask, and Shape Mask remain, offering various ways to modify an Auto Mask. Occasionally, a shape might not be accurately recognized in every frame, leading to flickering issues. For instance, lips from a side view or headphone gaps might be inconsistently detected.
Overall, Auto Mask is dependable, efficient, and effective in most scenarios.
Now that we’ve covered the basics, let’s explore some practical workflows using Auto Mask.
Adjusting color on individuals is a common yet practical application. Many subjects in professional videos are concerned about their appearance, and Auto Mask facilitates new possibilities for adjustments.
For instance, if a subject dislikes their lipstick appearance, it can now be easily altered by applying Color Wheels with an Auto Mask set to Lips. Ensure the mask is accurately detected throughout the footage.
Teeth can be whitened by reducing saturation and adjusting exposure, while eyebrows can be darkened or lightened. Skin adjustments are effective for subjects with varying tans across videos. Although clothing selection is straightforward, additional masks might be needed for specific adjustments.
Remember, subtle changes often yield the best results:
Transforming hair color involves more than simple hue shifts. Start with Color Wheels to adjust shadows, midtones, and highlights in saturation and hue. For finer control, use Curves as needed.
For a demonstration of what’s achievable, watch Jenn Jager’s video:
If you need to cover a mouth during a profanity, Auto Mask makes it simple. Split the section needing censorship, apply the Pixellate effect from the Stylize category, and set Auto Mask to Mouth. Adjust block sizes, then expand and blur the mask to fit. For audio, replace the section with a beep using the Test Oscillator audio effect.
For a video guide and more tips, check out Brad West’s video here:
By applying distinct color corrections to different parts of a subject, you can restore color to black and white footage. You can achieve a similar effect starting with a color image, using the Tint effect for a flat-color appearance.
Robin Kurz’s video offers additional insights on this technique:
The basic technique involves color correction using Auto Mask set to Sky to enhance the sky’s vibrancy. For a complete replacement, add a new sky, as detailed in Robin’s video above. For moving shots, track and blend the replacement clip, as demonstrated by Dylan Bates, the Final Cut Bro:
Creating integrated titles was already streamlined with Magnetic Mask, but Auto Mask simplifies it further. Utilize a tripod shot with clear foreground and background elements.
This technique is illustrated in Brad West’s and Dylan Bates’s videos above.
Subtle lighting adjustments are achievable with Auto Mask. While traditional shape masks are ideal for tracking light, Auto Mask is excellent for darkening backgrounds or brightening foregrounds. Apply Color Boards, Wheels, or Adjustments, masking to Foreground or Background. Selective exposure adjustments are also possible.
Auto Mask allows creative freedom with a lo-fi aesthetic, transforming a subject or their surroundings. Explore:
Be mindful that effects shifting the image will stay linked to the original mask position. Experiment with Handheld effects on people, offsetting shots within original outlines.
While altering skin color is straightforward, smoothing out wrinkles is challenging. Gaussian Blur is unsuitable, often resulting in an unnatural look. Currently, FCP lacks a blur that handles this effectively. I’m developing a skin-smoothing plug-in — reach out if interested in testing it. For now, Pixelmator Pro’s Selective Clarity, with midtones lowered, offers the best alternative. However, it requires exporting and re-importing footage, with an Auto Mask set to Skin.
Similarly, blurring backgrounds can appear artificial. Properly executing this requires a depth mask for selective blur application, which hasn’t been perfected yet. Using wide apertures on large sensors remains necessary.
Auto Mask can substitute for a green screen, but flickering may occur with smaller masks or along larger edges. Improved control over temporal stability would enhance challenging mask applications.
Finally, while Auto Mask playback is generally smooth (though not perfect), it can significantly increase render times. Use ⌃R to render specific clips when full-speed playback is needed.
In essence, Auto Mask significantly simplifies isolating elements in a shot without prior tracking. It facilitates experimentation with new shot types and eases changes that were previously too labor-intensive. Although not a catch-all solution, its utility suggests it may soon be featured in Resolve and Premiere. Update to FCP 12.3 to explore Auto Mask’s capabilities.
The leading trio of video editing software—Final Cut Pro, Premiere, and Resolve—often adopts features from each other over time. Some features transition quickly, like FCP’s Voice Isolation being mirrored by Resolve, or Resolve’s curves appearing in both FCP and Premiere. Others, such as Premiere’s timeline adopting a ripple operation akin to FCP’s, may take over a decade to integrate.
Resolve’s Magic Mask served as inspiration for FCP’s speedier Magnetic Mask and eventually Premiere’s Object Mask. These analogous features are invaluable across these platforms. Currently exclusive to FCP, Auto Mask is a remarkable addition that excels in areas where traditional tracking might fall short.
Unlike conventional tracking methods, Auto Mask identifies elements like people, parts of a scene, or even pets, frame by frame. This method is highly resistant to occlusions, making it a potent tool for selective color corrections and more.
Previously, I shared initial insights on FCP 12.3, but a deeper dive is warranted. Let’s explore Auto Mask from the ground up before delving into advanced workflows.
Starting with Auto Mask is straightforward:
The Auto Mask menu allows for various selections. Choose from 17 potential masks:
For People
For Scenes
For Animals
Combine different Auto Masks by adding, subtracting, or intersecting them. For instance, select animals in the foreground that aren’t cats. Fine-tune using Shrink/Expand, Erode, and Blur options.
When applying color corrections, use the Inside/Outside switch to access both sides of the mask efficiently. Invert a mask if needed from the menu next to an effect header.
While Magnetic Mask, Color Mask, and Shape Mask remain available for additional adjustments, they might not be necessary. However, sometimes a shape might not be accurately detected in every frame, causing parts of an object to flicker within the mask. For example, lips viewed from the side may not always be detected, and over-ear headphones may cause inconsistencies.
Overall, Auto Mask is efficient, practical, and quick for most scenarios.
With the basics covered, let’s explore some practical Auto Mask workflows.
Adjusting color tones in videos is both practical and common. While not all subjects are concerned about their appearance in professional videos, some are quite conscious, and Auto Mask unlocks new possibilities for adjustments.
For instance, if a subject is dissatisfied with how their lipstick appears, altering it is straightforward. Apply Color Wheels, then use an Auto Mask on Lips. Ensure the mask is accurately identified in every frame.
To whiten teeth, reduce saturation and adjust exposure using an Auto Mask set to Teeth. Eyebrows can be modified in terms of color, and skin tones can be balanced for subjects regularly recorded under varying conditions. Selecting clothing is straightforward, but all garments will be selected, requiring additional color, shape, or magnetic masks for specificity.
Before making drastic hair color changes, remember my go-to rule from retouching:
Hair color alterations involve more than just hue or brightness adjustments. Begin with Color Wheels to fine-tune shadows, midtones, and highlights in terms of saturation and hue. If needed, refine using Curves.
For a demonstration of what’s possible, Jenn Jager’s video is worth watching:
If you need to censor a mouth during profanity, it’s simple. Use the blade tool to isolate the section needing coverage. Navigate to the Stylize category and apply the Pixellate effect to that section, using an Auto Mask set to Mouth. Adjust block size, expand, and blur the mask as necessary. For audio, add the Test Oscillator effect to replace the sound with a beep.
Refer to Brad West’s video for more ideas:
Restoring color to black and white footage is possible by applying distinct color corrections to different parts of a person, step by step. A similar effect can be achieved using a color image as a base, although using the Tint effect may be preferable for a flat color look.
Robin Kurz’s video offers a plethora of tips, including this one:
A simple method involves color correction. Use Color Wheels and set an Auto Mask to Sky for a deeper or more vibrant effect. However, entirely replacing the sky means importing your new sky image.
Although Robin Kurz’s video covers this process, if the shot involves movement, you’d need to track the new sky and potentially feather the edges. Dylan Bates, known as The Final Cut Bro, covers these steps in detail:
Integrating titles creatively within a scene is easier with Auto Mask. For best results, use a tripod shot featuring foreground and background elements, like people.
This method is demonstrated in videos by both Brad West and Dylan Bates.
While traditional shape masks are ideal for simulating a light following a subject, Auto Mask simplifies tasks like darkening a background or lightening a foreground, creating subtle yet effective changes.
Achieve this by applying a Color Board, Color Wheels, or Color Adjustments, masking to Foreground or Background. Adjust exposure selectively, so if a subject’s attire or skin appears darker than anticipated, it’s easily fixable.
If your project embraces a lo-fi aesthetic, Auto Mask offers creative freedom to alter a person or their surroundings. Consider these options:
Note that effects involving image movement remain tied to the original mask position, but experimenting with effects like Handheld might yield creative results.
While skin color adjustments are straightforward, achieving a smooth skin appearance is challenging. Gaussian Blur, even at reduced settings, often results in an unnatural look. Currently, no built-in FCP blurs effectively address this.
I’m developing a skin smoothing plugin—contact me if interested in testing it. Meanwhile, Pixelmator Pro’s Selective Clarity adjustment is a viable option, though it’s not an FCP effect. It requires exporting and re-importing clips processed in Pixelmator Pro, then applying an Auto Mask set to Skin.
The same caution applies to background blurring—it often appears artificial. An effective approach would involve a depth mask for selective blurring, a technique rarely executed well. Wide aperture lenses on large sensors are still essential.
While Auto Mask can substitute for a green screen, flickering can occur with smaller masks or along larger mask edges. More control over temporal stability would enhance handling challenging masks.
Another consideration is playback—though generally smooth, Auto Mask can increase rendering times. Use ⌃R to render specific clips for optimal playback speed.
Auto Mask significantly simplifies isolating various parts of a shot without pre-tracking, expediting experimentation with different shot styles. It facilitates changes that previously seemed too tedious or complex to track. While not a universal solution, its versatility suggests it will likely appear in Resolve and Premiere soon. Update to FCP 12.3 and explore its potential.
The leading video editing applications—Final Cut Pro, Premiere, and Resolve—often draw inspiration from one another. Some features, like FCP’s Voice Isolation copied by Resolve or Resolve’s curves mimicked by FCP and Premiere, are adopted swiftly, while others take years, such as Premiere’s updated timeline resembling the new FCP’s ripple operation.
FCP’s Magnetic Mask, inspired by Resolve’s Magic Mask, and Premiere’s Object Mask all stem from similar ideas, making these features valuable across platforms. Currently exclusive to FCP, Auto Mask is a remarkably effective tool. Unlike traditional tracking, Auto Mask offers a more efficient solution in many scenarios.
Rather than tracking objects or people through a scene, Auto Mask identifies elements such as people, parts of a scene, or even pets on a frame-by-frame basis. It excels in handling occlusions, making it ideal for tasks like selective color correction.
Building on my previous article about FCP 12.3, let’s revisit the basics and delve deeper into practical applications.
There are straightforward ways to start with Auto Mask:
The Auto Mask menu offers 17 mask options for selection:
Person
Scene
Animals
Masks can be combined or tweaked using Shrink/Expand, Erode, and Blur settings for precision. You can switch between Inside/Outside when applying color corrections, allowing changes on either side of the mask. To invert a mask, use the menu next to the effect header.
The Magnetic Mask, Color Mask, and Shape Mask remain available to refine Auto Masks when needed. While generally reliable, certain frames may require manual adjustments, such as when a subject is viewed partially or wearing over-ear headphones.
Auto Mask offers a reliable, quick, and efficient editing solution for most shots. Now, let’s explore practical uses of Auto Mask.
One of the primary uses of Auto Mask is adjusting colors in subjects, a valuable tool for ensuring participants are happy with their appearance in videos. For instance, if a subject dislikes how their lipstick looks, you can easily adjust it using Color Wheels and an Auto Mask for Lips, ensuring the mask aligns properly across frames.
Teeth whitening is easily achieved by reducing saturation and adjusting exposure with an Auto Mask. Skin tone adjustments are straightforward, allowing for consistency over multiple videos. Clothing selections are simple, though additional masks may be needed for precision.
Remember, small adjustments often yield the most natural results. Transforming hair color, for example, involves careful consideration of shadows, midtones, and highlights. For intricate control, Curves is recommended.
Watch Jenn Jager’s video for a comprehensive demonstration of these techniques:
To censor mouth movements during profanity, blade the section requiring coverage, apply the Pixellate effect from the Stylize category, and select an Auto Mask for the Mouth. Adjust the pixel size and mask properties for a seamless effect. Add the Test Oscillator audio effect for appropriate audio replacement.
Brad West’s video offers additional insights on this technique:
Restoring color to black and white footage is possible by applying distinct color corrections to various elements of the frame. Alternatively, for a flat-color look, use the Tint effect on colored footage. Robin Kurz’s video explores this and other tips:
For a simple fix, use color correction to enhance sky vibrancy by setting an Auto Mask to Sky. For complete sky replacement, add a new sky layer. Robin covers these techniques, and for moving shots, Dylan Bates demonstrates tracking and blending in another tutorial:
Previously achievable with Magnetic Mask, Auto Mask simplifies this effect. Begin with a tripod shot featuring distinct foreground and background elements.
This method is highlighted in both Brad West’s and Dylan Bates’s videos.
Auto Mask is ideal for subtle lighting adjustments, such as darkening a background or highlighting a foreground. Apply a Color Board, Color Wheels, or Color Adjustments, and select a Foreground or Background mask. This allows for selective exposure alterations to correct unexpected lighting discrepancies.
For a creative touch on projects with a lo-fi aesthetic, use Auto Mask to focus effects on specific elements. Experiment with:
Note that effects involving image movement will adhere to the original mask’s position. For an interesting effect, apply Handheld to a person, offsetting the shot within the original’s outline.
While color adjustments are straightforward, smoothing skin to reduce wrinkles is challenging. Gaussian Blur is ineffective, often yielding an unnatural appearance. Current built-in FCP blurs do not address this issue effectively.
I’m developing a skin smoothing plugin—feel free to reach out if interested in testing it. Meanwhile, Pixelmator Pro’s Selective Clarity adjustment can be used for video, although it requires exporting and re-importing the clip, as it doesn’t function as an FCP effect.
Similarly, blurring backgrounds often appears unrealistic. Achieving this effect requires a depth mask and selective blur, which remains a complex task. Traditional methods, like using wide apertures on large sensors, are often preferable.
Additionally, while Auto Mask can substitute for a green screen, flickering issues can arise with smaller masks or the edges of larger ones. Enhancing temporal stability could improve tricky mask performance.
Performance-wise, Auto Mask playback is generally smooth but can extend render times. Use ⌃R to render specific clips for full-speed playback.
Auto Mask simplifies isolating various elements within a shot, eliminating the need for traditional tracking. This facilitates experimentation with innovative shots and expedites changes that were previously tedious or time-consuming. While not universally applicable, it’s a powerful tool likely to inspire similar features in Resolve and Premiere. Update to FCP 12.3 and explore these possibilities.
This week, Nino takes the helm solo, while Johnnie is busy reviewing an exciting new camera—stay tuned for details next week! There’s much to discuss: ARRI is offloading its worldwide rental operations through a management buy-out supported by H2 Equity Partners, the FCC has imposed fines on alleged DJI affiliates, and Sony is breathing new life into the RX10 series after nearly a decade, alongside introducing the LYTIA L910 smartphone sensor featuring LOFIC technology. Additionally, there are firmware updates for the Sony VENICE 2 and FUJIFILM GFX ETERNA 55.
Also on the docket: innovative tools from SmallRig, Tilta, Blackmagic Design, MOFAGE, and LALAL.AI, sun tracking updates for both Artemis and Cadrage, and insights beyond traditional editing at MZed.
This episode is brought to you by our sponsor, d. Catch the details at 32:53.
(01:25 in the episode)
Three months ago at NAB, we inquired about ARRI Rental’s future with Thomas Riedel. Now, the answer is here: ARRI is relinquishing its rental business across Europe, the UK, and North America via a management buy-out supported by H2 Equity Partners, with Dana Harrison stepping in as CEO of this new venture. While financial details remain under wraps, Illumination Dynamics will continue with ARRI. This move resolves long-standing tensions, as every ALEXA 35 sold to an independent rental house was effectively a sale to a competitor.
/
(09:14 in the episode)
Remaining within the ARRI circle, Munich’s P+S Technik has unveiled the HEXAMO mount, which adapts the high-end Leitz HEKTOR primes for the ARRI ALEXA system. The process involves removing the existing ALEXA mount by undoing a few screws and installing the HEXAMO mount—a detailed but effective method for specific needs. This product is now available.
/
(10:38 in the episode)
DJI continues to face challenges in the US, with restrictions preventing new product launches in the American market, resulting in products like the Osmo Pocket 4P missing from US retailers. Companies like Xtra and SkyRover, which offer products resembling DJI’s, have not confirmed any official ties to DJI, claiming independent operation.
The FCC has now fined eight companies, each $25,000, primarily for not responding to FCC inquiries, rather than for the products themselves. This action, amidst a backdrop of blocked new radio authorizations and potential revocations for products containing listed parts, may signal future trends.
/
(17:33 in the episode)
While various companies, including Tilta, DJI, Moment, and PolarPro, offer ND filters for the Osmo Pocket 4P, SmallRig’s split filter kits stand out. These kits feature a snap-on, stackable design that allows the combination of up to two filters. Available configurations include fixed ND16, ND64, and ND256 with a CPL; a variable ND 1-5 with CPL and 1/4 black diffusion; and the fixed ND trio with CPL and 1/4 black diffusion. The variable ND option on such a compact camera is unique in the market. Starting at approximately $45-$50, these kits provide affordable solutions for achieving proper motion blur at a 1/50s shutter speed when shooting 25p.
/
(20:14 in the episode)
Sony’s LYTIA L910 smartphone sensor introduces the LOFIC sensor technology, initially seen in the Osmo Pocket 4P. LOFIC, or Lateral Overflow Integration Capacitor, stores overflow charges from saturated photodiodes, enhancing highlight capacity.
In contrast to the dual-gain approach, which typically doubles rolling shutter by reading the sensor twice, LOFIC simultaneously captures highlights and shadows, then processes them differently. Sony boasts a 100 dB single-exposure dynamic range and 4K 60p HDR capabilities from its 1/1.28-inch, 50-megapixel sensor.
/
(25:48 in the episode)
Sony is re-entering the compact camera market with the RX10 V, revitalizing a series dormant for nine years. It retains the 20.1MP 1-inch stacked Exmor RS sensor from the Mark IV but adds the swift BIONZ XR processor with an AI unit, enabling real-time recognition autofocus for a wide range of subjects and offering blackout-free 30fps stills. The camera shines in video capabilities, providing 4K 120p in 10-bit 4:2:2 with S-Cinetone and S-Log3, 16 user LUTs, active stabilization, AI auto-framing, digital audio via the hot shoe, and 4K 30p USB streaming—all through a 24-600mm ZEISS zoom lens.
/
(33:45 in the episode)
The VENICE 2 by Sony now features firmware 5.00, introducing a new Signature preset look for monitoring—though technical documentation remains forthcoming, so we await footage to evaluate skin tones and highlights.
Notably, the camera can now output 4096×2160 at 47.95fps via a single 12G-SDI line, filling a gap for the 48fps large-format theatrical audience in live and multicam settings. The CNA-2 is now usable as a LAN conversion adapter for multicam, remote operation, and virtual production, while also offering enhancements like improved ICVFX mode visibility and a brighter bubble gauge. It’s essential to note that upgrading to version 5.00 requires updating to 4.10 first. Sony has confirmed support until 2027, promising a long product lifespan.
/
(36:56 in the episode)
The latest firmware, 1.10 for the GFX ETERNA 55, focuses on minor adjustments, mainly enhancing white balance stability when using PL lenses. However, FUJIFILM cautions that color tones might shift post-update, advising users to complete existing projects before upgrading.
Looking ahead, version 1.20 is set to launch later this year, bringing in-camera MXF playback, settings backup and restoration via a specific app, further SDI/HDMI latency enhancements, and more anamorphic de-squeeze options including open-gate 4K 4:3—features that ideally should have been available from the start for anamorphic users.
/
(40:32 in the episode)
Cadrage Studio, the comprehensive pre-production suite tied to the Cadrage Director’s Viewfinder app, is now out of its free beta phase. It centralizes the script, shot lists, storyboards, and even allows for 3D location scanning via your phone, transforming them into floor plans—a unique combination not previously seen in one app.
/
(43:18 in the episode)
The leading director’s viewfinder apps are enhancing their functionalities with sun-position previews. Cadrage Viewfinder, available as a one-time purchase, now includes this feature as a free update for existing users, while Artemis plans to integrate the capabilities of its Helios sun tracker app into its main viewfinder app.
This update seems timely with the new Light Framer Pro app entering the market, which also offers sun tracking. Combining camera, lens, and format previews with sun positioning is incredibly helpful for location scouting—a task traditionally performed with apps like Sun Seeker.
/
(45:39 in the episode)
Blackmagic Design’s new UltraStudio Express 3G lineup offers compact, USB4-powered capture and playback devices priced at $175 each. The series includes a Recorder 3G and a Monitor 3G, supporting SD and HD resolutions up to 1080p60 in 10-bit 4:2:2, and is compatible with the DeckLink API, ensuring broad application recognition.
Designed for 1080p streaming, archiving, and reference monitoring, these devices are also popular for bypassing macOS color management in DaVinci Resolve for accurate grading. While the pricing is competitive, a 4K option would be welcomed, given its growing standardization.
/
(48:44 in the episode)
Tilta’s new universal cooling system features a thermoelectric plate capable of reaching 0°C, with three cooling modes, a TFT display, and options for USB-C or magnetic battery power. This system is compatible with camera bodies from Sony, Canon, Nikon, Fujifilm, and Panasonic LUMIX.
/
(52:04 in the episode)
LALAL.AI has launched Lynx, a new neural model focused on speech denoising, now powering its Voice Cleaner and voice/noise separation tools. It excels at removing copyrighted background music while preserving dialogue, ideal for scenarios like stage speeches with music that couldn’t be turned off. The model is six times more compact than the previous Andromeda model, with updates targeting distant speech improvement.
/
(56:16 in the episode)
The MOFAGE POCO II builds on its predecessor’s success as a budget-friendly PL mount adapter with an integrated drop-in variable ND filter, serving as an alternative to traditional matte boxes. It now offers a swappable front mount, allowing seamless transitions between ARRI PL and Canon EF lenses on one adapter.
/
(59:00 in the episode)
Concluding with an MZed feature, Mascha’s article “Beyond the Cut” delves into the use of transitions like dissolves, morphs, and wipes, emphasizing their narrative significance. While beginners may overuse cross dissolves to mask poor cuts, professionals understand their meaning. This ties into Mascha’s Mighty Cut webinar, now accessible as a recording on d.
/
That wraps up this week’s episode! Questions or comments? Reach out to m, leave a comment under the video or article, and don’t forget to subscribe to Focus Check on Apple Podcasts or Spotify. See you next week with an exciting new camera review!
This week, Nino takes the helm solo, while Johnnie is busy reviewing an exciting new camera—stay tuned for details next week! There’s much to discuss: ARRI is offloading its worldwide rental operations through a management buy-out supported by H2 Equity Partners, the FCC has imposed fines on alleged DJI affiliates, and Sony is breathing new life into the RX10 series after nearly a decade, alongside introducing the LYTIA L910 smartphone sensor featuring LOFIC technology. Additionally, there are firmware updates for the Sony VENICE 2 and FUJIFILM GFX ETERNA 55.
Also on the docket: innovative tools from SmallRig, Tilta, Blackmagic Design, MOFAGE, and LALAL.AI, sun tracking updates for both Artemis and Cadrage, and insights beyond traditional editing at MZed.
This episode is brought to you by our sponsor, d. Catch the details at 32:53.
(01:25 in the episode)
Three months ago at NAB, we inquired about ARRI Rental’s future with Thomas Riedel. Now, the answer is here: ARRI is relinquishing its rental business across Europe, the UK, and North America via a management buy-out supported by H2 Equity Partners, with Dana Harrison stepping in as CEO of this new venture. While financial details remain under wraps, Illumination Dynamics will continue with ARRI. This move resolves long-standing tensions, as every ALEXA 35 sold to an independent rental house was effectively a sale to a competitor.
/
(09:14 in the episode)
Remaining within the ARRI circle, Munich’s P+S Technik has unveiled the HEXAMO mount, which adapts the high-end Leitz HEKTOR primes for the ARRI ALEXA system. The process involves removing the existing ALEXA mount by undoing a few screws and installing the HEXAMO mount—a detailed but effective method for specific needs. This product is now available.
/
(10:38 in the episode)
DJI continues to face challenges in the US, with restrictions preventing new product launches in the American market, resulting in products like the Osmo Pocket 4P missing from US retailers. Companies like Xtra and SkyRover, which offer products resembling DJI’s, have not confirmed any official ties to DJI, claiming independent operation.
The FCC has now fined eight companies, each $25,000, primarily for not responding to FCC inquiries, rather than for the products themselves. This action, amidst a backdrop of blocked new radio authorizations and potential revocations for products containing listed parts, may signal future trends.
/
(17:33 in the episode)
While various companies, including Tilta, DJI, Moment, and PolarPro, offer ND filters for the Osmo Pocket 4P, SmallRig’s split filter kits stand out. These kits feature a snap-on, stackable design that allows the combination of up to two filters. Available configurations include fixed ND16, ND64, and ND256 with a CPL; a variable ND 1-5 with CPL and 1/4 black diffusion; and the fixed ND trio with CPL and 1/4 black diffusion. The variable ND option on such a compact camera is unique in the market. Starting at approximately $45-$50, these kits provide affordable solutions for achieving proper motion blur at a 1/50s shutter speed when shooting 25p.
/
(20:14 in the episode)
Sony’s LYTIA L910 smartphone sensor introduces the LOFIC sensor technology, initially seen in the Osmo Pocket 4P. LOFIC, or Lateral Overflow Integration Capacitor, stores overflow charges from saturated photodiodes, enhancing highlight capacity.
In contrast to the dual-gain approach, which typically doubles rolling shutter by reading the sensor twice, LOFIC simultaneously captures highlights and shadows, then processes them differently. Sony boasts a 100 dB single-exposure dynamic range and 4K 60p HDR capabilities from its 1/1.28-inch, 50-megapixel sensor.
/
(25:48 in the episode)
Sony is re-entering the compact camera market with the RX10 V, revitalizing a series dormant for nine years. It retains the 20.1MP 1-inch stacked Exmor RS sensor from the Mark IV but adds the swift BIONZ XR processor with an AI unit, enabling real-time recognition autofocus for a wide range of subjects and offering blackout-free 30fps stills. The camera shines in video capabilities, providing 4K 120p in 10-bit 4:2:2 with S-Cinetone and S-Log3, 16 user LUTs, active stabilization, AI auto-framing, digital audio via the hot shoe, and 4K 30p USB streaming—all through a 24-600mm ZEISS zoom lens.
/
(33:45 in the episode)
The VENICE 2 by Sony now features firmware 5.00, introducing a new Signature preset look for monitoring—though technical documentation remains forthcoming, so we await footage to evaluate skin tones and highlights.
Notably, the camera can now output 4096×2160 at 47.95fps via a single 12G-SDI line, filling a gap for the 48fps large-format theatrical audience in live and multicam settings. The CNA-2 is now usable as a LAN conversion adapter for multicam, remote operation, and virtual production, while also offering enhancements like improved ICVFX mode visibility and a brighter bubble gauge. It’s essential to note that upgrading to version 5.00 requires updating to 4.10 first. Sony has confirmed support until 2027, promising a long product lifespan.
/
(36:56 in the episode)
The latest firmware, 1.10 for the GFX ETERNA 55, focuses on minor adjustments, mainly enhancing white balance stability when using PL lenses. However, FUJIFILM cautions that color tones might shift post-update, advising users to complete existing projects before upgrading.
Looking ahead, version 1.20 is set to launch later this year, bringing in-camera MXF playback, settings backup and restoration via a specific app, further SDI/HDMI latency enhancements, and more anamorphic de-squeeze options including open-gate 4K 4:3—features that ideally should have been available from the start for anamorphic users.
/
(40:32 in the episode)
Cadrage Studio, the comprehensive pre-production suite tied to the Cadrage Director’s Viewfinder app, is now out of its free beta phase. It centralizes the script, shot lists, storyboards, and even allows for 3D location scanning via your phone, transforming them into floor plans—a unique combination not previously seen in one app.
/
(43:18 in the episode)
The leading director’s viewfinder apps are enhancing their functionalities with sun-position previews. Cadrage Viewfinder, available as a one-time purchase, now includes this feature as a free update for existing users, while Artemis plans to integrate the capabilities of its Helios sun tracker app into its main viewfinder app.
This update seems timely with the new Light Framer Pro app entering the market, which also offers sun tracking. Combining camera, lens, and format previews with sun positioning is incredibly helpful for location scouting—a task traditionally performed with apps like Sun Seeker.
/
(45:39 in the episode)
Blackmagic Design’s new UltraStudio Express 3G lineup offers compact, USB4-powered capture and playback devices priced at $175 each. The series includes a Recorder 3G and a Monitor 3G, supporting SD and HD resolutions up to 1080p60 in 10-bit 4:2:2, and is compatible with the DeckLink API, ensuring broad application recognition.
Designed for 1080p streaming, archiving, and reference monitoring, these devices are also popular for bypassing macOS color management in DaVinci Resolve for accurate grading. While the pricing is competitive, a 4K option would be welcomed, given its growing standardization.
/
(48:44 in the episode)
Tilta’s new universal cooling system features a thermoelectric plate capable of reaching 0°C, with three cooling modes, a TFT display, and options for USB-C or magnetic battery power. This system is compatible with camera bodies from Sony, Canon, Nikon, Fujifilm, and Panasonic LUMIX.
/
(52:04 in the episode)
LALAL.AI has launched Lynx, a new neural model focused on speech denoising, now powering its Voice Cleaner and voice/noise separation tools. It excels at removing copyrighted background music while preserving dialogue, ideal for scenarios like stage speeches with music that couldn’t be turned off. The model is six times more compact than the previous Andromeda model, with updates targeting distant speech improvement.
/
(56:16 in the episode)
The MOFAGE POCO II builds on its predecessor’s success as a budget-friendly PL mount adapter with an integrated drop-in variable ND filter, serving as an alternative to traditional matte boxes. It now offers a swappable front mount, allowing seamless transitions between ARRI PL and Canon EF lenses on one adapter.
/
(59:00 in the episode)
Concluding with an MZed feature, Mascha’s article “Beyond the Cut” delves into the use of transitions like dissolves, morphs, and wipes, emphasizing their narrative significance. While beginners may overuse cross dissolves to mask poor cuts, professionals understand their meaning. This ties into Mascha’s Mighty Cut webinar, now accessible as a recording on d.
/
That wraps up this week’s episode! Questions or comments? Reach out to m, leave a comment under the video or article, and don’t forget to subscribe to Focus Check on Apple Podcasts or Spotify. See you next week with an exciting new camera review!
This week, Nino takes the helm solo, while Johnnie is busy reviewing an exciting new camera—stay tuned for details next week! There’s much to discuss: ARRI is offloading its worldwide rental operations through a management buy-out supported by H2 Equity Partners, the FCC has imposed fines on alleged DJI affiliates, and Sony is breathing new life into the RX10 series after nearly a decade, alongside introducing the LYTIA L910 smartphone sensor featuring LOFIC technology. Additionally, there are firmware updates for the Sony VENICE 2 and FUJIFILM GFX ETERNA 55.
Also on the docket: innovative tools from SmallRig, Tilta, Blackmagic Design, MOFAGE, and LALAL.AI, sun tracking updates for both Artemis and Cadrage, and insights beyond traditional editing at MZed.
This episode is brought to you by our sponsor, d. Catch the details at 32:53.
(01:25 in the episode)
Three months ago at NAB, we inquired about ARRI Rental’s future with Thomas Riedel. Now, the answer is here: ARRI is relinquishing its rental business across Europe, the UK, and North America via a management buy-out supported by H2 Equity Partners, with Dana Harrison stepping in as CEO of this new venture. While financial details remain under wraps, Illumination Dynamics will continue with ARRI. This move resolves long-standing tensions, as every ALEXA 35 sold to an independent rental house was effectively a sale to a competitor.
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(09:14 in the episode)
Remaining within the ARRI circle, Munich’s P+S Technik has unveiled the HEXAMO mount, which adapts the high-end Leitz HEKTOR primes for the ARRI ALEXA system. The process involves removing the existing ALEXA mount by undoing a few screws and installing the HEXAMO mount—a detailed but effective method for specific needs. This product is now available.
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(10:38 in the episode)
DJI continues to face challenges in the US, with restrictions preventing new product launches in the American market, resulting in products like the Osmo Pocket 4P missing from US retailers. Companies like Xtra and SkyRover, which offer products resembling DJI’s, have not confirmed any official ties to DJI, claiming independent operation.
The FCC has now fined eight companies, each $25,000, primarily for not responding to FCC inquiries, rather than for the products themselves. This action, amidst a backdrop of blocked new radio authorizations and potential revocations for products containing listed parts, may signal future trends.
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(17:33 in the episode)
While various companies, including Tilta, DJI, Moment, and PolarPro, offer ND filters for the Osmo Pocket 4P, SmallRig’s split filter kits stand out. These kits feature a snap-on, stackable design that allows the combination of up to two filters. Available configurations include fixed ND16, ND64, and ND256 with a CPL; a variable ND 1-5 with CPL and 1/4 black diffusion; and the fixed ND trio with CPL and 1/4 black diffusion. The variable ND option on such a compact camera is unique in the market. Starting at approximately $45-$50, these kits provide affordable solutions for achieving proper motion blur at a 1/50s shutter speed when shooting 25p.
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(20:14 in the episode)
Sony’s LYTIA L910 smartphone sensor introduces the LOFIC sensor technology, initially seen in the Osmo Pocket 4P. LOFIC, or Lateral Overflow Integration Capacitor, stores overflow charges from saturated photodiodes, enhancing highlight capacity.
In contrast to the dual-gain approach, which typically doubles rolling shutter by reading the sensor twice, LOFIC simultaneously captures highlights and shadows, then processes them differently. Sony boasts a 100 dB single-exposure dynamic range and 4K 60p HDR capabilities from its 1/1.28-inch, 50-megapixel sensor.
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(25:48 in the episode)
Sony is re-entering the compact camera market with the RX10 V, revitalizing a series dormant for nine years. It retains the 20.1MP 1-inch stacked Exmor RS sensor from the Mark IV but adds the swift BIONZ XR processor with an AI unit, enabling real-time recognition autofocus for a wide range of subjects and offering blackout-free 30fps stills. The camera shines in video capabilities, providing 4K 120p in 10-bit 4:2:2 with S-Cinetone and S-Log3, 16 user LUTs, active stabilization, AI auto-framing, digital audio via the hot shoe, and 4K 30p USB streaming—all through a 24-600mm ZEISS zoom lens.
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(33:45 in the episode)
The VENICE 2 by Sony now features firmware 5.00, introducing a new Signature preset look for monitoring—though technical documentation remains forthcoming, so we await footage to evaluate skin tones and highlights.
Notably, the camera can now output 4096×2160 at 47.95fps via a single 12G-SDI line, filling a gap for the 48fps large-format theatrical audience in live and multicam settings. The CNA-2 is now usable as a LAN conversion adapter for multicam, remote operation, and virtual production, while also offering enhancements like improved ICVFX mode visibility and a brighter bubble gauge. It’s essential to note that upgrading to version 5.00 requires updating to 4.10 first. Sony has confirmed support until 2027, promising a long product lifespan.
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(36:56 in the episode)
The latest firmware, 1.10 for the GFX ETERNA 55, focuses on minor adjustments, mainly enhancing white balance stability when using PL lenses. However, FUJIFILM cautions that color tones might shift post-update, advising users to complete existing projects before upgrading.
Looking ahead, version 1.20 is set to launch later this year, bringing in-camera MXF playback, settings backup and restoration via a specific app, further SDI/HDMI latency enhancements, and more anamorphic de-squeeze options including open-gate 4K 4:3—features that ideally should have been available from the start for anamorphic users.
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(40:32 in the episode)
Cadrage Studio, the comprehensive pre-production suite tied to the Cadrage Director’s Viewfinder app, is now out of its free beta phase. It centralizes the script, shot lists, storyboards, and even allows for 3D location scanning via your phone, transforming them into floor plans—a unique combination not previously seen in one app.
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(43:18 in the episode)
The leading director’s viewfinder apps are enhancing their functionalities with sun-position previews. Cadrage Viewfinder, available as a one-time purchase, now includes this feature as a free update for existing users, while Artemis plans to integrate the capabilities of its Helios sun tracker app into its main viewfinder app.
This update seems timely with the new Light Framer Pro app entering the market, which also offers sun tracking. Combining camera, lens, and format previews with sun positioning is incredibly helpful for location scouting—a task traditionally performed with apps like Sun Seeker.
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(45:39 in the episode)
Blackmagic Design’s new UltraStudio Express 3G lineup offers compact, USB4-powered capture and playback devices priced at $175 each. The series includes a Recorder 3G and a Monitor 3G, supporting SD and HD resolutions up to 1080p60 in 10-bit 4:2:2, and is compatible with the DeckLink API, ensuring broad application recognition.
Designed for 1080p streaming, archiving, and reference monitoring, these devices are also popular for bypassing macOS color management in DaVinci Resolve for accurate grading. While the pricing is competitive, a 4K option would be welcomed, given its growing standardization.
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(48:44 in the episode)
Tilta’s new universal cooling system features a thermoelectric plate capable of reaching 0°C, with three cooling modes, a TFT display, and options for USB-C or magnetic battery power. This system is compatible with camera bodies from Sony, Canon, Nikon, Fujifilm, and Panasonic LUMIX.
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(52:04 in the episode)
LALAL.AI has launched Lynx, a new neural model focused on speech denoising, now powering its Voice Cleaner and voice/noise separation tools. It excels at removing copyrighted background music while preserving dialogue, ideal for scenarios like stage speeches with music that couldn’t be turned off. The model is six times more compact than the previous Andromeda model, with updates targeting distant speech improvement.
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(56:16 in the episode)
The MOFAGE POCO II builds on its predecessor’s success as a budget-friendly PL mount adapter with an integrated drop-in variable ND filter, serving as an alternative to traditional matte boxes. It now offers a swappable front mount, allowing seamless transitions between ARRI PL and Canon EF lenses on one adapter.
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(59:00 in the episode)
Concluding with an MZed feature, Mascha’s article “Beyond the Cut” delves into the use of transitions like dissolves, morphs, and wipes, emphasizing their narrative significance. While beginners may overuse cross dissolves to mask poor cuts, professionals understand their meaning. This ties into Mascha’s Mighty Cut webinar, now accessible as a recording on d.
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That wraps up this week’s episode! Questions or comments? Reach out to m, leave a comment under the video or article, and don’t forget to subscribe to Focus Check on Apple Podcasts or Spotify. See you next week with an exciting new camera review!
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For its 2027 edition, the Sony Future Filmmaker Awards is expanding its scope by adding a new Immersive category. This addition invites creators to submit short films using advanced immersive formats such as 3D, 180°, and 360° video.
Now in its fifth year, the Sony Future Filmmaker Awards highlight and reward filmmakers who are innovatively shaping the future of cinema. Organized by Creo in collaboration with Sony, the program aims to transform filmmakers’ potential into a driving force for their careers by recognizing outstanding talent and connecting them with industry professionals. The newly introduced Immersive category, sponsored by Meta, focuses on pioneering and experiential storytelling.
This category encourages short films that immerse viewers with formats like 3D, 180°, and 360° video. As these technologies are increasingly transforming the landscape of modern filmmaking, this new category provides a platform for bold and experiential storytelling, spanning all genres—from fiction to non-fiction, live action to animation. It offers filmmakers an opportunity to explore the creative potential of immersive formats.
Filmmakers who make it to the shortlist will be invited to Los Angeles to participate in an exclusive industry program from June 7-10, 2027. This event will be held at the iconic Sony Pictures Studios in Culver City and will conclude with a gala ceremony on June 10, 2027. Over four days, these filmmakers will engage in interactive sessions and masterclasses, diving deep into Hollywood’s core workings.
Guided by Sony Pictures executives, these sessions will cover critical aspects of the industry, including production, film acquisition, and collaboration with press and publicists, as well as cutting-edge technology demonstrations, animation techniques, and the art of soundtracking. This unique experience offers filmmakers a chance to build meaningful connections with industry leaders and fellow creators globally, becoming part of a vibrant international filmmaker community while honing their skills. Distinguished by this unparalleled opportunity, the awards inspire, equip, and empower the next generation of filmmakers.
Filmmakers can submit their short films in six distinct categories:
1. **Fiction**: Welcoming narrative-focused entries that depict an original fictional story or event. Films must be 5 to 20 minutes long. The winner, chosen from ten finalists, will receive Sony Digital Imaging equipment, a Meta VR device, and a $5,000 (USD) cash prize.
2. **Non-Fiction**: Open to films primarily factual in content, ranging from 5 to 20 minutes. The winner, selected from ten finalists, will receive Sony Digital Imaging equipment, a Meta VR device, and a $5,000 (USD) cash prize.
3. **Immersive**: Celebrates short films using immersive video formats, placing viewers directly within the story. Entries must be 5 to 20 minutes long and can cover any genre. The winner will earn a Meta VR device and a $5,000 (USD) cash prize.
4. **Animation**: Accepts animated films between 2 and 20 minutes using any technique, including stop-motion, motion graphics, computer animation, drawn-on-film, rotoscoping, and experimental methods. The winner, chosen from five finalists, will receive Sony Digital Imaging equipment, a Meta VR device, and a $5,000 (USD) cash prize.
5. **Student**: Designed for filmmakers studying at a registered film school or institution, ensuring diversity by selecting finalists from different continents. Submissions must be 5 to 20 minutes long and can be of any genre. Both the winner and their institution will receive Sony Digital Imaging equipment, with the winner also receiving a Meta VR device.
6. **Future Format**: Invites filmmakers to respond to a technical brief that explores the creative possibilities of vertical viewing (9:16 aspect ratio). Shorts must be 2 to 5 minutes long, can be of any genre, and shot on any device. The winner, selected from five commended entries, will participate in the four-day workshop in Los Angeles and receive a $2,500 (USD) cash prize and Sony Digital Imaging equipment.
Winners in the Fiction, Non-Fiction, Immersive, Animation, and Student categories will be announced at the Los Angeles ceremony on June 10, 2027, while the Future Format category winner will be revealed in April 2027.
Additionally, the Sustainability Prize returns, initiated by Creo and Sony to honor films that creatively promote environmental, accessibility, diversity, equality, and inclusion themes, encouraging collective action for a positive planetary future. The winner will receive a $5,000 (USD) cash prize, Sony Digital Imaging equipment, and acknowledgment on Sony Future Filmmaker Awards platforms.
Entries for the 2027 Awards are due by December 15, 2026, at 07:00 AM (CST). For more details and submission guidelines, interested participants can follow the provided link.
The 2027 Sony Future Filmmaker Awards are set to introduce an exciting new Immersive category, opening the door for short films using groundbreaking formats like 3D, 180°, and 360° video. This addition aims to spotlight filmmakers who are at the forefront of tomorrow’s cinematic landscape.
Now in its fifth year, the awards program, established by Creo in collaboration with Sony, is designed to recognize and elevate filmmakers on the cusp of major breakthroughs, facilitating direct connections with industry professionals. This year, Meta sponsors the new Immersive category, which honors innovative and experiential storytelling.
The Immersive category seeks short films that place viewers directly into the narrative, utilizing immersive technologies such as 3D, 180°, and 360° video. It celebrates pioneering storytelling across all genres, whether fiction or nonfiction, live-action or animated, offering a platform for filmmakers to explore these creative avenues.
Finalists will be flown to Los Angeles to participate in an exclusive industry program from June 7-10, 2027, at the iconic Sony Pictures Studios in Culver City. The program will culminate in a gala event on June 10, 2027. Over four days, filmmakers will engage in interactive sessions and masterclasses, gaining insights into Hollywood’s inner workings.
Led by Sony Pictures executives, these sessions will cover various industry aspects, including production, film acquisition, and public relations, along with demonstrations of cutting-edge technology, animation techniques, and soundtracking. This unique opportunity allows filmmakers to build global connections and refine their skills within an international network, ultimately equipping and empowering the next generation of creative talents.
Filmmakers can submit their short films in the following six categories:
– **Fiction**: Open to narrative-led entries that depict an original fictional story or event. Films should be 5-20 minutes long. The winner, selected from a shortlist of 10 filmmakers, will receive Sony Digital Imaging equipment, a Meta VR device, and a $5,000 cash prize.
– **Non-Fiction**: Accepts films of 5-20 minutes that are predominantly factual. The winner, also chosen from 10 shortlisted filmmakers, will receive the same prizes as the Fiction category.
– **Immersive**: This new category celebrates short films employing immersive video techniques to engage audiences. Entries must be 5-20 minutes long and can be in any genre. The winner will receive a Meta VR device and a $5,000 cash prize.
– **Animation**: Open to animated films of 2-20 minutes, using any animation techniques, such as stop-motion or computer animation. The winner, selected from five finalists, receives Sony Digital Imaging equipment, a Meta VR device, and a $5,000 cash prize.
– **Student**: Targets filmmakers enrolled in accredited film courses globally. Submissions should be 5-20 minutes long, with the winning filmmaker and their institution both receiving Sony Digital Imaging equipment, and the filmmaker also receiving a Meta VR device.
– **Future Format**: Challenges filmmakers to explore creative storytelling through a technical brief, focusing on vertical viewing (9:16 aspect ratio). Films must be 2-5 minutes and can be any genre. Winners from five commended entries will join the Los Angeles workshop and receive a $2,500 cash prize and Sony Digital Imaging equipment.
Winners in the Fiction, Non-Fiction, Immersive, Animation, and Student categories will be announced at the Los Angeles ceremony on June 10, 2027, while the Future Format winners will be revealed in April 2027.
This year’s awards also bring back the Sustainability Prize from Creo and Sony. This accolade highlights films that creatively address issues of environment, accessibility, diversity, equality, and inclusion, encouraging collective action for a sustainable future. The winner receives a $5,000 cash prize, Sony Digital Imaging equipment, and promotional support through the Sony Future Filmmaker Awards’ channels.
Entries for the 2027 Awards must be submitted by December 15, 2026, at 7:00 AM (CST). For more details and submission guidelines, visit the official awards website.
In 2027, the Sony Future Filmmaker Awards will feature a brand-new Immersive category, inviting filmmakers to enter short films crafted in innovative formats such as 3D, 180°, and 360° video.
Now entering its fifth year, the Awards continue to highlight and honor filmmakers who are redefining the future of cinema. Created by Creo in collaboration with Sony, this initiative seeks to transform filmmaker potential into momentum by identifying talented individuals on the cusp of their careers and connecting them with the film industry. This year’s introduction of the Immersive category, presented by Meta, aims to celebrate daring and experiential narratives.
The Immersive category is open to short films designed to fully engage viewers using formats like 3D, 180°, and 360° video. As these technologies shape modern filmmaking, the category embraces daring narrative techniques across genres—be it fiction, non-fiction, live-action, or animation. It offers filmmakers a platform to push the boundaries of creative storytelling through immersive formats.
Shortlisted filmmakers will be invited to Los Angeles for an exclusive industry program from June 7 to 10, 2027, at the renowned Sony Pictures Studios in Culver City, culminating in a gala ceremony on June 10, 2027. Over the course of four days, participants will engage in interactive sessions and masterclasses, gaining insights into Hollywood’s inner workings.
Led by Sony Pictures executives, these sessions will cover various aspects of the film industry, from production and film acquisition to interactions with press and publicists, as well as showcasing the latest in technology, animation techniques, and soundtracking. This program offers a rare chance to build meaningful connections with global industry leaders and fellow creators, becoming part of a vibrant network of international filmmakers while enhancing their skills and knowledge. Distinguished by such a unique prize, the Awards are designed to inspire, equip, and empower the upcoming generation of filmmakers.
Filmmakers can submit their short films in six distinct categories:
The winners in each category will be selected by a judging panel. The winners of the Fiction, Non-Fiction, Immersive, Animation, and Student categories will be announced during the Los Angeles ceremony on June 10, 2027, while the Future Format category winner and recognized filmmakers will be announced in April 2027.
Also returning this year is the Sustainability Prize, created by Creo and Sony to highlight short films that creatively communicate the importance of environment, accessibility, diversity, equality, and inclusion in ensuring a positive future for the planet. The winner will receive a $5,000 USD cash prize, Sony Digital Imaging equipment, and promotion across the Sony Future Filmmaker Awards platforms and website.
The submission deadline for the 2027 Awards is December 15, 2026, at 07:00 AM (CST). For further information and to submit entries, follow the provided link..
The Sony Future Filmmaker Awards 2027 has introduced an exciting new category: Immersive films, which invites creators to submit short films utilizing formats like 3D, 180°, and 360° video.
Now in their fifth year, these awards, established by Creo in collaboration with Sony, aim to spotlight filmmakers who are transforming the future of cinema. This initiative helps talented filmmakers gain traction by directly connecting them with industry professionals. The newly introduced Immersive category, sponsored by Meta, is designed to honor innovative and engaging storytelling.
The Immersive category encourages short films that place the audience at the heart of the narrative using technologies such as 3D, 180°, and 360° video. As these technologies revolutionize modern filmmaking, this new category welcomes daring storytelling in various forms, whether fiction, non-fiction, live-action, or animation. It provides a platform for filmmakers to explore the creative possibilities these formats offer.
Selected filmmakers will be invited to Los Angeles for a unique industry program from June 7-10, 2027. This includes participation in masterclasses and interactive sessions at the renowned Sony Pictures Studios in Culver City. The program will conclude with a gala ceremony on June 10, 2027, offering filmmakers an inside look into Hollywood.
Guided by Sony Pictures executives, attendees will delve into crucial aspects of the industry, such as production, film acquisition, media relations, alongside showcasing advanced technology, animation techniques, and sound design. This unparalleled opportunity allows filmmakers to establish valuable connections with global industry leaders and peers, fostering an international network and enhancing their skills. The awards aim to inspire and empower the next generation of filmmakers through this distinctive experience.
Filmmakers are encouraged to submit their short films across six categories:
– **Fiction**: This category calls for narrative-driven entries that convey unique fictional stories or events, with films ranging from 5 to 20 minutes. Winners from a shortlist of 10 will receive Sony Digital Imaging equipment, a Meta VR device, and a $5,000 cash prize.
– **Non-Fiction**: Open to factual films between 5 and 20 minutes, the winner will also receive Sony equipment, a Meta VR device, and $5,000, selected from a shortlist of 10.
– **Immersive**: This category celebrates films that employ immersive video formats to engage audiences. Films must be 5-20 minutes and can include fiction, documentary, live-action, or animation. One winner will be selected from a shortlist and will receive a Meta VR device and $5,000.
– **Animation**: Accepting animated films between 2 and 20 minutes utilizing various techniques, the winner will receive Sony equipment, a Meta VR device, and $5,000, chosen from five shortlisted filmmakers.
– **Student**: Open to film students enrolled in diploma or degree programs worldwide, submissions can be of any genre and 5-20 minutes long. Winners, selected from five shortlisted entries, receive Sony equipment, and the winning institution also benefits.
– **Future Format**: This category challenges filmmakers to create shorts for vertical viewing (9:16 aspect ratio) between 2 and 5 minutes. Selected from five entries, the winner receives a $2,500 cash prize, Sony equipment, and a chance to join the Los Angeles workshop.
The judging panel will announce winners for the Fiction, Non-Fiction, Immersive, Animation, and Student categories at the Los Angeles ceremony on June 10, 2027. The Future Format winner will be revealed in April 2027.
Also returning is the Sustainability Prize, established by Creo and Sony, which honors a film that creatively addresses environmental, accessibility, diversity, equality, and inclusion themes. The winner will receive $5,000, Sony equipment, and promotional opportunities across Sony’s platforms.
Entries for the 2027 awards close on December 15, 2026, at 07:00 AM (CST). For more details and submissions, follow the provided link.
The Sony Future Filmmaker Awards 2027 are introducing a new Immersive category, inviting short films created using 3D, 180°, and 360° video formats.
Now celebrating its fifth year, the awards honor filmmakers who are innovating the future of cinema. Established by Creo in collaboration with Sony, the event aims to transform potential into kinetic energy by spotlighting emerging filmmakers and linking them directly with industry leaders. This year’s introduction of the Immersive category, presented by Meta, focuses on pioneering, experiential narratives.
The Immersive category embraces short films that engage viewers through immersive formats such as 3D, 180°, and 360° video. As these technologies redefine modern filmmaking, the category celebrates dynamic, experiential storytelling across genres—whether fiction or non-fiction, live-action or animation. It offers filmmakers a platform to explore these creative possibilities.
Finalists will be flown to Los Angeles for an exclusive industry program from June 7-10, 2027, at the renowned Sony Pictures Studios in Culver City, culminating in a gala ceremony on June 10, 2027. During the four-day experience, participants will dive into Hollywood’s core through interactive sessions and masterclasses.
Guided by Sony Pictures executives, these sessions cover essential industry topics, from production and film acquisition to media relations and cutting-edge technology showcases. The program is a rare chance to build lasting connections with global industry icons and peers, becoming part of an influential network of international filmmakers while refining their skills. This unparalleled prize aims to inspire and empower the next wave of filmmakers.
Filmmakers are invited to submit their short films in six categories:
Category winners will be chosen by the judging panel. Winners in Fiction, Non-Fiction, Immersive, Animation, and Student categories will be announced at the Los Angeles ceremony on June 10, 2027, while the Future Format winner and commended filmmakers will be revealed in April 2027.
Returning to this year’s event is the Sustainability Prize, established by Creo and Sony, which highlights a short film that creatively addresses environmental, accessibility, diversity, equality, and inclusion issues. The winner will receive a $5,000 (USD) cash prize, Sony Digital Imaging equipment, and promotion through Sony Future Filmmaker Awards channels and website.
Entries for the 2027 Awards close on December 15, 2026, at 07:00 AM (CST). Visit the official website for more details and to submit your work..
We are thrilled to announce that submissions for the CineD Best-of-Show Awards at IBC 2026 are now open! Every year, these awards recognize the pioneering spirit, exceptional engineering, and dedication that propel the filmmaking industry forward. If you’re gearing up to launch a new product or technology at this year’s event, we encourage you to submit it for consideration by the CineD editorial team. Read on to learn how you can participate!
With IBC 2026 fast approaching, our trade show team is preparing for one of the most vibrant and bustling events of the year. As always, we will be present on the show floor in Amsterdam, providing comprehensive coverage of the latest advancements in filmmaking technology through hands-on videos, interviews, news articles, and in-depth reports. During the event, our editorial team will scout for outstanding products and innovations worthy of the CineD Best-of-Show Award.
With numerous product launches, press events, and meetings, trade shows can be overwhelming. By submitting your product ahead of time, you increase the likelihood of it receiving the recognition it deserves, enabling our editorial team to thoroughly evaluate each innovation before and during the show.
Whether you’re presenting a groundbreaking camera, unveiling an innovative accessory, or introducing a transformative workflow solution, we want to hear from you.
Winning a CineD Best-of-Show Award showcases your innovation to a global audience of filmmakers and industry experts, while also acknowledging the engineering and commitment behind your product.
To enter your product or technology for a CineD Best-of-Show Award at IBC 2026, simply fill out our submission form.
Submission deadline: Saturday, September 12, 2026, at 11:59 PM PST
Each entry should focus on one product or technology. Manufacturers are welcome to submit multiple products, provided they fill out a separate form for each entry. A nominal submission fee is required. For complete details, please visit our website.
All valid submissions will be awarded an official CineD Best-of-Show Award Nominee sign to display at their booth throughout IBC 2026, indicating to visitors that their product is under consideration by the CineD editorial team.
If your product has not been publicly announced, we are happy to sign a Non-Disclosure Agreement prior to reviewing your submission. Simply contact us, and we will promptly return a signed copy.
Over the years, the CineD Best-of-Show Awards have celebrated numerous leading innovators in the industry, such as Blackmagic Design, DJI, FUJIFILM, Core SWX, BLAZAR, LC-Tec, Saramonic, Zhiyun, DoPchoice, Strada, among others.
Our awards are independently judged by CineD’s editorial team based on criteria like innovation, usability, engineering, and the impact on filmmakers and content creators.
To see previous winners, check our announcements from 5, 6, and earlier editions of our Best-of-Show Awards.
We look forward to honoring the innovation, creativity, and hard work that continues to advance the filmmaking industry. Good luck—We are eager to see what you’ve been working on!
We are thrilled to announce that submissions for the CineD Best-of-Show Awards at IBC 2026 are now open! Every year, these awards recognize the pioneering spirit, exceptional engineering, and dedication that propel the filmmaking industry forward. If you’re gearing up to launch a new product or technology at this year’s event, we encourage you to submit it for consideration by the CineD editorial team. Read on to learn how you can participate!
With IBC 2026 fast approaching, our trade show team is preparing for one of the most vibrant and bustling events of the year. As always, we will be present on the show floor in Amsterdam, providing comprehensive coverage of the latest advancements in filmmaking technology through hands-on videos, interviews, news articles, and in-depth reports. During the event, our editorial team will scout for outstanding products and innovations worthy of the CineD Best-of-Show Award.
With numerous product launches, press events, and meetings, trade shows can be overwhelming. By submitting your product ahead of time, you increase the likelihood of it receiving the recognition it deserves, enabling our editorial team to thoroughly evaluate each innovation before and during the show.
Whether you’re presenting a groundbreaking camera, unveiling an innovative accessory, or introducing a transformative workflow solution, we want to hear from you.
Winning a CineD Best-of-Show Award showcases your innovation to a global audience of filmmakers and industry experts, while also acknowledging the engineering and commitment behind your product.
To enter your product or technology for a CineD Best-of-Show Award at IBC 2026, simply fill out our submission form.
Submission deadline: Saturday, September 12, 2026, at 11:59 PM PST
Each entry should focus on one product or technology. Manufacturers are welcome to submit multiple products, provided they fill out a separate form for each entry. A nominal submission fee is required. For complete details, please visit our website.
All valid submissions will be awarded an official CineD Best-of-Show Award Nominee sign to display at their booth throughout IBC 2026, indicating to visitors that their product is under consideration by the CineD editorial team.
If your product has not been publicly announced, we are happy to sign a Non-Disclosure Agreement prior to reviewing your submission. Simply contact us, and we will promptly return a signed copy.
Over the years, the CineD Best-of-Show Awards have celebrated numerous leading innovators in the industry, such as Blackmagic Design, DJI, FUJIFILM, Core SWX, BLAZAR, LC-Tec, Saramonic, Zhiyun, DoPchoice, Strada, among others.
Our awards are independently judged by CineD’s editorial team based on criteria like innovation, usability, engineering, and the impact on filmmakers and content creators.
To see previous winners, check our announcements from 5, 6, and earlier editions of our Best-of-Show Awards.
We look forward to honoring the innovation, creativity, and hard work that continues to advance the filmmaking industry. Good luck—We are eager to see what you’ve been working on!
We are thrilled to announce that submissions for the CineD Best-of-Show Awards at IBC 2026 are now open! Every year, these awards recognize the pioneering spirit, exceptional engineering, and dedication that propel the filmmaking industry forward. If you’re gearing up to launch a new product or technology at this year’s event, we encourage you to submit it for consideration by the CineD editorial team. Read on to learn how you can participate!
With IBC 2026 fast approaching, our trade show team is preparing for one of the most vibrant and bustling events of the year. As always, we will be present on the show floor in Amsterdam, providing comprehensive coverage of the latest advancements in filmmaking technology through hands-on videos, interviews, news articles, and in-depth reports. During the event, our editorial team will scout for outstanding products and innovations worthy of the CineD Best-of-Show Award.
With numerous product launches, press events, and meetings, trade shows can be overwhelming. By submitting your product ahead of time, you increase the likelihood of it receiving the recognition it deserves, enabling our editorial team to thoroughly evaluate each innovation before and during the show.
Whether you’re presenting a groundbreaking camera, unveiling an innovative accessory, or introducing a transformative workflow solution, we want to hear from you.
Winning a CineD Best-of-Show Award showcases your innovation to a global audience of filmmakers and industry experts, while also acknowledging the engineering and commitment behind your product.
To enter your product or technology for a CineD Best-of-Show Award at IBC 2026, simply fill out our submission form.
Submission deadline: Saturday, September 12, 2026, at 11:59 PM PST
Each entry should focus on one product or technology. Manufacturers are welcome to submit multiple products, provided they fill out a separate form for each entry. A nominal submission fee is required. For complete details, please visit our website.
All valid submissions will be awarded an official CineD Best-of-Show Award Nominee sign to display at their booth throughout IBC 2026, indicating to visitors that their product is under consideration by the CineD editorial team.
If your product has not been publicly announced, we are happy to sign a Non-Disclosure Agreement prior to reviewing your submission. Simply contact us, and we will promptly return a signed copy.
Over the years, the CineD Best-of-Show Awards have celebrated numerous leading innovators in the industry, such as Blackmagic Design, DJI, FUJIFILM, Core SWX, BLAZAR, LC-Tec, Saramonic, Zhiyun, DoPchoice, Strada, among others.
Our awards are independently judged by CineD’s editorial team based on criteria like innovation, usability, engineering, and the impact on filmmakers and content creators.
To see previous winners, check our announcements from 5, 6, and earlier editions of our Best-of-Show Awards.
We look forward to honoring the innovation, creativity, and hard work that continues to advance the filmmaking industry. Good luck—We are eager to see what you’ve been working on!
The Tamron 12-20mm F2.8 lens is engineered with a compact, lightweight design and advanced controls to meet the needs of professionals shooting astrophotography.
The standout aspect of the 12-20mm F2.8 lens (Model A084) for full-frame mirrorless cameras is its ultra-wide 12mm focal length. While lenses at 14mm or 16mm are considered wide, the expansive reach of 12mm offers what Tamron describes as an “unparalleled sense of scale.” This is perfect for highlighting perspective and capturing everything from stunning architectural details to sweeping landscapes with dynamic intensity.
The impressive 12mm range, which provides a remarkable ability to capture an entire scene, is combined with a bright F2.8 maximum aperture that remains constant across the zoom range. According to Tamron, this lens is set to become the “new protagonist” in the fields of astrophotography and interior shooting.
When examining the potential of this lens, the use of an XGM (eXpanded Glass Molded Aspherical) lens element, three GM (Glass Molded Aspherical) lens elements, and several special lens elements become compelling selling points. This design minimizes peripheral blurring and color fringing, while also correcting sagittal coma flare, a common issue in astrophotography, to ensure sharpness from the center to the edges of the frame. Thanks to these features, Tamron claims that whether capturing starry night skies or dimly lit interiors, this lens performs excellently in various environments.
Despite its “exceptional imaging performance,” Tamron notes the lens is compact, measuring just 119.3mm (4.7in) in length and weighing only 570g (20.2oz). It is a professional-grade tool, complete with various controls and rings for enhanced operability.
The lens features a VXD (Voice-coil eXtreme-torque Drive) high-speed, high-precision linear motor for autofocus. Additionally, with a 0.18m (7.1in) Minimum Object Distance (MOD) at the 12mm end, it offers excellent close-up performance, allowing photographers to get as close as 50mm (2in) from the lens to their subject for creative shots.
The lens mount includes a rear filter holder designed for commercially available sheet-type filters. This feature allows users to cut filter sheets to size and insert them into the holder, providing greater creative control, especially useful for long-exposure photography.
The 12-20mm F2.8 lens is compatible with the dedicated Tamron Lens Utility application, enabling users to assign practical functions for both video and photography directly to the lens. This integration eliminates the need for additional video equipment or complex setups, simplifying the creative workflow and offering new shooting opportunities.
The 12-20mm F2.8 is priced at $1,699.00 for the Sony E mount and $1,799.00 for the Nikon Z mount.
The Tamron 12-20mm F2.8 lens is an engineering marvel, designed to meet the rigorous demands of professional photographers. With a compact and lightweight build, this lens offers exceptional control features that make it ideal for capturing stunning astrophotography.
Boasting an ultra-wide focal range that starts impressively at 12mm, the 12-20mm F2.8 (Model A084) is tailored for full-frame mirrorless cameras. Unlike typical 14mm or 16mm lenses, the expansive 12mm view delivers an extraordinary sense of scale. As Tamron describes it, and many would concur, this perspective offers a dynamic intensity perfect for capturing everything from grand architectural structures to sweeping landscapes.
The remarkable width of the 12mm view, combined with a bright F2.8 maximum aperture across its zoom range, positions this lens as a game-changer in the realms of astrophotography and interior photography. Tamron proudly touts it as the “new protagonist” for these genres.
The lens’s potential is evident in its sophisticated optical system, which includes an XGM (eXpanded Glass Molded Aspherical) lens element, three GM (Glass Molded Aspherical) lens elements, and several specialized elements. These components work cohesively to minimize peripheral blurring and color fringing while correcting sagittal coma flare—a frequent issue in astrophotography—ensuring crisp sharpness from the center to the corners of the frame. As Tamron points out, whether you’re photographing starry night skies or dimly lit interiors, this lens performs exceptionally well in any setting.
In addition to its “exceptional imaging performance,” the lens maintains a perfect balance between size and weight. Measuring only 119.3mm (4.7in) in length and weighing a mere 570g (20.2oz), it is compact yet retains professional-grade functionality with various switches and rings for optimal operability.
The autofocus system is powered by VXD (Voice-coil eXtreme-torque Drive), a fast and precise linear motor focus mechanism. With a Minimum Object Distance (MOD) of 0.18m (7.1in) at the 12mm wide end, the lens provides “outstanding close-up performance for creative versatility,” allowing photographers to get as close as 50mm (2in) from the lens front to the subject.
Equipped with a dedicated rear filter holder, the lens accommodates commercially available sheet-type filters. This setup allows users to cut a filter sheet to the necessary size and place it in the holder, expanding creative control, especially useful for long exposure photography.
The Tamron 12-20mm F2.8 is compatible with the exclusive Tamron Lens Utility application, which lets users assign practical functions for both video and still photography directly on the lens. This integration eliminates the need for external video equipment, streamlining the creative process and broadening shooting possibilities.
The 12-20mm F2.8 is priced at $1,699.00 for the Sony E mount version and $1,799.00 for the Nikon Z mount version.
With its compact and lightweight design, the Tamron 12-20mm F2.8 lens offers superior control features tailored for professional astrophotography.
The standout attribute of the 12-20mm F2.8 (Model A084) tailored for full-frame mirrorless cameras is its ultra-wide focal range, beginning impressively at 12mm. While 14mm and 16mm lenses provide wide angles, the 12mm perspective delivers an unmatched sense of scale. According to Tamron, this allows photographers to capture perspectives with dynamic intensity, perfectly suited for everything from grand architectural marvels to vast landscapes.
This vast 12mm perspective, which offers a dynamic expression as if it captures the entire scene, is combined with a bright F2.8 maximum aperture throughout the zoom range. Tamron envisions this lens as the emerging standout for astrophotography and interior photography.
The lens’s potential is evident when considering its advanced optical system, which incorporates an XGM (eXpanded Glass Molded Aspherical) lens element, three GM (Glass Molded Aspherical) lens elements, and various special lens elements. This construction effectively minimizes peripheral blurring and color fringing, while correcting sagittal coma flare—an issue frequently encountered in astrophotography—ensuring sharpness from the center to the edges. As Tamron states, “whether capturing star-filled skies or dim interiors, this lens excels in all environments.”
Despite its “exceptional imaging performance,” Tamron proudly notes the lens achieves a sophisticated balance of size and weight, measuring just 119.3mm (4.7in) in length and weighing a mere 570g (20.2oz). Though compact, it is a professional-grade tool equipped with various switches and rings to ensure superior operability.
For autofocus, this lens utilizes the VXD (Voice-coil eXtreme-torque Drive), a high-speed, high-precision linear motor focus mechanism. With a minimum object distance (MOD) of 0.18m (7.1in) at the 12mm wide end, the lens offers remarkable close-up capabilities for creative flexibility, allowing photographers to get as close as 50mm (2in) from the lens front to the subject.
The lens mount includes a dedicated rear filter holder, accommodating commercially available sheet-type filters. Users can cut a filter sheet to size and insert it into the holder, providing expanded creative control, especially beneficial for long-exposure photography.
Additionally, the 12-20mm F2.8 is compatible with the Tamron Lens Utility application, allowing users to assign practical functions for both video and photography directly to the lens. This feature eliminates the need for external video equipment or previously complex setups, streamlining creative workflows and enhancing shooting possibilities.
The 12-20mm F2.8 lens is priced at $1,699.00 for the Sony E version and $1,799.00 for the Nikon Z version.
The Tamron 12-20mm F2.8 lens combines a sleek, lightweight structure with versatile control features, tailored to the rigorous demands of professional astrophotographers.
Designed for full-frame mirrorless cameras, the standout characteristic of the 12-20mm F2.8 (Model A084) is its ultra-wide focal range starting at an impressive 12mm. Although other lenses may start at 14mm or 16mm, the expansive 12mm offers, as Tamron states and many photographers would agree, “an unparalleled sense of scale.” This focal length allows for a dynamic capture of everything from majestic architecture to sweeping landscapes.
The lens’s wide 12mm perspective, which captures an entire scene with dynamic flair, is enhanced by a bright F2.8 maximum aperture throughout its zoom range. This makes it an ideal tool, dubbed by Tamron as the “new protagonist” in the realms of astrophotography and interior shooting.
The potential of this lens is undeniable, featuring an optical system with an XGM (eXpanded Glass Molded Aspherical) lens element, three GM (Glass Molded Aspherical) lens elements, and several special lens elements. These components work together to minimize peripheral blurring and color fringing while correcting sagittal coma flare, a common issue in astrophotography. This ensures exceptional sharpness across the entire frame, making it perfect for capturing starry skies or low-light interiors.
Despite its impressive imaging capabilities, Tamron emphasizes that the lens maintains a perfect balance of size and weight. It measures just 119.3mm (4.7 inches) in length and weighs a mere 570g (20.2 ounces). Its compact design doesn’t compromise on functionality, featuring multiple switches and rings that ensure superior operability.
Equipped with the VXD (Voice-coil eXtreme-torque Drive), the lens boasts a high-speed, high-precision linear motor focus mechanism. Additionally, with a Minimum Object Distance (MOD) of 0.18m (7.1 inches) at the 12mm wide end, it offers impressive close-up performance. You can focus as close as 50mm (2 inches) from the front of the lens to your subject.
Its lens mount includes a unique rear filter holder, accommodating commercially available sheet-type filters. Users can cut a filter to the required size and insert it into the holder, ideal for long-exposure photography.
The 12-20mm F2.8 is compatible with the Tamron Lens Utility application, which allows users to assign practical functions for both video and still photography directly to the lens. This feature negates the need for additional video equipment or complex setups, streamlining creative workflows and enhancing shooting possibilities.
The 12-20mm F2.8 is priced at $1,699.00 for the Sony E version and $1,799.00 for the Nikon Z version.
Blackmagic Design has released the Blackmagic Camera for Android 3.4 Update, which adds 4K HDMI video output with audio, WearOS camera control, REST API remote control, continuous recording pause, Blackmagic Focus and Zoom demand support, and proxy clip management. What’s New in Blackmagic Camera for Android 3.4: * Support for 4K HDMI output.* Support for … d
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The edelkrone Krone X Compact is an innovative, travel-friendly robotic camera motion system that integrates the capabilities of DollyONE, JibONE, and HeadPLUS into a compact configuration. This setup, which conveniently fits into a backpack, offers seamless floor movement, jib motion, and comprehensive camera control. It’s perfect for users seeking sophisticated motion control without the usual complications.
The original article appeared first on the source website.
The edelkrone Krone X Compact is a versatile, travel-friendly robotic camera motion system that integrates the functionalities of DollyONE, JibONE, and HeadPLUS into a compact setup. This innovative system can easily fit into a backpack, offering seamless floor movement, jib motion, and precise camera control. Designed for photographers and videographers seeking sophisticated motion control without the typical complexities, it is an ideal solution for professionals on the go.
The announcement of this product was originally featured on their website.
The edelkrone Krone X Compact is a travel-friendly robotic camera motion system designed to fit into a backpack. This innovative setup combines the functionalities of DollyONE, JibONE, and HeadPLUS, offering floor movement, jib motion, and camera control. It is ideal for users seeking sophisticated motion control without the inconvenience of bulky equipment.
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The edelkrone Krone X Compact is a portable robotic camera motion system ideal for travelers. This innovative setup integrates the capabilities of DollyONE, JibONE, and HeadPLUS into a compact design that conveniently fits into a backpack. It offers seamless floor movement, jib motion, and precise camera control, catering to users who seek sophisticated motion control without the inconvenience of bulky equipment.
The edelkrone Krone X Compact is an innovative, travel-friendly robotic camera motion system that seamlessly integrates the capabilities of DollyONE, JibONE, and HeadPLUS into a compact design. This versatile setup, which conveniently fits inside a backpack, enables floor movement, jib motion, and precise camera control. It is specifically designed for filmmakers seeking sophisticated motion control without the inconvenience of bulky equipment.
The innovative edelkrone Krone X Compact is a portable robotic camera motion system designed for easy travel. This compact setup integrates the functionalities of DollyONE, JibONE, and HeadPLUS, all conveniently fitting into a backpack. It offers seamless floor movement, jib motion, and comprehensive camera control, catering to users seeking sophisticated motion control without the complexity.
The announcement of this groundbreaking product was first featured on r.
You can save $250 USD on the Think Tank Photo Venturing Observer L2 Photo Traveler (48L) and purchase it for $219.99 USD. The Venturing Observer L2 Photo Traveler is a two-wheeled case designed to meet most U.S. domestic airline carry-on requirements. The tuck-away compression system offers a sophisticated look with features that appeal to savvy travelers. Padded … d
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The Hollyland Mars M1 Enhanced 5.5″ Wireless Transceiver Monitor is on sale for $269 USD, which is a discount of $160 USD. The Mars M1 Enhanced provides new features, including a record/playback review feature that can review up to 2 minutes of video for instant review, and it features a new low-profile capsule antenna design. … d
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The JOBY Wavo On-Camera Vlogging Microphone is on sale for $14.95 USD, which is a big discount of $102 USD. The JOBY Wavo On-Camera Vlogging Microphone is designed to give you great sound quality on the go. This is a camera-mounted mic that plugs right into your compatible device, so you can get great audio in your … d
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The landscape of the drone industry is evolving rapidly. With recent product launches, advancements in open-source hardware, and reputable manufacturers venturing into aerial systems, the market is undergoing significant transformation. Additionally, the growing implementation of government-imposed airspace limitations is redefining the way drones are designed, distributed, and operated. These trends provide insight into the sector’s immediate future, highlighting regulatory adjustments, increased involvement in production, and a rise in usage […]
Originally published on s.
The drone industry is undergoing significant transformation. With the introduction of new products, the rise of open-source hardware projects, established companies venturing into aerial technology, and the growing implementation of governmental airspace regulations, the landscape of drone manufacturing and operation is rapidly evolving. These advancements provide insight into the immediate future of the industry, highlighting key trends such as navigating regulatory challenges, increasing involvement in drone production, and the expanding utilization of these technologies […]
This article originally appeared on s.
The drone industry is evolving rapidly. With recent product launches, open-source hardware projects, traditional manufacturers venturing into aerial technologies, and the growing implementation of government airspace restrictions, the landscape of drone development, distribution, and operation is being transformed. These changes provide a glimpse into the industry’s immediate future, highlighting regulatory adaptations, expanded manufacturing involvement, and heightened usage […]
This article was first published on s.
The drone industry is undergoing a significant transformation. With the latest product launches, open-source hardware projects, and traditional companies venturing into aerial technology, the landscape of drone production, sales, and operation is evolving. Additionally, governments are increasingly implementing airspace regulations. These trends highlight the industry’s imminent direction, characterized by creative regulatory solutions, wider involvement in manufacturing, and expanding applications […]
The article originally appeared on s.
The landscape of the drone industry is evolving rapidly. With recent product launches, initiatives in open-source hardware, and established companies entering the aerial systems market, there’s a significant transformation in how drones are designed, marketed, and operated. Additionally, the growing implementation of airspace restrictions by governments is contributing to these changes. These factors collectively provide a clear picture of the industry’s short-term direction, highlighting regulatory adjustments, expanded manufacturing participation, and increasing utilization […]
The original post was first published on s.
The drone industry is undergoing a significant transformation. With the introduction of new products, initiatives in open-source hardware, traditional manufacturers venturing into aerial technology, and expanding government-imposed airspace regulations, the landscape of drone design, distribution, and operation is evolving rapidly. These changes highlight the industry’s immediate future trends, including navigating regulatory challenges, increased participation in manufacturing, and the growing utilization of drones across various sectors.
The original article was published on a different platform.
L’X4 Air reprend le concept “je filme tout, je cadre après”, dans un corps plume et avec des fonctions vraiment utiles au quotidien. Tu profites de ta session, tu cadres plus tard… et tu sors un clip propre sans prise de tête.
D’abord, le poids. À 165 g, c’est l’8K la plus légère de la gamme Insta360 : moins de fatigue sur perche/casque, plus de spontanéité. Les lentilles remplaçables font baisser la parano des micro-rayures : tu changes la “vitre”, pas la caméra. Et l’étanchéité 15 m couvre sans souci pluie, piscine et bord de mer.
Ensuite, l’image. Les deux capteurs 1/1,8″ et l’Active HDR améliorent la dynamique : ciel cramé et ombres bouchées se calment, tu passes moins de temps à rattraper en post.
Enfin, le workflow. Avec InstaFrame, la caméra enregistre deux fichiers : un clip “prêt à poster” et la sphère 360 pour recadrer proprement plus tard. Ajoute l’IA de l’app (détection des meilleurs moments, transitions, musique) et tu peux publier un reel en quelques minutes.
L’X5 reste la reine côté qualité d’image pure. L’X4 est déjà très capable en 8K 360. X4 Air, elle, pousse la carte portabilité + simplicité : plus légère et moins chère, tout en gardant l’essentiel (8K, lentilles remplaçables, étanchéité, stabi, InstaFrame). Si tu veux entrer dans la 360 sans te charger, c’est la porte la plus douce.
Elles sont toutes les deux encore disponibles sur le site insta360!
Insta360 X4 Air = la 360 8K “sans prise de tête” : légère, solide, étanche, InstaFrame pour publier tout de suite et recadrer ensuite. Et surtout, 399 € en France en pack standard.
Le Ricoh GR IV reste le roi du format poche, mais tout s’accélère : optique GR 28 mm f/2.8 redessinée (7 éléments/5 groupes), capteur APS-C BSI 25,74 MP, GR Engine 7, IBIS 5 axes plus efficace, et démarrage ~0,6 s. Et surtout, trois versions : Standard (couleur clean), HDF (glow intégré), Monochrome (vrai capteur N&B). En pratique : plus de look, plus de marge, et moins de frictions au quotidien.
Standard — Couleur polyvalente et propre ; tu profites de toutes les recettes (Image Control) et de l’optique révisée sans diffusion.
HDF — Glow doux sur les hautes lumières (halation) sans filtre vissé : vitrines, néons, pluie → ambiance “ciné” instantanée.
Monochrome — Vrai capteur N&B (pas de matrice couleur) : micro-textures plus fines, noirs plus denses, grain élégant à hauts ISO.
Tu as 14 préréglages dont Cinema (Yellow) et Cinema (Green), plus les classiques (Positive Film, Negative Film, Hi-Contrast B&W, Bleach Bypass, Retro, HDR Tone, etc.). Ensuite, tu ajustes contrastes hautes/ombres, clarté, teinte, saturation, grain, et tu sauvegardes tes recettes (Custom 1–3). Résultat : JPEG final prêt à publier, tout en gardant le DNG 14-bit pour aller plus loin en post.
Le GR IV filme en 1080p jusqu’à 60p avec IBIS et micro stéréo. Ce n’est pas une caméra “ciné”, mais pour du walk-and-talk, du B-roll discret, des reels propres, ça marche nickel. Bonus pratique : sortie DisplayPort via USB-C pour moniteur externe → cadrage confortable en fixe, sans boîtier rare.
Il faut savoir que j’ai brievement eul’occasion de tester le GR III (Dairy Edition) et l’evolution est plutot bluffante!
Le macro descend à 6–15 cm devant la lentille : parfait pour textures, menus objets, détails de rue. Tu as aussi lecrop 35 mm (≈15 MP) et 50 mm (≈7 MP) en un clic ; et si tu veux élargir, l’adaptateur GA-3 + le convertisseur GW-4 te donnent 21 mm équiv. — utile pour l’archi serrée ou la grande place.
Wi-Fi 2,4/5 GHz plus stable (WPA2/WPA3), Bluetooth 5.3 pour la veille et la géoloc, appli GR WORLD : télécommande live, réglages, transfert, géotag. Tu postes sans ordinateur, et tu déclenches sans toucher quand il faut rester invisible.
Le GR IV garde l’esprit GR, mais devient plus créatif et plus pratique : Standard pour la couleur clean, HDF pour le glow prêt à l’emploi, Monochrome pour un vrai N&B. Avec optique 28 mm revue, capteur BSI 25,74 MP, GR Engine 7, IBIS 5 axes, ND 2 IL, AA Simulator, 53 Go internes, FHD 60p, USB-C DisplayPort et GR WORLD, tu shootes plus vite, plus net, avec un look qui te ressemble.
Soyons honnêtes : pendant longtemps, Nikon traînait une image “photo d’abord, vidéo ensuite”. Et là, boom : la ZR, co-signée Nikon × RED, arrive avec du R3D (NE) interne 12-bit, un écran 4″ DCI-P3, de l’audio 32-bit float… et un prix public conseillé à 2 349 € en France. Sur le papier c’est agressif — et en image, c’est très propre.
Le combo 6K plein format + RAW 12-bit donne des peaux propres, une latitude de correction confortable et une dynamique qui tient les hautes lumières sans s’écraser. En clair : fini la vibe “photo qui filme”, on a une image ciné qui accepte les LUTs et un étalonnage poussé sans casser.
Shutter angle pour rester en logique cinéma, LUTs embarquées (et perso) pour prévisualiser ton rendu, un grand écran 4″ lisible au soleil, et surtout l’audio 32-bit float qui te pardonne un invité qui parle trop fort ou un micro un peu loin. Ajoute la stabilisation généreuse : tu pars léger, sans cage lourde ni enregistreur externe systématique, et tu rentres avec des rushs exploitables.
C’est la vraie question : qualité d’image “ciné” + flexibilité de post à 2 349 €, ça tape fort. La Sony FX3 reste une valeur sûre (éco-système massif, habitudes d’équipe, etc.), mais côté value pure, la ZR vient bousculer la hiérarchie. Si ton critère n°1, c’est le rendu et la souplesse en post au meilleur prix, la ZR a des arguments très sérieux.
Nikon × RED ZR : 6K/60 en RAW interne, IBIS costaud, AF moderne, écran 4″, audio 32-bit — à 2 349 €. Pour le rapport qualité/prix, c’est clairement un FX3 killer. Nikon n’est plus la risée en vidéo.
Tu veux de la lumière qui s’installe vite, tape fort et ne t’enchaîne pas aux prises murales ? Les nouvelles Godox ML80Bi et ML150Bi visent exactement ça : deux petits COB bi-couleurs (chaud ↔ froid) modulaires, alimentables sur batterie, avec des accessoires magnétiques qui se clipsent en secondes. En pratique : interview propre, vlog maîtrisé, docu léger, corporate rapide.
Beaucoup de punch, peu d’encombrement. Avec le réflecteur ML-Z, ces petites têtes envoient vraiment. Ça te donne 1 à 2 stops d’air pour mettre un diffuseur (lumière plus douce) tout en gardant de la marge. Résultat : une key light propre en interview, même dans un bureau vitré, et des arrière-plans qui ne brûlent pas.
Modulaire malin. Les accessoires magnétiques se clipsent en quelques secondes (tu peux en empiler plusieurs : diffusion + grille, par exemple). Et si tu as déjà des modeleurs Bowens, tu prends l’adaptateur et tu es chez toi. Ça évite le bricolage et les usines à gaz.
Tips rapides :
• Plus près = plus doux et plus petit, plus loin = plus dur et plus large.
• Tu peux empiler (ex. D36 + ML-T + ML-B4) pour adoucir et contrôler le débordement.
• Tourne les rectangles (D1060/D1036) pour passer vertical ↔ horizontal selon le sujet.
En ML-BA, tu tournes un bon moment à pleine puissance (idéal pour une itw, un b-roll tendu ou un musée sans prises accessibles). Besoin de plus ? NP-F pour la légèreté, V-Mount pour l’endurance et la puissance max (surtout sur ML150Bi). Concretement : moins de multiprises, pas de gaffer au sol, tu repositionnes le projecteur en 5 secondes.
Astuce setup rapide :
Sur place, tu dimmes de 0 à 100 %, tu as 11 effets (bougie, orage, etc.), et l’appli Godox Light te laisse tout piloter depuis le smartphone (le NFC sert à un appairage quasi instantané : tu touches, c’est connecté).
En studio, le DMX/RDM du ML150Bi le rend pilotable comme n’importe quel projecteur pro : tu enchaînes des cues, tu synchronises key/fill/practicals sans te lever.
Annoncés $229 (ML80Bi) et $259 (ML150Bi), lancement mondial via revendeurs Godox. Les tarifs en € dépendent des bundles chez les revendeurs.
Godox ML80Bi / ML150Bi : petites, puissantes, modulaires. Lumière forte (ok même avec diffusion), alimentation sur batterie (vraiment mobile), appli + NFC, DMX sur ML150Bi, accessoires magnétiques et Bowens en option.
Le duo “corps léger + zoom polyvalent” vise très clairement les créateurs qui veulent démarrer propre : un boîtier compact avec viseur (pratique en plein soleil) et un zoom 13-33 mm qui couvre le vlog en intérieur (≈20 mm équiv.), les plans d’ambiance et va jusqu’au petit portrait à ~50 mm équiv.. En langage simple : tu cadres large où que tu sois, tu passes en plan serré sans changer d’optique, et tu gardes un setup discret pour la rue ou le voyage. (L’angle de 13 mm côté APS-C est un vrai plus vs les kits 15-45 habituels.)
Côté ouverture variable f/3.5-6.3, ça veut dire : nickel en extérieur et intérieur éclairé, un peu plus exigeant en soirée côté ISO/vitesse. Si la stabilisation optique (OIS) se confirme sur le 13-33, ça rattrape 1–3 stops en vidéo à main levée et pour des photos posées “calmes” — utile pour les visites de musée, les marchés, les walk-and-talk au gimbal léger. (OIS encore au conditionnel à l’heure où j’écris.)
Sur le boîtier X-T30 III, l’intérêt (s’il reprend vraiment X-Processor 5) c’est un AF plus futé (détection sujet/visage/œil plus stable), des menus et la réactivité au niveau des Fuji récents, et une expérience “photo d’abord” avec molettes et viseur — pile ce que demandent les amateurs qui veulent le rendu Fuji sans partir sur un X-T5. Mais tout ça reste rumeur jusqu’à l’annonce : on surveille les specs finales.
Annonce 23/10 à 07:00 (Paris) : X-T30 III + XC 13-33 f/3.5-6.3. Un combo léger pour créateurs et amateurs : grand-angle utile, viseur intégré, et (probablement) OIS sur l’objectif. On revient sur les specs confirmées dès la sortie.
Tu veux un 85 mm full frame qui ne pèse pas un âne mort, qui garde un bokeh propre et un AF fiable… sans exploser le budget ? Viltrox ouvre une nouvelle famille “EVO” avec un 85 mm f/2 qui coche pile ces cases. L’idée : “faire simple et bien”, plutôt que la surenchère de specs.
EVO = essentiel optimisé : gabarit léger (≈340 g), AF STM silencieux, Fn dédié, switch AF/MF et un interrupteur de clic pour l’anneau (photo vs vidéo). Le tout avec une formule 10 éléments en 8 groupes (dont 2 ED + 2 HR) et une MFD à 0,74 m. Traduction : du piqué honnête dès f/2, une séparation des plans douce, et un comportement propre en basse lumière sans te ruiner en filtres 77 mm.
EVO = essentiel optimisé : gabarit léger (≈340 g), AF STM silencieux, Fn dédié, switch AF/MF et un interrupteur de clic pour l’anneau (photo vs vidéo). Le tout avec une formule 10 éléments en 8 groupes (dont 2 ED + 2 HR) et une MFD à 0,74 m. Traduction : du piqué honnête dès f/2, une séparation des plans douce, et un comportement propre en basse lumière sans te ruiner en filtres 77 mm
f/2, c’est simple : tu laisses entrer plus de lumière qu’un f/2.8 (pratique en intérieur/soirée), et tu obtiens un arrière-plan plus doux qui détache le sujet (look portrait propre sans te battre avec le décor). Le diaphragme et la formule optique visent un rendu net sur le sujet, avec un flou agréable et peu de franges colorées en contre-jour. Résultat : des portraits “qui respirent” dès f/2, et très piqués en fermant un peu.
En vidéo, l’AF STM fait le taf sans bruit de moteur (ton micro te dira merci). Le switch de clic te laisse choisir un anneau cranté (repères précis en photo) ou fluide (mouvements continus en vidéo). Avec le bouton Fn et le sélecteur AF/MF, tu changes vite de comportement sans fouiller les menus — pratique en interview/course-and-gun.
Côté prise en main, ≈340 g c’est léger, donc moins de fatigue à la journée et un set-up plus discret. La MAP à 0,74 m ne fait pas de ce 85 un macro, mais elle suffit pour des gros plans de mains, d’accessoires, de textures en portrait. Les filtres 58 mm gardent le budget ND/pola très raisonnable. Et le joint de monture + coating frontal t’offrent un minimum de sérénité sous une petite bruine (on parle bien de résistance, pas d’étanchéité pro).
Annoncé à $299,25 pour Sony E plein format. Très agressif pour un 85 autofocus récent, avec cette ergonomie.
Si tu es comme moi, toujours à l’affût des dernières nouveautés pour améliorer tes créations, alors t’as paspu manquer que DaVinci resolver vient de sortir sa version 20.2.2. Et même si ça peut sembler être juste un autre numéro de version, crois-moi, cette mise à jour pourrait bien faire une différence dans ton flux de travail. Alors, qu’est-ce qui rend cette version si spéciale ? Accroche-toi, je t’explique tout !
L’une des améliorations majeures de la version 20.2.2, c’est la stabilité. Tu vois ce moment frustrant où ton logiciel plante juste avant que tu sauvegardes ton chef-d’œuvre ? Eh bien, Blackmagic Design a travaillé dur pour eviter que ca n’arrive trop souvent. Du coup maintenant, DaVinci Resolve est plus robuste, ce qui signifie moins de crashs et plus de sérénité pendant tes sessions de montage.
Sans asperger qui que ce soit de jargon technico technique, voici quelques corrections qui méritent quand même d’être soulignées :
– Problèmes de synchronisation audio résolus : Fini le casse-tête des décalages audio (lorsque le son et l’image ne sont pas alignés).
– Améliorations des performances GPU : Le GPU (la carte graphique) est mieux optimisé, ce qui se traduit par une lecture plus fluide de tes clips.
– Stabilité du module Fairlight : Si tu utilises Fairlight pour le traitement audio, tu vas adorer cette mise à jour. Les bugs qui faisaient planter ce module ont été corrigés.
DaVinci Resolve 20.2.2 intègre désormais une meilleure prise en charge des formats vidéo des caméras récentes. Que tu filmes avec la dernière GoPro ou une caméra professionnelle, tu bénéficieras d’une compatibilité accrue.
Si t’es un vidéaste amateur comme moi, cette mise à jour te permet de te concentrer davantage sur ta créativité. Moins de galères techniques signifie plus de temps pour peaufiner tes transitions et tes effets. Avec une synchronisation audio améliorée, tes vidéos auront un aspect plus pro sans que tu aies besoin de jongler avec des paramètres complexes.
– Interface plus réactive : Moins de temps d’attente lors de l’importation et de l’exportation de fichiers.
– Options de sauvegarde automatique améliorées : Tes projets sont plus sécurisés, évitant les mauvaises surprises.
Alors, tu penses quoi de cette nouvelle version de DaVinci Resolve ? Perso sur le papier je kiff, reste à tester pour voir si dans la vie réelle ca donne aussi bien!
Et toi, as-tu déjà essayé DaVinci Resolve 20.2.2 ? Quelles sont tes premières impressions ? Partage ton expérience et tes découvertes dans les commentaires. J’ai hâte de lire ce que tu en penses !
Yes, the leaked photo of the “Insta360 drone” is real. I know because I’ve actually flown it. Here are 7 hints from a beta tester. A few days before DJI enters the 360 camera market, Insta360 announces a partnership to compete with DJI in the drone market, adding fuel to the growing rivalry between these […]
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Automatic camera movements with no keyframing and no edits? Absolutely! Learn how to use Insta360 X5’s most powerful and yet most misunderstood feature: Instaframe. Shooting in 360 has many advantages such as unlimited stabilization, an amazing third person view, and the ability to shoot first and frame later. But one of the advantages of 360 […]
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The Akaso 360 camera has hit the market as an offering tailored to those new to 360-degree photography. Priced at just $199, it holds the title of the most budget-friendly 360 camera available in 2025. But does it deliver satisfactory results? Having spent a month testing it, I’m ready to share my insights based on nearly a decade of experience with 360 cameras. Here’s the bottom line: Akaso 360 is the most […]
This article was originally featured on s.
The Akaso 360 is a newly launched 360 camera designed with beginners in mind. Priced at $199, it stands as the most budget-friendly 360 camera on the market in 2025. But does it deliver quality alongside affordability? Having spent a month testing this camera, I present my insights based on nearly a decade of experience with 360 cameras. In summary, the Akaso 360 is the most […]
This article originally appeared on s.
The Akaso 360 is an entry-level 360 camera designed for beginners. Priced at $199, it stands as the most budget-friendly option in the 360 camera market for 2025. But does it deliver on quality? Having tested it over the past month and drawing from my decade-long experience with 360 cameras since 2015, here’s my detailed review. For those in a hurry: Akaso 360 is the most […]
The original article appeared first on s.
The Akaso 360 has emerged as a new contender in the world of 360 cameras, specifically targeting beginners. Priced at just $199, it stands as the most budget-friendly option among 360 cameras in 2025. But does it deliver on performance? Having tested this camera extensively over the past month, drawing from my decade-long experience with 360 cameras, I am ready to share my insights. TLDR: Executive Summary Akaso 360 is the most […]
The post originally appeared on s.
The Akaso 360 is designed specifically for those new to 360 photography. Priced at just $199, it stands out as the most cost-effective 360 camera available in 2025. But does it meet expectations? After a month of testing, drawing from a decade of experience with 360 cameras, here’s my detailed evaluation. In short: The Akaso 360 is the most…
The Akaso 360 emerges as a promising 360 camera designed specifically for beginners. Priced at $199, it stands out as the most budget-friendly 360 camera of 2025. But does its performance match its attractive price point? Having tested this camera extensively over the past month, I am ready to share my insights based on a decade of experience with 360 cameras. In short, the Akaso 360 is the leading choice for […]
The article originally appeared on s.
For the past fourteen years, No Film School has been a go-to resource for aspiring filmmakers, offering a wealth of free articles, videos, and podcasts aimed at enhancing film-making skills. Our ultimate goal has always been to provide comprehensive online courses accessible to filmmakers worldwide to truly elevate their careers.
After a decade of dedication, we are thrilled to introduce a broad, career-transforming course.
This course dives deeper than any article or podcast, designed to address the pivotal question: “How can I make a living doing what I love?” It’s a comprehensive step-by-step guide to advancing your career as a videographer, regardless of your current expertise. Learn how to attract more clients, maximize your gear’s earning potential, secure higher pay rates, and transition from a day job to a full-time creative career.
!
We’re excited to launch this course after two years of meticulous preparation. To mark this special occasion, we are offering an exclusive 50% discount (equivalent to $148 off):
Packed with 75 chapters and 8 hours of video content, Professor/DP Charles Haine imparts over 20 years of industry wisdom. Any one of the extensive tips provided could easily justify the course’s value…
The course also includes 50 exclusive resources such as checklists, equipment lists, lighting diagrams, worksheets, calculators, and day rate analyses — all crafted to give you an advantage over other videographers.
Discover how much other creative professionals are earning in your region and role. With our expansive global network, we’ve gathered insights from DPs, videographers, editors, and other crew members worldwide. This unique analysis, segmented by both job role and region, is vital for setting the right rates and negotiating effectively with clients.
Crafted over two years by the No Film School team, this course equips you with the tools to thrive in the video production industry. Covered topics include:
We delve into tax-related topics as well, covering everything from proper tax filing for your business type to strategies for saving on financed equipment and reinvesting those savings into career growth.
To celebrate our inaugural course launch, we’re offering $148 off for this week only:
)
Make 2025 your breakthrough year in the video industry and elevate your day rate. We are eager to share this transformative course with you, and we invite you to explore and let us know your thoughts!
For over fourteen years, No Film School has been a go-to resource for filmmakers, offering countless free articles, videos, and podcasts to help improve your craft. Our long-standing goal has been to create comprehensive online courses accessible to filmmakers worldwide to truly impact their careers.
After years of planning, we are thrilled to introduce an expansive course designed to transform your career. This course delves deeper than any article or podcast, addressing the pivotal question, “How can I make a living doing what I love?” With a step-by-step guide, this course equips you to elevate your career in cinematography, regardless of your current expertise. Learn how to attract more clients, make the most of your equipment, earn higher rates, and eventually leave your day job behind.
We are excited to unveil this course after two years of development. To commemorate its launch, we’re offering an exclusive Black Friday deal: a 50% discount, slashing the price by $148.
Throughout 75 chapters and 8 hours of video content, industry veteran and Professor/DP Charles Haine shares invaluable insights drawn from over two decades of experience in the film industry. We believe that any of the thousands of tips provided can easily justify the cost of the entire course.
Additionally, the course includes 50 exclusive resources such as checklists, gear lists, lighting diagrams, worksheets, calculators, and day rate analyses to give you a competitive edge over other cinematographers.
We also provide insights into how much other creatives, including DPs and videographers, are charging in your region and specific job role. Leveraging our global community, we surveyed filmmakers worldwide to compile essential information you won’t find elsewhere. Our detailed analysis, categorized by job and location, will guide you in setting accurate rates and negotiating successfully with clients.
## Master the Business Side, Not Just the Craft
Developed over two years by the No Film School team, this course is designed to give you an advantage when entering the industry. Key topics include:
– Negotiating higher pay rates
– Building a robust client list
– Transitioning out of a day job
– Securing larger clients at premium day rates
– Structuring deals for additional compensation
– Smart gear investment strategies
– Maximizing returns on your equipment
– Unique shooting techniques to stand out
– Climbing the crew hierarchy
– Leading a set as a director of photography
– And much more
We even tackle tax-related topics, teaching you not only how to handle them for your business type but also how to leverage savings on financed gear to reinvest in your career growth.
## Exclusive Launch Week Discount
To inaugurate our first course launch, enjoy a $148 discount available this week only.
**Make 2025 Your Year for Cinematic Growth and Higher Earnings.** We are eager to share this transformative course with you. Dive in and let us know your thoughts!
For the past fourteen years, No Film School has been a leading resource, offering countless free articles, videos, and podcasts to help aspiring filmmakers enhance their craft. Our long-standing goal has been to develop comprehensive online courses accessible to a global audience, providing a significant career boost to filmmakers everywhere.
After a decade of envisioning this, we are thrilled to introduce an extensive and transformative course designed for cinematic professionals.
This course delves deeper than any article or podcast, tackling the essential question: “How can I make a living doing what I love?” It’s a comprehensive guide aimed at elevating your video shooting career, regardless of your current experience. Learn strategies to secure more clients, optimize your equipment usage for maximum profit, achieve higher pay rates, and ultimately break free from your traditional 9-to-5 job.
!
To celebrate its release after two years in development, we’re excited to offer an exclusive 50% discount (a savings of $148):
Across 75 chapters and 8 hours of video content, seasoned Professor/DP Charles Haine imparts wisdom from his two decades in the film industry. Any one of the thousands of insights shared here could easily justify the course’s cost…
Included are 50 unique resources — from checklists and gear lists to lighting diagrams and budget calculators — designed to give you a competitive edge in the filmmaking industry.
We also provide insights into prevailing rates for creatives worldwide, tailored to your role and location. Leveraging our global reach, we gathered data from directors of photography, videographers, editors, and crew members across the globe. This exclusive analysis, broken down by job and region, equips you to set competitive rates and skillfully negotiate with clients.
Developed over two years by the No Film School team, this course is designed to give you a competitive advantage in the video production market. It covers everything necessary to make a living from video shooting, including:
We even delve into tax strategies — covering how to correctly handle them for your business type, save on financed equipment, and reinvest those savings to enhance your career growth.
To mark the launch of our inaugural course, we’re offering an incredible $148 discount, but only for this week:
)
Let 2025 be the year you advance your video career and increase your earning potential. We’re eager to share this opportunity with you, and we look forward to your feedback. Check it out and let us know your thoughts!
For over fourteen years, No Film School has been a valuable resource for filmmakers, providing thousands of free articles, videos, and podcasts designed to enhance your movie-making skills. However, our ambition has always been to offer in-depth online courses that can make a significant impact on filmmakers worldwide.
After a decade of planning, we are thrilled to introduce a comprehensive, transformative course aimed at elevating your career. This course delves deeper than any article or podcast, tackling the question, “How can I earn a living doing what I love?” It’s a detailed, step-by-step guide for advancing your career as a videographer, suitable for all skill levels. We’ll show you how to attract more clients, maximize the return on your equipment, negotiate better pay rates, and even leave your day job behind.
We are excited to launch this course after two years of development. To mark this special occasion, we’re offering a limited-time 50% discount (a savings of $148):
Through 75 chapters and 8 hours of video content, Professor and Director of Photography Charles Haine imparts the knowledge he has acquired over more than 20 years in the film industry. Any one of the countless insights in this course could easily justify its cost…
The course also includes 50 exclusive resources like checklists, gear recommendations, lighting diagrams, worksheets, calculators, and day rate analyses, all designed to give you a competitive advantage.
We provide insights on the rates other creatives charge in your region and for your specific roles. Leveraging our global platform, we’ve surveyed DPs, videographers, editors, and other crew members worldwide to bring you invaluable data. This includes an exclusive analysis, broken down by job and region, to help you set competitive rates and effectively negotiate with clients.
### Master the Business Side, Not Just the Craft
Two years in the making, this course was meticulously designed by the No Film School team to give you an edge in the market. It covers all aspects of earning a living through video shooting, including:
– Securing higher pay
– Expanding your client base
– Transitioning away from your day job
– Booking larger clients at better rates
– Structuring deals to include unexpected compensation
– Selecting the right gear investments
– Making your equipment work financially for you
– Shooting techniques to differentiate yourself
– Climbing the crew hierarchy
– Managing a set as a director of photography
– And much more!
We even tackle tax-related topics, teaching you how to file correctly for your business type, save on financing gear, and reinvest those savings to grow your career.
### Exclusive Launch Pricing
To celebrate the debut of our inaugural course, we’re offering a $148 discount for this week only:
)
Make 2025 the year you advance your video career—and boost your day rate. We’re thrilled to offer this course to you and can’t wait to hear your thoughts!
For over fourteen years, No Film School has been a go-to resource for filmmakers, offering an extensive array of free articles, videos, and podcasts to enhance filmmaking skills. Our primary goal has always been to make a significant impact on filmmaking careers by providing comprehensive online courses accessible to audiences worldwide.
After more than a decade, we are thrilled to unveil a groundbreaking course designed to elevate your career in cinematography.
This course dives deeper than any article or podcast, addressing the critical question: “How can I earn a living doing what I love?” It serves as a detailed roadmap for advancing as a video professional, regardless of your current expertise. You’ll learn strategies to attract more clients, optimize your equipment for profit, secure higher income, and transition from your day job.
!
We are excited to launch this course after two years of development. To celebrate its release, we’re offering an exclusive 50% discount (that’s a $148 savings):
Spanning 75 chapters and 8 hours of video, industry veteran Professor/DP Charles Haine shares his insights from over two decades in filmmaking. Any single insight from the numerous tips included can easily justify the course cost.
The course comes with 50 exclusive resources, including checklists, gear lists, lighting diagrams, worksheets, calculators, day rate analyses, and more, to give you a competitive edge.
In addition, we provide insights into how much fellow creatives earn globally. Utilizing our international reach, we surveyed DPs, videographers, editors, and other crew members worldwide to offer invaluable information unavailable elsewhere. Our unique analysis, categorized by job and region, will assist you in setting the appropriate rates and negotiating effectively with clients.
Two years in development, this course crafted by the No Film School team is designed to give you an edge when entering the industry. It covers all aspects of making a living through video production, including:
We also delve into tax strategies, including proper filing for your business type, maximizing gear-related savings, and reinvesting those savings to further your career growth.
Celebrate our course launch with a limited-time discount of $148:
)
Make 2025 your breakthrough year in video production—and boost your earnings. We’re eager to share this transformative course with you. Check it out and share your thoughts!
For over fourteen years, No Film School has been a reliable source of thousands of free resources, including articles, videos, and podcasts, all aimed at helping filmmakers improve their craft. Our vision has always included offering comprehensive online courses to significantly advance the careers of filmmakers worldwide.
Now, after a decade, we’re excited to unveil a comprehensive, career-transforming course just for you.
This course goes beyond what any article or podcast can offer, providing a detailed, step-by-step guide to turning your passion into a profitable career. Regardless of where you are in your journey, this guide is designed to help you secure more clients, increase the profitability of your gear, earn higher rates, and ultimately leave your day job.
!
After two years in the making, we’re thrilled to launch this course. To celebrate, we’re offering an exclusive 50% discount, saving you $148:
Within 75 chapters and 8 hours of video content, industry expert Charles Haine shares invaluable insights from his 20-year tenure in the film industry. Every tip in this course has the potential to pay for the cost of the entire course.
Included are 50 exclusive resources such as checklists, gear lists, lighting diagrams, worksheets, calculators, and day rate analyses, all designed to give you a competitive advantage.
We’ll also reveal the typical earnings of creatives in your region and specific job role. With our global network, we’ve surveyed DPs, videographers, editors, and other crew members around the world to provide this exclusive information. Our detailed analysis by job and region will guide you in setting the right rates and negotiating effectively with clients.
Developed over two years, this course from No Film School is your ticket to succeeding in the video production market. Learn how to:
We’ll also guide you on managing taxes efficiently for your business type, how to save money on financed gear, and ways to reinvest savings to further your career growth.
To mark the debut of our inaugural course, we’re offering a $148 discount for this week only:
)
Make 2025 the year you elevate your video production career—and increase your day rates. We are eager to share this incredible resource with you. Take a look and share your feedback with us!
Le mot photographie vient des mots grecs “photo”, qui signifie lumière, et “graphie”, qui signifie écriture ou dessin. Autrement dit, la photographie est littéralement l’art de dessiner avec la lumière. Cette étymologie montre à quel point la lumière est un élément fondamental de toute image photographique. Sans lumière, il n’y a pas de photo. Comprendre et maîtriser la lumière est donc crucial pour tout photographe, que tu sois débutant ou professionnel.
Dans cet article, nous allons explorer en profondeur l’importance de la lumière, les différents types de lumière auxquels un photographe peut être confronté, ainsi que la manière de les gérer pour obtenir des résultats optimaux.
La lumière détermine la luminosité, le contraste, et les couleurs d’une photo. Elle influence la manière dont les formes, les textures et les volumes sont perçus, créant des effets visuels qui donnent vie à une image. Selon l’intensité, la direction et la qualité de la lumière, une scène peut paraître douce et romantique ou au contraire dure et dramatique.
La lumière est essentielle à trois niveaux :
La lumière est aussi un moyen d’exprimer des émotions. Une lumière douce et diffuse peut évoquer la tranquillité, tandis qu’une lumière dure et directionnelle peut accentuer les détails et donner une sensation de tension. Le bon usage de la lumière permet de guider le regard du spectateur et de créer l’ambiance souhaitée.
Les photographes de mode jouent souvent avec la lumière pour créer des atmosphères dramatiques et artistiques, tandis que les photographes culinaires utilisent la lumière pour sublimer les textures et les couleurs des aliments.
{{ ILLUSTRATION : EXEMPLES DE DIFFÉRENTES AMBIANCES LUMINEUSES }}
La lumière peut être divisée en deux grandes catégories : la lumière naturelle et la lumière artificielle. Chacune de ces sources lumineuses a ses particularités, et un bon photographe saura utiliser ces deux types de lumière selon le contexte et l’effet recherché.
La lumière du jour est la source la plus accessible. Cependant, sa qualité varie considérablement en fonction de l’heure de la journée, de la météo, et de la saison. En tant que photographe, il est essentiel de comprendre comment ces facteurs influencent tes photos.
La lumière artificielle permet aux photographes de contrôler totalement l’éclairage. Elle est produite par des sources lumineuses comme des lampes, des flashs ou des néons.
La qualité de la lumière fait référence à la manière dont la lumière affecte les ombres dans une scène. Comprendre cette qualité te permettra de choisir la bonne lumière selon l’effet que tu souhaites obtenir dans tes photos.
L’intensité de la lumière fait référence à la quantité de lumière présente dans la scène. Trop de lumière peut surexposer une image, tandis qu’un manque de lumière peut la sous-exposer.
La direction de la lumière affecte la manière dont les ombres et les volumes sont rendus dans une image.
La balance des blancs est un élément fondamental de la gestion des couleurs en photographie. Elle permet de neutraliser les dominantes de couleur en ajustant la manière dont l’appareil interprète la lumière de la scène. Si la balance des blancs n’est pas correctement réglée, une photo peut paraître trop jaune, trop bleue ou avec des couleurs globalement peu naturelles. L’idée derrière la balance des blancs est de reproduire la réalité telle qu’elle est vue à l’œil nu.
La balance des blancs fait référence à l’ajustement des couleurs pour que les objets qui apparaissent blancs dans la réalité soient aussi perçus comme blancs sur la photo. Chaque source de lumière a une température de couleur différente, mesurée en Kelvins (K). Plus la température est élevée, plus la lumière est froide (bleue), et inversement, plus la température est basse, plus la lumière est chaude (jaune/orange).
{{ ILLUSTRATION D’UN GRADIENT DE TEMPÉRATURE DE COULEUR, DU CHAUD AU FROID }}
Chaque source lumineuse émet une lumière d’une couleur différente. Par exemple, une scène éclairée par des lampes à incandescence aura une dominante jaune/orange, tandis qu’une scène éclairée par des néons fluorescents aura une teinte bleue ou verte. Si tu laisses ton appareil photo en balance des blancs automatique (AWB), il essaiera de compenser cette couleur, mais il peut se tromper, surtout dans des conditions d’éclairage mixtes.
Les appareils photo numériques offrent plusieurs préréglages de balance des blancs pour t’aider à corriger ces dominantes de couleur. Voici les préréglages les plus courants et leur utilisation idéale :
Pour obtenir un contrôle total sur la balance des blancs et éviter les erreurs de l’automatique, il est souvent préférable de la régler manuellement, surtout si tu travailles dans des environnements avec des sources de lumière variées.
Certains appareils te permettent d’ajuster manuellement la balance des blancs en définissant la température en Kelvins (K). Cette option est idéale si tu connais les conditions de lumière dans lesquelles tu travailles. Par exemple, si tu photographies sous des ampoules incandescentes, tu peux régler ta balance des blancs à environ 3000 K pour compenser la dominante chaude.
Une autre méthode plus précise consiste à utiliser une charte de gris neutre ou une charte de couleur. Voici comment procéder :
Même avec une bonne gestion à la prise de vue, il arrive que certaines scènes nécessitent une correction en post-production. Les logiciels de retouche photo comme Adobe Lightroom ou Photoshop offrent des outils puissants pour ajuster la balance des blancs.
Dans Lightroom et Photoshop, tu peux utiliser l’outil pipette pour cliquer sur une zone qui devrait être neutre dans l’image (comme un mur blanc ou une feuille de papier). L’algorithme ajuste alors automatiquement la balance des blancs pour que cette zone soit effectivement blanche.
Les logiciels permettent également de modifier la température et la teinte manuellement grâce à des curseurs.
Dans Photoshop, les calques de réglage te permettent de modifier la balance des blancs sans affecter l’image originale. Cela te permet de faire des ajustements progressifs et de revenir en arrière si nécessaire.
Les environnements avec des sources de lumière mixtes (par exemple, lumière naturelle et lumière artificielle dans une même pièce) peuvent être particulièrement difficiles à gérer en termes de balance des blancs. Dans ce cas, voici quelques stratégies :
Maîtriser la balance des blancs est essentiel pour obtenir des couleurs fidèles et naturelles dans tes photos. C’est un des piliers de la photographie de qualité, et cela peut faire la différence entre une photo aux couleurs irréalistes et une image parfaitement équilibrée. Que tu ajustes la balance des blancs manuellement à la prise de vue ou que tu utilises des logiciels de post-production pour peaufiner ton image, comprendre comment elle fonctionne et l’importance des températures de couleur est fondamental pour tout photographe.
La lumière est l’essence même de la photographie. Qu’elle soit naturelle ou artificielle, dure ou douce, elle sculpte tes images, donne de la profondeur, et transmet des émotions. La gestion de la lumière, en combinaison avec des outils comme la balance des blancs et les accessoires d’éclairage, est essentielle pour obtenir des photos de qualité professionnelle. Maîtriser la lumière te permet de créer des images plus riches, plus dynamiques, et plus captivantes.
La résolution d’un appareil photo numérique est un sujet essentiel, souvent résumé à travers le nombre de mégapixels (MP). De nombreux modèles d’appareils photo récents dépassent maintenant les 40 MP, et certains appareils professionnels atteignent même les 100 MP. Mais est-ce vraiment nécessaire pour tout le monde ? Pas forcément. Le choix de la résolution idéale dépend de ton usage, mais aussi d’autres facteurs comme la taille du capteur et la qualité des optiques. Voici un guide pour t’aider à comprendre comment choisir la résolution qui te conviendra le mieux.
La résolution correspond au nombre total de pixels qui composent une image numérique. Elle est souvent mesurée en mégapixels (MP), où 1 MP correspond à un million de pixels. Plus une image contient de pixels, plus elle est détaillée, ce qui est particulièrement important si tu veux l’agrandir ou l’imprimer.
Avec les avancées technologiques, les appareils photo modernes peuvent capturer une quantité impressionnante de détails grâce à des capteurs dépassant souvent les 50 MP pour les modèles haut de gamme (comme les séries Sony A7R ou Canon EOS R). Cela permet de faire des agrandissements ou des recadrages importants sans perte de qualité notable.
La résolution est cruciale pour l’impression de photos en haute qualité. Plus une image contient de pixels, plus tu peux l’agrandir sans perte de netteté. Par exemple :
Pour des impressions de haute qualité, la norme reste 300 PPI (pixels par pouce). Cela signifie que pour chaque pouce de l’image imprimée, il doit y avoir 300 pixels pour garantir une netteté optimale. Ce standard est incontournable pour les impressions destinées aux galeries ou aux professionnels.
Les besoins en résolution varient énormément selon l’usage que tu fais de tes photos. Même si certains smartphones haut de gamme proposent déjà des résolutions très élevées, comme 48 MP ou même 200 MP, cela ne signifie pas qu’une telle puissance soit nécessaire pour tous les usages.
Si tu prends des photos principalement pour les publier en ligne ou sur les réseaux sociaux, 12 à 24 MP suffisent largement. En effet, les photos sur le web n’ont pas besoin d’une résolution extrême. Les écrans affichent généralement des images à 72 PPI, et publier une photo avec trop de mégapixels ralentit souvent le chargement des pages sans amélioration visible de la qualité.
Même les réseaux sociaux populaires comme Instagram compressent fortement les images pour optimiser le temps de chargement. Un fichier de 12 MP est déjà plus que nécessaire pour ces plateformes. Tu peux donc réduire la taille de tes photos tout en maintenant une qualité acceptable.
Si tu prévois d’imprimer des photos dans des formats standards, comme des albums photo ou des impressions en A4 (21 x 29,7 cm), un appareil photo entre 16 et 24 MP est parfait. Cela permet d’imprimer des photos en haute qualité tout en ayant la flexibilité de recadrer légèrement sans perte significative de détails.
Avec les appareils photo hybrides et plein format modernes, même les modèles abordables comme le Sony A7C II ou le Nikon Z6 II offrent suffisamment de mégapixels (autour de 24 MP) pour des impressions impeccables dans des formats courants comme A3 ou A2.
Si tu veux imprimer des photos en très grand format, comme des posters ou des bannières, il est recommandé d’utiliser un appareil photo de 45 MP ou plus. Plusieurs modèles professionnels, comme le Sony A7R V avec ses 61 MP, permettent de capturer des détails incroyablement fins, même pour des impressions grand format.
Un appareil comme le Canon EOS R5 avec ses 45 MP te permet d’imprimer des affiches de qualité professionnelle en grand format (par exemple, A1 ou des bannières publicitaires), tout en préservant les détails des textures et des couleurs.
Il est important de comprendre que le nombre de mégapixels n’est qu’un des nombreux facteurs influençant la qualité de l’image. La taille du capteur, la qualité des objectifs, et la gestion de la lumière jouent des rôles encore plus cruciaux que les mégapixels eux-mêmes.
Les appareils photo avec des capteurs plein format ou moyen format (comme le Fujifilm GFX 100S) capturent plus de lumière grâce à des pixels plus grands, même s’ils n’ont pas forcément plus de mégapixels qu’un smartphone. Cela se traduit par des images de meilleure qualité, surtout en faible lumière.
Les fichiers de haute résolution (par exemple, les fichiers RAW de 50 MP ou plus) peuvent être très volumineux. Cela nécessite des cartes mémoire à grande capacité et des disques de stockage rapide. Avec l’essor de la photographie 8K et des capteurs à haute résolution, il est crucial d’investir dans des solutions de stockage efficaces, notamment des SSD externes ou des services de cloud robustes comme Google Photos ou Dropbox.
Avec l’augmentation du nombre de mégapixels, les fichiers deviennent de plus en plus lourds, ce qui nécessite une puissance de traitement accrue pour la retouche photo. Si tu utilises des logiciels comme Adobe Lightroom ou Capture One, il est essentiel d’avoir un ordinateur équipé d’un processeur puissant (par exemple, un Apple Silicon M2 ou un Intel Core i9) et au moins 32 Go de RAM pour gérer efficacement les fichiers volumineux.
Le choix de la résolution de ton appareil photo dépend de tes besoins spécifiques. La plupart des photographes amateurs et professionnels peuvent obtenir d’excellents résultats avec des appareils entre 24 et 45 MP, qui offrent un bon équilibre entre détails, stockage, et flexibilité de post-production. Cependant, pour des projets spécifiques comme les impressions grand format ou les travaux de haute précision, des appareils photo de 50 MP ou plus sont recommandés. N’oublie pas que la résolution n’est qu’une partie de l’équation : la qualité du capteur, des objectifs, et de la lumière reste tout aussi importante pour créer des images exceptionnelles.
La dynamique de l’image, ou plus précisément la plage dynamique (ou dynamic range en anglais), est un concept clé en photographie numérique qui peut grandement influencer l’apparence de tes photos. Il s’agit de la capacité de ton appareil photo à capturer les détails dans les zones très sombres (ombres) et très lumineuses (hautes lumières) d’une image. Une bonne gestion de la dynamique de l’image te permet de capturer des photos plus réalistes, proches de ce que l’œil humain perçoit. Dans cet article, tu vas découvrir comment la plage dynamique fonctionne, pourquoi elle est importante, et comment l’exploiter pour rendre tes photos plus naturelles.
La plage dynamique fait référence à l’écart entre les zones les plus sombres et les plus lumineuses d’une image. Un appareil photo avec une plage dynamique large sera capable de capturer plus de détails à la fois dans les ombres profondes et dans les zones très éclairées.
Imagine que tu photographies un coucher de soleil. Si ton appareil photo a une plage dynamique limitée, il pourrait capturer les détails du ciel lumineux mais perdre les détails dans les zones d’ombre (comme les bâtiments ou les arbres en contre-jour). Inversement, si tu exposes pour les ombres, le ciel pourrait apparaître surexposé et sans détails. Un appareil avec une large plage dynamique pourra capturer les deux : les détails dans les ombres et dans les hautes lumières, sans que l’un ou l’autre ne soit sacrifié.
En photographie, notre objectif est souvent de capturer une scène qui reflète fidèlement ce que nos yeux voient. Nos yeux ont une capacité incroyable à ajuster l’exposition pour voir à la fois dans les zones sombres et les zones lumineuses, ce qui rend nos perceptions très dynamiques.
Cependant, les capteurs des appareils photo ont une limite quant à la quantité de lumière qu’ils peuvent capturer en une seule exposition. Si la plage dynamique de ton appareil est trop faible, tu perds des détails dans les ombres ou les hautes lumières, ce qui rend la photo moins réaliste.
La plage dynamique est souvent mesurée en “stops”. Plus il y a de “stops” dans une plage dynamique, plus ton appareil photo peut capturer de détails dans les zones très sombres et très lumineuses. Un bon appareil photo numérique aura généralement une plage dynamique de 10 à 14 stops, ce qui est suffisant pour la plupart des scènes.
L’une des meilleures façons de maximiser la plage dynamique de tes images est de prendre des photos en RAW plutôt qu’en JPEG. Le format RAW enregistre toutes les données capturées par le capteur de l’appareil, ce qui te donne plus de flexibilité pour ajuster les ombres et les hautes lumières en post-production.
En jouant avec ton exposition, tu peux améliorer la dynamique de ton image. Voici quelques techniques :
La photographie HDR est une technique qui consiste à combiner plusieurs expositions d’une même scène pour créer une image avec une plage dynamique plus large. En prenant des photos à différentes expositions (une pour les ombres, une pour les hautes lumières, et une pour l’exposition moyenne), tu peux ensuite les fusionner pour créer une seule image qui conserve les détails à la fois dans les zones sombres et lumineuses.
Imaginons que tu photographies un paysage avec un ciel lumineux et un premier plan sombre. En prenant trois photos avec des expositions différentes et en les combinant avec une technique HDR, tu obtiens une image qui capture à la fois les détails du ciel et ceux du premier plan.
Si tu as pris tes photos en format RAW, tu peux ajuster la plage dynamique en post-production à l’aide de logiciels comme Lightroom ou Photoshop. Ces outils te permettent de :
En ajustant ces paramètres, tu peux équilibrer la luminosité globale de l’image tout en conservant les détails.
Une surexposition entraîne une perte de détails dans les zones lumineuses (ciel, soleil, etc.), ce qui est difficile à récupérer en post-production. Il est préférable de sous-exposer légèrement pour préserver les détails dans les hautes lumières.
L’histogramme est un excellent outil pour évaluer la plage dynamique d’une image. Il te permet de voir si ton image est trop sombre, trop lumineuse, ou bien équilibrée. Si l’histogramme est trop poussé à gauche (ombres) ou à droite (hautes lumières), cela signifie que des détails sont perdus dans ces zones.
La technique HDR est très utile, mais si elle est mal utilisée, elle peut donner un effet irréaliste avec des couleurs artificielles ou des contrastes exagérés. Utilise cette technique avec modération pour obtenir des images réalistes.
La gestion de la dynamique de l’image est une compétence essentielle en photographie. En maximisant la plage dynamique de tes photos, que ce soit à travers l’exposition, le format RAW ou la post-production, tu pourras capturer des scènes plus réalistes, riches en détails à la fois dans les ombres et les hautes lumières. La maîtrise de ces techniques te permettra de produire des images qui reflètent fidèlement la beauté de ce que tu vois à travers ton objectif.
Lorsque tu travailles avec des photos numériques, la taille des fichiers peut vite devenir un problème, que ce soit pour le stockage ou le partage sur le web. C’est là que la compression d’image entre en jeu. La compression permet de réduire la taille d’un fichier image, mais si elle est mal utilisée, cela peut dégrader la qualité de la photo. Dans cet article, tu vas découvrir comment fonctionne la compression d’image, les différents types de compression, et comment réduire la taille de tes fichiers sans compromettre la qualité.
La compression d’image est un processus qui permet de réduire la taille d’un fichier image en modifiant la manière dont les informations sont stockées. Il existe deux types principaux de compression : avec perte et sans perte. Chaque type a ses avantages et inconvénients, et le choix entre les deux dépend de l’utilisation finale de l’image.
La compression avec perte supprime certaines informations de l’image pour réduire la taille du fichier. L’idée est de supprimer les détails moins perceptibles pour l’œil humain, ce qui permet de gagner de l’espace de stockage. Cependant, plus la compression est forte, plus la qualité de l’image peut être altérée.
La compression sans perte, quant à elle, permet de réduire la taille du fichier sans supprimer d’informations. Cela signifie que la qualité de l’image reste inchangée, mais la réduction de taille est généralement moindre par rapport à la compression avec perte.
La compression est essentielle dans plusieurs cas de figure :
Voici quelques étapes à suivre pour compresser une image tout en maintenant une qualité optimale :
Le choix du format joue un rôle crucial dans la qualité et la taille finale de l’image. Voici quelques recommandations :
Il existe de nombreux outils pour compresser tes images. Certains sont intégrés à des logiciels de retouche comme Photoshop, et d’autres sont disponibles en ligne ou sous forme d’applications. Voici quelques-uns des plus populaires :
La clé pour une bonne compression est de trouver l’équilibre entre la taille du fichier et la qualité de l’image. Voici quelques conseils pratiques :
Une compression excessive peut entraîner une perte de détails et créer des artefacts visibles (comme des zones floues ou pixelisées). Si ton image est destinée à l’impression ou à un usage professionnel, évite les compressions trop agressives.
Assure-toi toujours de conserver une version originale non compressée de tes images. Cela te permet de revenir à la version initiale si tu as besoin de rééditer ou de compresser à nouveau sans perdre davantage en qualité.
Évite d’utiliser des formats sans perte comme TIFF pour le web, car les fichiers seront beaucoup trop lourds. De même, ne compresse pas trop une image JPEG destinée à une impression, car la qualité finale pourrait être compromise.
La compression d’image est un outil puissant pour réduire la taille de tes fichiers tout en maintenant une qualité suffisante pour leur usage final. En comprenant la différence entre les compressions avec perte et sans perte, et en utilisant les bons outils, tu pourras optimiser tes photos pour le web ou l’impression sans sacrifier la qualité. N’oublie pas de toujours tester la qualité après compression et de conserver une version originale de tes fichiers pour éviter toute perte irréversible.
La colorimétrie est un aspect essentiel en photographie numérique. Si tu veux créer des photos équilibrées et esthétiquement plaisantes, il est crucial de bien comprendre comment les couleurs fonctionnent, comment elles sont capturées par ton appareil photo et comment tu peux les ajuster en post-production. Ce guide va t’expliquer pas à pas les bases de la colorimétrie et comment les maîtriser pour obtenir des images plus professionnelles.
La colorimétrie fait référence à la manière dont les couleurs sont capturées, représentées et interprétées dans une image numérique. Quand tu prends une photo, ton appareil enregistre la lumière à l’aide de trois couleurs de base : rouge, vert et bleu (RVB, ou RGB en anglais). En combinant ces trois couleurs, ton appareil photo peut recréer un large éventail de teintes.
Le système RVB est basé sur la façon dont notre œil perçoit la lumière. Les capteurs de ton appareil photo capturent ces trois couleurs (rouge, vert, bleu) séparément et les recombinent ensuite pour former une image couleur. En variant l’intensité de chaque couleur, ton appareil peut recréer n’importe quelle couleur que tu vois dans le monde réel.
Imagine que tu veux capturer une image d’un coucher de soleil. Ton appareil photo va analyser les différentes lumières présentes (comme les teintes orangées du soleil et les tons bleutés du ciel) en termes de rouge, vert et bleu, puis les recombiner pour créer une image numérique.
Les profils colorimétriques sont des ensembles de règles qui définissent comment les couleurs dans une image sont interprétées et affichées. En d’autres termes, ils aident à s’assurer que les couleurs capturées par ton appareil photo correspondent à ce que tu vois sur ton écran ou ce qui sera imprimé. Il existe plusieurs types de profils colorimétriques, mais voici les trois principaux que tu dois connaître :
C’est le profil le plus couramment utilisé et le plus standard. Il est idéal pour :
Ce profil est plus large que le sRGB et offre une plus grande gamme de couleurs. Il est surtout utilisé pour :
ProPhotoRGB est le profil colorimétrique avec la plus grande gamme de couleurs disponible. Il couvre même des couleurs que l’œil humain ne peut pas percevoir. Il est principalement utilisé dans les workflows de photographie professionnelle avancée.
La balance des blancs est l’un des réglages les plus importants en colorimétrie. Elle permet à ton appareil photo de définir quelles couleurs doivent apparaître comme neutres, en particulier le blanc. Si la balance des blancs est mal réglée, tu peux avoir des photos avec une dominante de couleur (par exemple, des tons trop bleus ou trop jaunes).
Si malgré tout, tu n’as pas obtenu le résultat souhaité à la prise de vue, la post-production est ton meilleur allié. Des logiciels comme Lightroom ou Photoshop te permettent de corriger la colorimétrie après la prise de vue. Tu peux ajuster la balance des blancs, la saturation, et même changer certaines couleurs spécifiques sans affecter le reste de l’image.
Lorsque tu imprimes une photo, il est essentiel que les couleurs apparaissent fidèles à ce que tu as vu à l’écran. Pour cela :
Maîtriser la colorimétrie est essentiel pour tout photographe. En ajustant correctement la balance des blancs, la saturation, et en utilisant les bons profils colorimétriques pour tes photos, tu obtiendras des images avec des couleurs réalistes et attrayantes. La gestion de la couleur peut sembler complexe au début, mais avec de la pratique, tu verras à quel point elle peut transformer tes photos !
Dans le monde de l’image numérique, il existe deux types principaux d’images : matricielles et vectorielles. Chacune a ses avantages et ses inconvénients, et il est important de savoir laquelle utiliser en fonction de tes besoins. Dans cet article, tu apprendras la différence entre ces deux formats et comment choisir celui qui convient le mieux à ton projet.
Les images matricielles, ou bitmap, sont composées de pixels. Chaque pixel contient des informations de couleur, et c’est la combinaison de ces pixels qui forme l’image. Les photos que tu prends avec ton appareil photo ou ton smartphone sont des exemples typiques d’images matricielles.
Les images vectorielles sont basées sur des formules mathématiques pour créer des formes, des lignes et des courbes. Au lieu d’être composées de pixels, elles sont décrites par des vecteurs, ce qui leur permet d’être redimensionnées à l’infini sans perte de qualité.
Les images matricielles sont les meilleures pour :
Les images vectorielles sont parfaites pour :
En résumé, le choix entre une image matricielle et vectorielle dépend du type de projet que tu réalises. Si tu travailles avec des photos détaillées ou des images complexes, une image matricielle sera plus adaptée. En revanche, si tu crées des logos, des icônes ou des graphiques qui doivent être redimensionnés sans perdre de qualité, une image vectorielle est le bon choix.
Maintenant que tu connais les différences entre ces deux types d’images, tu pourras choisir le format qui convient le mieux à tes besoins !
Dans le monde de la photographie numérique, la résolution d’image joue un rôle crucial dans la qualité finale de tes photos. Comprendre comment fonctionne la résolution te permettra d’optimiser la qualité de tes images pour différents usages, que ce soit pour les afficher à l’écran ou les imprimer. Voyons cela ensemble.
La résolution d’image fait référence au nombre de pixels qui composent une image, généralement mesurée en pixels par pouce (PPI – Pixels Per Inch). Plus il y a de pixels par pouce, plus l’image sera détaillée. Une résolution plus élevée signifie que chaque pixel est plus petit, donc l’image apparaît plus nette et plus claire.
Par exemple :
Il est important de faire la distinction entre la résolution d’une image destinée à un écran (ordinateur, smartphone) et celle destinée à une impression.
Le choix de la résolution dépend principalement de l’utilisation finale de ton image.
Si tu télécharges une image sur un site web ou les réseaux sociaux, une résolution de 72 PPI est souvent suffisante. Cela permet d’avoir une taille de fichier plus petite, ce qui est idéal pour le chargement rapide des pages web et l’affichage mobile.
Si tu souhaites imprimer tes photos, la résolution idéale est de 300 PPI pour obtenir une image nette et bien définie. Voici quelques conseils pour adapter la résolution à l’impression :
Un autre élément à considérer est que plus la résolution est élevée, plus la taille du fichier de ton image sera grande. Par exemple, une image en 300 PPI prendra plus de place sur ton disque dur qu’une image en 72 PPI, car elle contient plus de pixels.
Pour les images que tu partages en ligne, tu devrais viser une résolution plus basse pour réduire la taille du fichier et accélérer le chargement.
La résolution d’image est un facteur essentiel pour obtenir des photos de haute qualité. En ajustant la résolution en fonction de l’usage (web ou impression), tu peux optimiser la qualité de tes images tout en gérant efficacement la taille des fichiers. Maintenant que tu comprends la différence entre les résolutions pour écran et pour impression, tu pourras faire les bons choix selon le type de projet sur lequel tu travailles.
Si tu t’intéresses à la photographie numérique, tu as sûrement déjà entendu parler des pixels. Mais qu’est-ce qu’un pixel exactement, et pourquoi est-il si important dans le monde de l’image numérique ? Cet article va t’expliquer tout cela de manière simple et claire.
Un pixel, contraction de “picture element” (élément d’image), est le plus petit point qui compose une image numérique. Chaque pixel correspond à une couleur précise, et c’est l’ensemble de ces petits points qui forme l’image que tu vois à l’écran.
Imagine un tableau en mosaïque : chaque carré de la mosaïque représente un pixel. Plus il y a de pixels dans une image, plus l’image sera détaillée et précise. À l’inverse, moins il y a de pixels, plus l’image semblera floue ou pixélisée, c’est-à-dire qu’on verra les “carrés” de l’image.
La résolution d’une image correspond au nombre de pixels présents sur une zone donnée, souvent exprimée en pixels par pouce (PPI – Pixels Per Inch). Plus la résolution est élevée, plus l’image sera détaillée.
Par exemple, une image avec une résolution de 300 PPI contient 300 pixels par pouce. Cela signifie que sur un écran ou une impression, plus il y a de pixels dans un espace donné, plus l’image est nette.
Lorsque tu prends une photo avec ton appareil photo numérique ou ton smartphone, l’image capturée est composée de millions de pixels. On parle souvent de “mégapixels” (MP), qui correspond au nombre total de pixels dans une image. Par exemple, un appareil photo de 12 MP capture des images composées de 12 millions de pixels.
En général, plus un appareil a de mégapixels, plus la photo aura de détails. Cependant, attention : cela ne veut pas dire que plus de pixels signifie forcément une meilleure qualité d’image. D’autres facteurs comme l’objectif, la gestion de la lumière, et la taille du capteur jouent aussi un rôle important.
Quand tu imprimes une photo, la résolution doit être suffisamment élevée pour que l’image apparaisse nette sur le papier. En général, une résolution de 300 PPI est recommandée pour des impressions de qualité. Si tu essaies d’imprimer une image avec une résolution trop faible (par exemple 72 PPI), l’image sera floue ou pixélisée.
Il est donc essentiel de bien comprendre la relation entre le nombre de pixels et la taille d’impression. Par exemple, une image de 1000 x 1000 pixels peut sembler très nette sur un écran, mais si tu l’imprimes en grand format, elle pourrait perdre en qualité si la résolution est trop basse.
Les pixels sont le fondement de toute image numérique. Ils déterminent à la fois la netteté, la qualité, et la taille de l’image, que ce soit à l’écran ou lors de l’impression. Maintenant que tu sais ce qu’est un pixel et comment il influence la qualité de tes photos, tu pourras mieux comprendre les réglages de ton appareil et optimiser tes images pour l’impression ou le partage numérique.
Imagine-toi dans la salle de contrôle d’un laboratoire de chimie high-tech. Devant toi, un ensemble de manettes, de boutons et d’écrans qui te permettent de manipuler avec précision les couleurs et les nuances de ton œuvre visuelle. C’est exactement ce que les DaVinci Resolve Color Panels t’offrent : un contrôle absolu sur l’alchimie des couleurs de tes images.
Prêt à devenir le maître des couleurs ? Plongeons dans l’univers fascinant des Color Panels de DaVinci Resolve !
Blackmagic Design propose trois panneaux de contrôle pour l’étalonnage, chacun adapté à différents besoins et budgets. Examinons-les en détail :
Le Micro Panel est le plus petit et le plus abordable des panneaux de contrôle couleur. Mais ne vous y trompez pas, il a de quoi booster sérieusement votre workflow d’étalonnage.
Caractéristiques physiques :
Composition :
Le Mini Panel est le grand frère du Micro Panel, offrant plus de contrôles et deux écrans LCD pour un feedback visuel amélioré.
Caractéristiques physiques :
Composition :
L’Advanced Panel est le nec plus ultra des panneaux de contrôle pour DaVinci Resolve. C’est un véritable cockpit d’étalonnage professionnel.
Caractéristiques physiques :
Composition :
Pour qui ?
Points forts :
Limites :
Pour qui ?
Points forts :
Limites :
Pour qui ?
Points forts :
Limites :
Quel que soit le panneau que vous choisissez, voici quelques conseils pour l’intégrer efficacement dans votre workflow :
Allez, on va mettre nos trois champions côte à côte pour que tu puisses voir d’un coup d’œil ce qu’ils ont dans le ventre. Accroche-toi, voici le tableau qui décoiffe !
| Caractéristiques | Micro Panel | Mini Panel | Advanced Panel |
|---|---|---|---|
| Dimensions | 21,9 x 26,7 x 5,7 cm | 42,2 x 31,5 x 8,1 cm | 151,6 x 47,2 x 11,9 cm (3 sections) |
| Poids | 2.14 kg | 4.9 kg | 43.1 kg |
| Connexion | USB-C | USB-C et Ethernet | Ethernet |
| Alimentation | Via USB | Adaptateur externe | 3 alimentations redondantes |
| Trackballs | 3 | 3 | 4 |
| Roues de contrôle | 3 | 3 | 12 |
| Écrans LCD | Non | 2 x 5 pouces | Multiples |
| Boutons de contrôle | 12 | 40+ | 300+ |
| Boutons programmables | Non | 8 | Nombreux |
| Contrôle des nœuds | Basique | Intermédiaire | Avancé |
| Gestion multi-projets | Non | Limitée | Complète |
| Collaboration en temps réel | Non | Non | Oui |
| Prix indicatif | 995€ | 2995€ | 29995€ |
| Public cible | Débutants, Vidéastes indépendants | Freelances, Petits studios | Grands studios, Pros confirmés |
| Portabilité | Élevée | Moyenne | Faible |
| Courbe d’apprentissage | Courte | Moyenne | Longue |
| Personnalisation | Limitée | Moyenne | Extensive |
Alors, t’y vois plus clair maintenant ? Comme tu peux le constater, chaque panneau a ses propres atouts. Le Micro, c’est l’idéal pour débuter sans se ruiner. Le Mini, c’est le bon compromis si tu commences à devenir sérieux dans l’étalonnage. Et l’Advanced, c’est la Rolls Royce pour les pros qui ne jurent que par la précision et la polyvalence !
Les DaVinci Resolve Color Panels ne sont pas de simples gadgets, ce sont de véritables extensions de votre créativité. Qu’il s’agisse du Micro Panel compact, du Mini Panel polyvalent ou de l’imposant Advanced Panel, chacun a le potentiel de transformer radicalement votre approche de l’étalonnage.
Ces panneaux vous offrent non seulement un contrôle précis sur les couleurs, mais ils vous permettent aussi de travailler plus rapidement et de manière plus intuitive. C’est comme si vos intentions créatives étaient directement transmises à l’image, sans l’intermédiaire d’une souris ou d’un clavier.
N’oubliez pas : la maîtrise vient avec la pratique. Quel que soit le panneau que vous choisissez, donnez-vous le temps de l’apprivoiser. Avec de la persévérance, vous finirez par vous demander comment vous avez pu étalonner sans lui pendant si longtemps.
Alors, prêt à donner une nouvelle dimension à vos couleurs ? Quel que soit votre choix, une chose est sûre : votre prochain projet promet d’être visuellement époustouflant !
Et vous, avez-vous déjà eu l’occasion d’utiliser l’un de ces panneaux ? Ou peut-être avez-vous d’autres astuces pour améliorer votre workflow d’étalonnage sur DaVinci Resolve ? Le débat est ouvert !
Imagine-toi aux commandes d’un vaisseau spatial ultramoderne. Devant toi, un tableau de bord rempli de boutons, de molettes et d’écrans tactiles. Chaque commande est précisément là où tu en as besoin, te permettant de naviguer à travers les étoiles avec une aisance incroyable. C’est exactement ce que le Speed Editor et l’Editor Keyboard sont pour DaVinci Resolve : des cockpits de haute technologie conçus pour te propulser à travers tes projets de montage à la vitesse de la lumière.
Alors, prêt à devenir le capitaine Kirk du montage vidéo ? Embarquons pour un voyage au cœur de ces machines fascinantes !
Le Speed Editor n’est pas un simple clavier. C’est une console de contrôle compacte et puissante, spécialement conçue pour DaVinci Resolve. Voici ses composants clés :
L’Editor Keyboard est un mastodonte du montage, combinant un clavier complet avec des contrôles de montage avancés. Voici ses composants principaux :
Maintenant que nous avons exploré en détail ces deux machines impressionnantes, tu te demandes peut-être lequel de ces deux bijoux technologiques est fait pour toi. Voici un comparatif approfondi pour t’aider dans ton choix :
Pour qui ?
Points forts :
Limites :
Pour qui ?
Points forts :
Limites :
Que tu choisisses le Speed Editor ou l’Editor Keyboard, voici quelques conseils pour tirer le meilleur parti de ton nouvel outil :
Le Speed Editor et l’Editor Keyboard ne sont pas de simples périphériques, ce sont de véritables extensions de DaVinci Resolve. Ils ont le potentiel de transformer radicalement ta façon de monter, en rendant ton travail non seulement plus rapide et plus précis, mais aussi plus intuitif et, osons le dire, plus fun !
Que tu optes pour la portabilité et la spécialisation du Speed Editor ou le contrôle total de l’Editor Keyboard, ces outils peuvent véritablement propulser ton montage vers de nouveaux sommets.
N’oublie pas : la maîtrise vient avec la pratique. Donne-toi le temps d’apprivoiser ton nouvel outil. Avec de la persévérance, tu finiras par te demander comment tu as pu travailler sans pendant si longtemps.
Alors, prêt à passer à la vitesse supérieure ? Quel que soit ton choix, une chose est sûre : ton prochain montage promet d’être une expérience passionnante !
Et toi, as-tu déjà eu l’occasion d’essayer l’un de ces outils ? Ou peut-être as-tu d’autres astuces pour booster ton workflow sur DaVinci Resolve ? Le débat est ouvert !
Il y a quelques mois, tu as peut-être entendu des rumeurs ou vu passer des posts enflammés sur les réseaux sociaux concernant Filmora et Adobe. On va démêler tout ça ensemble et comprendre ce qui se passe vraiment. Attache ta ceinture, on plonge dans les eaux tumultueuses des polémiques du monde de la création numérique !
Wondershare, la société derrière Filmora, un logiciel de montage vidéo populaire auprès des créateurs débutants et intermédiaires, a récemment fait des vagues. Et pas dans le bon sens du terme…
Il semblerait que Wondershare ait décidé de changer son modèle économique, passant des licences à vie à un modèle d’abonnement. Jusque-là, rien de bien choquant, me diras-tu. Sauf que… ils auraient apparemment décidé d’annuler les licences à vie de certains créateurs. Aïe !
Comme tu peux t’en douter, la réaction de la communauté a été… explosive. On a vu fleurir sur les réseaux sociaux :
À l’heure où j’écris ces lignes, Wondershare n’a pas fait de déclaration officielle claire sur le sujet. Ce silence ne fait qu’alimenter la colère et la frustration des utilisateurs.
Si tu es un utilisateur de Filmora et que tu cherches une alternative, voici quelques options à considérer :
Pendant ce temps-là, du côté d’Adobe, c’est une autre tempête qui se prépare…
Des utilisateurs vigilants ont remarqué des changements dans les conditions d’utilisation d’Adobe. Ces modifications sembleraient donner à Adobe des droits étendus sur les créations de ses utilisateurs. Oups !
La réaction a été… explosive (décidément, c’est un thème récurrent) :
Adobe a tenté de calmer le jeu en affirmant que ces changements ne visaient pas à s’approprier le travail des créateurs, mais plutôt à permettre le bon fonctionnement de certaines fonctionnalités basées sur l’IA. Mais beaucoup restent sceptiques.
Si tu cherches à t’éloigner de l’écosystème Adobe, voici quelques alternatives à considérer :
Ces controverses soulèvent des questions importantes sur la relation entre les créateurs et les entreprises qui développent leurs outils :
Ces controverses nous rappellent que dans le monde numérique, rien n’est vraiment gravé dans le marbre. Les modèles économiques changent, les conditions d’utilisation évoluent, et en tant que créateurs, nous devons rester vigilants.
Mais ne laisse pas ces histoires te décourager ! Il existe toujours des alternatives, et la communauté des créateurs est forte et solidaire. Continue à créer, à explorer de nouveaux outils, et à faire entendre ta voix.
Et n’oublie jamais : ton talent et ta créativité sont à toi, quel que soit l’outil que tu utilises !
Alors, qu’en penses-tu ? Ces controverses vont-elles changer ta façon d’utiliser les logiciels de création ? As-tu déjà envisagé des alternatives ? Le débat est ouvert !
Tu as sûrement entendu parler de DaVinci Resolve, mais tu te demandes peut-être ce que c’est exactement et comment ça fonctionne. Pas de panique, on va tout t’expliquer dans cet article. Attache ta ceinture, on part pour un voyage approfondi au cœur de l’un des logiciels de montage vidéo les plus puissants du marché !
DaVinci Resolve, c’est comme le couteau suisse de la post-production vidéo. C’est un logiciel qui te permet de faire à peu près tout ce dont tu as besoin pour créer une vidéo de A à Z : du montage à l’étalonnage, en passant par les effets visuels et le mixage audio.
Petit lexique détaillé pour les débutants :
L’histoire de DaVinci Resolve est fascinante et mérite qu’on s’y attarde un peu. Tout a commencé dans les années 2000, bien avant que le montage vidéo ne devienne accessible à tous.
À l’époque, da Vinci Systems était une entreprise spécialisée dans les systèmes d’étalonnage haut de gamme. Leurs produits étaient utilisés dans les plus grands studios de cinéma et de télévision du monde. DaVinci Resolve était alors un logiciel d’étalonnage extrêmement puissant, mais aussi très coûteux et complexe à utiliser. On parle de systèmes qui pouvaient coûter plusieurs centaines de milliers de dollars !
En 2009, un événement majeur se produit : Blackmagic Design, une entreprise australienne connue pour ses équipements vidéo abordables, rachète da Vinci Systems. C’est le début d’une nouvelle ère pour DaVinci Resolve.
Blackmagic avait une vision : rendre les outils professionnels accessibles à tous. Ils ont donc commencé à transformer DaVinci Resolve, ajoutant petit à petit de nouvelles fonctionnalités :
Aujourd’hui, DaVinci Resolve est devenu une suite complète de post-production, capable de rivaliser avec des logiciels bien plus chers comme Adobe Premiere Pro ou Final Cut Pro. Et le plus incroyable, c’est que la version gratuite reste extrêmement puissante et complète.
Cette évolution est une véritable révolution dans le monde de la vidéo. Des outils qui étaient autrefois réservés aux grands studios sont maintenant à la portée de tous les passionnés. C’est un peu comme si on te donnait les clés d’un studio hollywoodien !
DaVinci Resolve est divisé en plusieurs “pages”, chacune correspondant à une étape différente de la post-production. C’est comme si tu avais plusieurs logiciels en un, chacun spécialisé dans une tâche particulière. Voyons ça en détail :
C’est ici que commence ton voyage dans DaVinci Resolve. Cette page est comme le centre de contrôle de tous tes fichiers médias.
Ce que tu peux y faire :
Astuce de pro : Prends le temps d’bien organiser tes médias ici. Ça te fera gagner un temps fou plus tard dans ton montage !
C’est la petite nouvelle de DaVinci Resolve, introduite pour simplifier le montage rapide.
Ce que tu peux y faire :
Quand l’utiliser : C’est parfait pour un premier montage rapide, ou pour des projets simples comme des vlogs ou des vidéos pour les réseaux sociaux.
C’est le cœur du montage dans DaVinci Resolve. Si la page Cut est comme un couteau suisse, la page Edit est comme une boîte à outils complète.
Ce que tu peux y faire :
Astuce de pro : Apprends les raccourcis clavier. Ça peut sembler intimidant au début, mais ça boostera ta productivité de façon incroyable !
C’est le terrain de jeu des effets visuels et des animations. Fusion est un logiciel de compositing à part entière, intégré directement dans DaVinci Resolve.
Ce que tu peux y faire :
Attention : Fusion peut sembler intimidant au début. C’est normal, c’est un outil très puissant. N’hésite pas à suivre des tutoriels spécifiques pour l’apprivoiser.
C’est ici que la magie des couleurs opère. DaVinci Resolve est né comme un logiciel d’étalonnage, et ça se voit !
Ce que tu peux y faire :
Astuce de pro : Commence toujours par équilibrer tes plans avant de créer un look. C’est comme si tu préparais une toile avant de peindre !
C’est le studio d’enregistrement virtuel de DaVinci Resolve. Fairlight est un DAW (Digital Audio Workstation) professionnel intégré au logiciel.
Ce que tu peux y faire :
Conseil : Même si tu n’es pas un expert audio, passe du temps ici. Un bon son peut vraiment élever la qualité de ta vidéo !
C’est la dernière étape, là où tu vas exporter ta création pour la partager avec le monde.
Ce que tu peux y faire :
Astuce de pro : Prends le temps de bien comprendre les différents paramètres d’export. Le bon format peut faire toute la différence entre une vidéo qui se charge rapidement en ligne et une qui rame !
Blackmagic Design propose aussi des outils hardware spécifiques pour DaVinci Resolve. Bien qu’ils ne soient pas nécessaires pour utiliser le logiciel, ils peuvent grandement améliorer ton flux de travail si tu deviens un utilisateur régulier. Voici les principaux :
Rappelle-toi que ces outils, bien que très utiles, ne sont pas obligatoires pour utiliser DaVinci Resolve. Tu peux très bien faire du super travail avec juste ton clavier et ta souris, surtout quand tu débutes !
Voilà, tu sais maintenant ce qu’est DaVinci Resolve et ce que tu peux en faire ! C’est un logiciel incroyablement puissant qui peut sembler un peu intimidant au début, mais ne te décourage pas. Chaque grand voyage commence par un petit pas, et ton voyage dans le monde de la post-production vidéo ne fait que commencer.
Prends le temps d’explorer DaVinci Resolve, de tester ses différentes fonctionnalités, et tu verras qu’avec un peu de pratique, tu pourras réaliser des vidéos de qualité professionnelle. N’hésite pas à expérimenter, à faire des erreurs (c’est comme ça qu’on apprend !), et surtout, amuse-toi !
N’oublie pas : Rome ne s’est pas faite en un jour, et devenir un pro de DaVinci Resolve non plus. Mais avec de la patience, de la pratique et de la persévérance, tu vas vite progresser. Qui sait, peut-être que ton prochain chef-d’œuvre sera monté sur DaVinci Resolve ?
Alors, prêt à te lancer dans l’aventure DaVinci Resolve ? Ton voyage dans le monde fascinant de la post-production vidéo commence maintenant. Lights, camera, action !
T’es une personne passionnée de photo, tu as forcement déjà entendu parler d’Adobe Lightroom, mais tu te demandes peut-être ce que c’est exactement et comment ça fonctionne. Pas de panique, on va tout t’expliquer dans cet article. Prépare-toi à plonger dans l’univers fascinant du développement photo numérique !
Adobe Lightroom, c’est comme ta chambre noire personnelle, mais en version numérique et sans les produits chimiques qui piquent le nez ! C’est un logiciel qui te permet de gérer, d’organiser, de retoucher et de partager tes photos numériques. C’est l’outil de prédilection de nombreux photographes, du débutant enthousiaste au pro chevronné.
Petit lexique détaillé pour les débutants :
L’histoire d’Adobe Lightroom est intimement liée à celle de la photographie numérique. Tout a commencé au début des années 2000, quand les appareils photo numériques ont commencé à devenir vraiment populaires.
À l’époque, Adobe avait déjà Photoshop, le couteau suisse de la retouche photo. Mais Photoshop était (et est toujours) un outil complexe, conçu pour faire beaucoup plus que de simples retouches photo. Les photographes avaient besoin d’un outil plus spécialisé, conçu spécifiquement pour leurs besoins.
C’est là qu’intervient Thomas Knoll, le créateur original de Photoshop. Il a commencé à travailler sur un projet appelé “Shadowland” (terre d’ombre), qui allait devenir Lightroom. L’idée était de créer un logiciel qui suivrait le flux de travail naturel des photographes, de l’importation des photos à leur partage, en passant par le développement et l’organisation.
Voici les grandes étapes de l’évolution de Lightroom :
Aujourd’hui, Lightroom existe en deux versions principales : Lightroom (anciennement CC) qui est basé sur le cloud, et Lightroom Classic qui fonctionne principalement sur ton ordinateur local. Dans cet article, on va se concentrer sur Lightroom Classic, qui est la version la plus complète et la plus utilisée par les photographes sérieux.
Lightroom est organisé en modules, chacun correspondant à une étape différente du flux de travail photographique. Voyons ça en détail :
C’est le centre de contrôle de toutes tes photos. C’est ici que commence ton voyage dans Lightroom.
Ce que tu peux y faire :
Astuce de pro : Prends le temps de bien organiser tes photos dès l’importation. Ajoute des mots-clés pertinents, utilise des collections intelligentes. Ça te fera gagner un temps fou plus tard !
C’est le cœur de Lightroom, là où la magie opère. C’est ici que tu vas transformer tes photos brutes en chefs-d’œuvre.
Ce que tu peux y faire :
Astuce de pro : Commence toujours par les réglages globaux avant de passer aux réglages locaux. Et n’hésite pas à utiliser les presets pour gagner du temps !
C’est le paradis des photographes voyageurs. Tu peux voir où tu as pris tes photos sur une carte du monde.
Ce que tu peux y faire :
Astuce de pro : Si ton appareil photo n’a pas de GPS intégré, prends l’habitude de prendre une photo avec ton smartphone au début de chaque séance. Tu pourras ensuite utiliser ses données GPS pour localiser toute la série.
Envie de créer un beau livre photo ? C’est ici que ça se passe !
Ce que tu peux y faire :
Astuce de pro : Commence par sélectionner tes meilleures photos dans le module Bibliothèque avant de passer au module Livres. Ça rendra la création de ton livre beaucoup plus fluide.
Pour présenter tes photos en beauté, rien de tel qu’un bon diaporama !
Ce que tu peux y faire :
Astuce de pro : Moins, c’est plus ! Ne surcharge pas ton diaporama avec trop d’effets. Laisse tes photos parler d’elles-mêmes.
Pour ceux qui aiment le tangible, voici le module pour imprimer tes photos.
Ce que tu peux y faire :
Astuce de pro : Fais toujours une impression test en petit format avant de te lancer dans les grands tirages. Ça te permettra d’ajuster les couleurs si nécessaire.
Pour partager tes photos en ligne, c’est par ici !
Ce que tu peux y faire :
Astuce de pro : Même si tu n’as pas l’intention de créer un site web, ce module peut être utile pour prévisualiser comment tes photos pourraient apparaître en ligne.
Les presets sont l’un des aspects les plus cool de Lightroom. Ce sont des ensembles de réglages prédéfinis que tu peux appliquer à tes photos en un seul clic. C’est un peu comme avoir un assistant qui ferait les réglages de base pour toi !
Pourquoi utiliser des presets ?
Types de presets :
Comment utiliser les presets :
Créer tes propres presets :
Astuce de pro : N’hésite pas à créer tes propres presets pour tes réglages favoris. Par exemple, tu peux avoir un preset pour tes portraits, un autre pour tes paysages, etc.
Lightroom n’est pas juste sur ton ordinateur, il y a aussi une version mobile super pratique !
Ce que tu peux faire avec Lightroom Mobile :
Pourquoi c’est génial :
Astuce de pro : Utilise Lightroom Mobile pour faire une première sélection de tes photos quand tu es encore sur le lieu de la prise de vue. Ça te fera gagner du temps une fois rentré à la maison !
Beaucoup de gens se demandent quelle est la différence entre Lightroom et Photoshop. Voici un petit guide pour t’aider à choisir :
Utilise Lightroom pour :
Utilise Photoshop pour :
En réalité, beaucoup de photographes utilisent les deux logiciels de manière complémentaire. Tu peux commencer ton travail dans Lightroom, puis passer à Photoshop pour des retouches plus poussées si nécessaire.
Voilà, tu sais maintenant ce qu’est Adobe Lightroom et ce que tu peux en faire ! C’est un outil incroyablement puissant qui peut vraiment transformer ta pratique de la photographie.
Rappelle-toi que comme pour toute compétence, maîtriser Lightroom prend du temps. Ne te décourage pas si au début tout semble un peu complexe. Avec de la pratique, tu verras que ton flux de travail deviendra de plus en plus fluide et que la qualité de tes photos s’améliorera considérablement.
N’oublie pas non plus que Lightroom est un outil, pas une baguette magique. Une bonne photo commence toujours par une bonne prise de vue. Lightroom est là pour sublimer ton travail, pas pour le remplacer.
Alors, prêt à plonger dans le monde fascinant du développement photo numérique ? Ton voyage avec Lightroom commence maintenant. Que la lumière soit avec toi !
EOS R1 et EOS R5 Mark II : Les Deux Nouveaux Joyaux de Canon
À l’aube d’une nouvelle ère photographique, Canon dévoile deux merveilles technologiques qui promettent de redéfinir les standards de la capture d’image : l’EOS R1 et l’EOS R5 Mark II. Tels des phénix surgissant des cendres de l’ordinaire, ces appareils transcendent les limites de la créativité et invitent les photographes, amateurs et professionnels, à explorer des horizons inédits. Plongeons ensemble dans l’univers passionnant de ces joyaux qui allient ingénierie de pointe et passion artistique, prêts à faire battre le cœur de tous ceux qui osent immortaliser la beauté du monde à travers leur objectif. Préparez-vous à être émerveillés par des fonctionnalités novatrices, une ergonomie pensée pour l’intuition et une qualité d’image à couper le souffle. L’aventure commence ici, où chaque clic devient une œuvre d’art.
Les Canon EOS R1 et EOS R5 Mark II incarnent une révolution technologique dans le monde de la photographie. Avec l’EOS R1, Canon introduit des innovations de pointe telles qu’un capteur empilé de 45 mégapixels offrant des vitesses de rafale inégalées. Imaginez capturer des moments éphémères à 30 images par seconde tout en conservant une qualité d’image époustouflante. De plus, son système de mise au point automatique à intelligence artificielle redéfinit la précision, garantissant que chaque cliché est parfaitement net, même dans les conditions les plus difficiles.
Quant à l’EOS R5 Mark II, il élève encore la barre en matière de vidéo et de polyvalence. Ce modèle intègre la technologie de stabilisation d’image à cinq axes, permettant des prises de vue fluides et sans flou. Les vidéastes apprécieront particulièrement la captation en 8K à 60 images par seconde ainsi que les options de ralenti en 4K, ouvrant des possibilités créatives infinies. Voici un bref aperçu des spécifications clés :
| Caractéristiques | EOS R1 | EOS R5 Mark II |
|---|---|---|
| Résolution | 45 MP | 45 MP |
| Rafale | 30 i/s | 20 i/s |
| Vidéo | 8K à 30 i/s | 8K à 60 i/s |
| Stabilisation | IBIS 5 axes | IBIS 5 axes |
Les appareils EOS R1 et EOS R5 Mark II de Canon marquent une révolution sans précédent dans le domaine de la photographie. Leurs améliorations offrent non seulement des performances techniques exceptionnelles, mais transcendent aussi l’art de capturer des moments uniques. Avec ces bijoux technologiques, les photographes peuvent désormais explorer leur créativité comme jamais auparavant. Imaginez des clichés pris en basse lumière avec une clarté époustouflante grâce à une sensibilité ISO impressionnante ou encore des vidéos en résolution 8K qui immortalisent chaque détail avec une précision chirurgicale. Les possibilités sont littéralement infinies, et ces innovations donnent naissance à une nouvelle ère où chaque clic de l’obturateur devient une œuvre d’art en puissance.
Ces nouveaux modèles ne se contentent pas d’améliorer les aspects techniques; ils visent également à enrichir l’expérience utilisateur et à stimuler l’imagination des photographes. Voici quelques-unes des caractéristiques qui libèrent une nouvelle dimension créative :
Ces fonctionnalités redonnent vie à l’excitation de l’exploration photographique et ouvrent des portes à des projets créatifs ambitieux. En voici un aperçu comparatif :
| Modèle | Résolution | ISO max | Vidéo |
|---|---|---|---|
| EOS R1 | 45 MP | 102 400 | 8K UHD |
| EOS R5 Mark II | 40 MP | 51 200 | 8K DCI |
Quand il s’agit de comparer les performances des EOS R1 et EOS R5 Mark II, il est essentiel de mettre en lumière certains aspects clés qui les distinguent, non seulement en termes de puissance brute, mais également d’innovations technologiques. Tout d’abord, le R1 se démarque par son capteur de 45 mégapixels et une cadence de prise de vue pouvant atteindre 30 images par seconde en mode rafale, offrant ainsi une netteté et une fluidité inégalées pour capturer des moments décisifs en action rapide. En revanche, le R5 Mark II n’est pas en reste, avec ses 40 mégapixels et une capacité similaire en mode rafale, tout en se distinguant par son incroyable qualité vidéo 8K, idéale pour les créateurs de contenu à la recherche d’une résolution exceptionnelle.
En termes de fonctionnalités, les deux appareils photo offrent des avantages significatifs qui répondent à une gamme variée de besoins photographiques. Voici quelques points forts:
| Caractéristiques Clés | EOS R1 | EOS R5 Mark II |
|---|---|---|
| Résolution Photo | 45 MP | 40 MP |
| Cadence Rafale | 30 IPS | 30 IPS |
| Qualité Vidéo | 4K | 8K |
| Stabilisation | 5 axes | 5 axes |
En matière de photographie, les Canon EOS R1 et R5 Mark II sont des alliés de taille. Voici quelques conseils pour tirer le meilleur parti de ces merveilles technologiques. Avant de commencer, assurez-vous d’avoir bien configuré vos paramètres de base pour chaque appareil. Cela inclut l’ISO (initialement et idéalement entre 100 et 400 pour des photos moins bruitées), l’ouverture (ajustée selon la profondeur de champ souhaitée) et la vitesse d’obturation (selon le sujet et les conditions de lumière).
| Fonction | EOS R1 | EOS R5 Mark II |
|---|---|---|
| ISO Max. | 102400 | 51200 |
| Rafale d’image | 30 ips | 20 ips |
| Stabilisation | 5-Axis IS | 8-Stop IS |
La manipulation de la mise au point automatique est une autre astuce pour optimiser votre expérience. Grâce à leur technologie de pointe en suivi de sujets, les R1 et R5 Mark II permettent des captures nettes et précises. Le mode Eye Detection AF est indispensable pour les portraits, tandis que le Servo AF vous assure de suivre des sujets en mouvement avec une fluidité et une netteté incomparables.
En somme, les EOS R1 et EOS R5 Mark II se dressent fièrement comme des monuments technologiques, des bijoux inestimables dans l’univers de la photographie. Ils symbolisent la quête incessante de Canon pour l’innovation et la perfection. À chaque déclenchement, ces appareils promettent de capturer non seulement l’image, mais l’âme même du moment. Il ne reste plus qu’à vous, explorateurs visuels et gardiens des instants précieux, de vous emparer de ces merveilles et de laisser votre créativité s’épanouir sans limites. Avec les EOS R1 et EOS R5 Mark II, un nouvel horizon de possibilités s’ouvre, embrasez-le avec passion. Car après tout, chaque clic est une aventure, chaque image une œuvre d’art.
Dans le monde fascinant du cinéma, l’art de capturer l’image dépasse souvent la simple technique : c’est une quête de beauté, d’émotion et d’histoire. Les lentilles anamorphiques, avec leur capacité à transformer la perspective, à étirer le cadre et à insuffler une atmosphère cinématographique unique, sont au cœur de cette magie. Aujourd’hui, nous plongeons dans l’univers captivant des objectifs Laowa Nanomorph LF, une série spécialement conçue pour la cinématographie en grand format. Avec une passion inébranlable pour l’innovation et la qualité visuelle, ces lentilles émergent comme une nouvelle étoile dans le ciel du matériel de cinéma, promettant d’élever les récits visuels à des sommets inexplorés. Préparez-vous à découvrir comment ces merveilles optiques transcendent la technique pour devenir de véritables alliées des artisans du septième art, faisant vivre la vision créative de chaque cinéaste avec une intensité sans précédent.
La série Laowa Nanomorph LF redéfinit les codes de l’art cinématographique avec sa conception novatrice adaptée aux formats de grande taille. Ces objectifs anamorphiques permettent aux réalisateurs de capturer des images d’une qualité exceptionnelle, offrant une immersion totale pour le spectateur. Chaque lentille de cette série est conçue pour explorer les riches textures et profondeur des scènes, ajoutant une nouvelle dimension visuelle aux récits cinématographiques.
| Caractéristiques | Description |
| Format de Grande Taille | Convient parfaitement aux caméras de cinéma haute résolution |
| Qualité d’Image Exceptionnelle | Des détails nets et une profondeur visuelle saisissante |
| Effet Anamorphique | Une distorsion artistique unique qui enrichit l’expérience visuelle |
En proposant une gamme qui va au-delà des limites conventionnelles, la série Laowa Nanomorph permet de capturer des moments de cinéma avec une précision et une clarté impressionnantes. Les créateurs peuvent traduire leurs visions avec une gamme dynamique inégalée et une palette de couleurs éclatantes. L’attente autour de chaque nouvelle lentille de cette série ne cesse de croître, chaque sortie étant accueillie avec enthousiasme par les professionnels de l’audiovisuel. Simplifiez votre flux de travail créatif et explorez l’infinité des possibilités visuelles avec cette collection révolutionnaire.
Les nouvelles lentilles anamorphiques Laowa Nanomorph LF incarnent une percée technique dans le domaine de la cinématographie grand format. Conçues avec une précision inégalée, elles promettent de révolutionner la manière dont les cinéastes abordent la capture d’images. Grâce à leur capacité à offrir une dépoli anamorphique et à créer un effet cinématographique unique avec des flares distincts, ces optiques repoussent les limites de ce que nous considérions possible en matière de lentilles anamorphiques.
Parmi leurs caractéristiques révolutionnaires, on retrouve :
Ces caractéristiques sont spécialement adaptées aux exigences du grand format, apportant ainsi un niveau de performance supérieur pour les productions cinématographiques de haute qualité.
| Caractéristique | Avantage |
|---|---|
| Dépoli Anamorphique | Création d’un effet cinématographique unique |
| Qualité d’image exceptionnelle | Netteté et détails éclatants |
| Distorsion minimale | Perspectives larges et précises |
| Bokeh artistique | Zones floues magnifiquement artistiques |
Pour exploiter pleinement le potentiel des lentilles anamorphiques Laowa Nanomorph LF, il est crucial de comprendre l’impact de la lumière sur vos images. Voici quelques astuces essentielles pour dominer cette composante essentielle :
En associant la maîtrise technique à une touche créative, les lentilles Laowa Nanomorph LF ouvrent des possibilités visuelles infinies. Leur design soigné permet d’exploiter toute l’étendue des grandes dimensions de format cinématographique. Pensez à investir dans des filtres ND de qualité pour un contrôle encore plus affiné de l’exposition. Voici quelques accessoires recommandés pour accompagner vos Nanomorph :
| Accessoire | Utilité |
|---|---|
| Filtres ND | Contrôle de l’exposition dans des conditions lumineuses |
| Pare-soleil | Réduction des reflets indésirables |
| Stabilisateur | Capture d’images fluides et stables |
Les lentilles anamorphiques Laowa Nanomorph LF ouvrent une nouvelle ère de la narration visuelle, offrant une palette d’effets uniques qui enchantent les cinéastes du monde entier. Grâce à leur capacité à capturer des images en grand format avec une profondeur de champ remarquable, ces lentilles révolutionnent la manière dont les histoires sont racontées à l’écran. Elles créent des bokehs ovales distincts et produisent un effet de distorsion horizontal caractéristique, ajoutant une dimension artistique qui transforme chaque scène en une œuvre d’art visuelle. Leurs reflets spectaculaires et leurs flares cinéma rehaussent l’émotion des moments capturés, imprimant chaque image d’un cachet inoubliable.
Ces lentilles ne se contentent pas d’être esthétiquement plaisantes ; elles sont également conçues pour une performance technique maximale. Que vous soyez un réalisateur chevronné ou un amateur passionné, les Laowa Nanomorph LF offrent plusieurs avantages techniques :
| Caractéristiques | Détails |
|---|---|
| Ouverture | f/2.0 – f/22 |
| Format | Large format (LF) |
| Poids | 940g |
| Focales disponibles | 27mm, 35mm, 50mm |
Et voilà, chers cinéphiles et passionnés de l’image! En nous plongeant dans l’univers spectaculaire des objectifs Laowa Nanomorph LF, nous avons découvert une véritable révolution pour la cinématographie grand format. Ces bijoux de technologie, alliant précision artisanale et innovation audacieuse, repoussent les limites de la créativité visuelle et ouvrent de nouveaux horizons pour les conteurs d’histoires à travers le globe. Que vous soyez un réalisateur aguerri ou un amateur éclairé, ces objectifs promettent de transcender vos projets, transformant chaque frame en une œuvre d’art inoubliable.
Alors, qu’attendez-vous pour donner libre cours à vos rêves les plus fous? Les horizons anamorphiques n’ont jamais été aussi magiques, alors saisissez votre caméra et laissez la poésie visuelle s’écrire sous vos gestes. À vos lunettes, prêts, tournez!
Dans un monde où la qualité sonore peut faire toute la différence, la quête du microphone parfait est un voyage que beaucoup de passionnés et de professionnels de l’audiovisuel entreprennent. Imaginez un appareil qui marie innovation, praticité et performance inégalée. C’est ici que le SmallRig S60 Wireless Microphone entre en scène, tel un artiste talentueux prêt à capturer chaque nuance de votre voix, chaque souffle de votre récit. Que vous soyez vidéaste, podcaster ou créateur de contenu, ce microphone sans fil promet de transformer vos enregistrements en véritables œuvres d’art sonore. À travers cet article, nous plongerons dans l’univers captivant du S60, explorant ses caractéristiques, ses avantages et son impact sur le paysage dynamique de la création audio. Préparez-vous à découvrir un compagnon de choix qui saura donner vie à vos idées avec clarté et passion.
Le microphone sans fil SmallRig S60 transcende les barrières techniques pour offrir une qualité sonore exceptionnelle dans toutes les situations. C’est un outil incontournable pour les vidéastes, vlogueurs, et créateurs de contenu cherchant à élever leur travail au niveau supérieur. Grace à sa technologie de réduction du bruit, il capture les sons avec une clarté impressionnante même dans les environnements les plus bruyants. Vous ne manquerez jamais une note, une voix, ou un souffle grâce à ce bijou de technologie.
Parmi les caractéristiques les plus marquantes du SmallRig S60, on trouve :
| Avantages | Caractéristiques |
|---|---|
| Enregistrement haute qualité | 20 Hz à 20 kHz |
| Réduction du bruit | Technologie de réduction du bruit avancée |
| Facilité d’utilisation | Plug-and-Play |
Le SmallRig S60 Wireless Microphone marque une véritable révolution dans le domaine de l’audio sans fil. Grâce à sa technologie de réduction de bruit avancée, ce micro capture chaque nuance sonore avec une clarté exceptionnelle, même dans les environnements les plus bruyants. On y retrouve une large gamme de fréquences dynamiques qui permet de capter des tonalités riches et précises. Sa compatibilité avec divers appareils ajoute une flexibilité inégalée pour les créateurs de contenu, les musiciens et les professionnels de l’audiovisuel.
Parmi les caractéristiques techniques qui se démarquent, on trouve :
| Poids | 130 g |
| Dimensions | 15 x 8 x 2 cm |
Le SmallRig S60 Wireless Microphone est une véritable révolution pour les créateurs de contenu qui souhaitent exprimer pleinement leur créativité. Pour tirer le meilleur parti de ce micro sans fil, commencez par optimiser son positionnement. Placez-le près de la source sonore pour capter chaque nuance et réduire les bruits ambiants. N’oubliez pas de bien fixer le micro avec les accessoires fournis afin d’assurer une prise stable et claire.
Pour une qualité audio optimale, investissez dans quelques accessoires indispensables. Un pare-vent, par exemple, peut considérablement réduire le bruit provoqué par le vent lors d’enregistrements en extérieur. Pensez aussi à utiliser des écouteurs de monitoring pour écouter en temps réel et ajuster les réglages si nécessaire.
| Accessoire | Avantage |
|---|---|
| Pare-vent | Réduction des bruits de vent |
| Écouteurs de monitoring | Contrôle de la qualité en temps réel |
Voici quelques caractéristiques clés qui font du SmallRig S60 un outil indispensable :
| Caractéristiques | Détails |
|---|---|
| Portée | 100 mètres |
| Autonomie | 10 heures |
| Poids | 150 grammes |
| Fréquence | 20Hz - 20kHz |
le SmallRig S60 Wireless Microphone n’est pas simplement un accessoire, c’est un passeport vers une nouvelle dimension sonore. Que vous soyez un créateur de contenu, un réalisateur passionné, ou un aventurier en quête de capturer la pureté du moment, le S60 se dresse comme votre allié indéfectible. Sa technologie avancée et son design soigné témoignent d’une fusion harmonieuse entre l’innovation et l’art. Imaginez un monde où chaque mot, chaque nuance, chaque sentiment est amplifié avec une clarté cristalline. Avec le SmallRig S60, ce monde est à portée de main. Plongez dans l’ère de la transmission sans fil de haute fidélité et laissez votre voix résonner avec passion et authenticité. Le futur de l’audio commence ici, et il est tout simplement extraordinaire.
Howdy, fellow No Film School Podcast fans.
We interrupt your regularly scheduled web surfing for a quick little update on what’s in store for the future of the pod. Check out the video explainer below where our beloved host GG Hawkins breaks down what is in store, and stay tuned for our next episode featuring the screenwriter of Challengers Justin Kritzkes.
Euphoria season three news? Beats me, but he probably met Zendaya at least once proabably.
Editor’s Note: This interview has been edited for length and clarity.
No Film School: Congratulations on your film’s journey through the film festival circuit. It’s incredibly special, and I hope many get a chance to see it. What inspired the story, and how did you decide to turn it into a feature-length project?
Andy Vallentine: Danny has always been the writer, and I’ve been the director. We’ve been married for nearly a decade, but our creative partnership began about five years ago, after being in the industry for a while. They often advise that your first indie film should be personal, something you know intimately. We reflected on our lives and realized that some of our most challenging conversations revolved around our future—did we want children, and what would that look like?
Danny Vallentine: These discussions were a powerful way to understand our lives. I looked for films that depicted our experiences but found few that did, especially regarding men becoming parents. To fill this gap, we wrote the film, drawing heavily from our lives and conversations with friends exploring similar paths—fostering, adopting, surrogacy. The film isn’t a direct replication of our lives but reflects our questions and the new opportunities for queer families. We wanted to present a variety of queer family dynamics instead of focusing on one specific type, and that happened organically as we wrote.
We know many ways of becoming parents: fostering, adoption, sperm donations, surrogacy. While the film doesn’t mimic our lives exactly, it reflects our questions about being queer parents and what family means. Blending the past’s notion of chosen family with modern opportunities is a major theme. It’s different for queer couples compared to straight ones, who often face fewer decisions about having children. We wanted Thomas, Nico’s character, to explore the diverse paths available to queer people.
NFS: The narrative structure is unique, with classic moments interspersed with voiceover. Was this structure always part of the plan?
Danny Vallentine: We refer to them as narrative narrated sequences, and yes, they were in the script from the start. Thomas is a photographer, which naturally lent itself to incorporating photography into the film. It allowed us to explore Thomas’s perspective as someone who observes life through his camera, connected to his past and relationships through photographs.
NFS: You collaborated with Sean Cook for the film’s photography. What was that experience like?
Danny Vallentine: Sean was my college roommate at Michigan State. He is an exceptional wedding photographer in the Midwest and shot our wedding in Paris. We wanted Thomas’s photographic perspective to be distinct from ours, so Sean’s unique eye was invaluable. He spent six days on set capturing photos, which was logistically challenging but rewarding. Having someone we’ve known for so long involved was a great experience.
NFS: It seems like a family endeavor. How long was the principal photography?
Andy Vallentine: It was 20 days, with an additional pick-up day in New York for a montage with Nico. Indie films typically shoot between 15 to 25 days, so we were in the middle of that range. Filmmaking involves compromises, balancing ambitious ideas with available resources. Some days we could capture everything as envisioned, while others required shooting many pages quickly due to budget constraints.
NFS: What unexpected challenges did you face during the writing or filming process, and how did you overcome them?
Danny Vallentine: Our previous work included a short film, but most of my writing was theoretical before this. The challenge was adapting the script to fit budget and production constraints, which meant letting go of scenes I cherished. I learned to collaborate more, understanding that the final product often improves through input from actors and directors.
Andy Vallentine: Logistically, a significant challenge arose when we had to modify a scene due to budget cuts. We planned to shoot in a large mansion, but ended up filming in a motel. This required script changes, but we created something compelling within those confines, thanks to the actors’ performances.
NFS: How do you support each other creatively during difficult moments?
Andy Vallentine: Being together for almost 14 years, we know each other well. While challenges can cause us both to spiral, Danny’s presence is calming. His steadiness helps me during crises, especially when quick decisions are needed on set.
Danny Vallentine: Andy’s experience on set is reassuring. His pragmatic approach helps me see things in perspective, especially when I perceive issues as more significant than they are.
NFS: What advice would you offer to aspiring writers or directors working with trusted collaborators?
Danny Vallentine: Write the story you feel compelled to tell. When your work is deeply personal, it resonates with others. This film felt like a story only we could tell, and that authenticity touched people.
Andy Vallentine: Keep creating, even on a small scale. Our feature debut followed years of collaboration on various projects. Persistence and building relationships are crucial in achieving your filmmaking goals.
NFS: Any additional thoughts?
Andy Vallentine: Follow our journey with The Mattachine Family. We’ve been accepted into 15 film festivals and look forward to more. Stay tuned for announcements!
Editor’s Note: This interview has been edited for length and clarity.
No Film School: Congratulations on bringing your film to the festival circuit. It’s quite special, and I hope many people get to experience it. What inspired this story, and how did you decide to develop it into a feature-length project?
Andy Vallentine: Danny has always been a writer, and I’ve always been a director. We’ve been married for nearly a decade, but our creative collaboration began about five years ago. They often say to make your first indie film personal, drawing from your own expertise. We looked at our relationship and realized some of our more intense discussions revolved around our future together, including whether or not to have children.
Danny Vallentine: For me, those discussions were a powerful way to understand my own life. I searched for films that addressed what we were going through but found very few, particularly about men becoming parents. To address this gap, we started writing a film. Much of the story is inspired by our experiences and conversations with friends making their own families. We wanted to explore various queer family dynamics, rather than focusing on one specific type. Was this intentional from the start or did it develop naturally as you wrote?
The diversity of family dynamics emerged organically. We have friends who have fostered, adopted, used sperm donors, or chosen surrogacy. While the movie isn’t an exact reflection of our lives, it mirrors questions we had about options available to us and what it means to be a queer parent. It connects past concepts, like chosen family, with new opportunities.
For many straight couples, deciding to have children is straightforward, but for queer couples, there’s more discussion involved. We set Thomas, Nico [Tortorella]’s character, on a journey to explore different paths to parenthood. His interactions with Annie [Funke] and Oscar illustrate this diverse exploration.
NFS: I appreciated the narrative structure with its classic moments interspersed with voiceover inserts. Was this format present from the beginning?
Danny Vallentine: We call them narrative narrated sequences, and they were there from the start. When I decided Thomas would be a photographer, it allowed us to incorporate photography naturally. We wanted to depict Thomas as an observer, connecting with his past and loved ones through photographs.
NFS: You collaborated with Sean Cook on creating these beautiful images for the film. What was that like?
Danny Vallentine: Sean was my college roommate at Michigan State.
Andy Vallentine: Sean is a talented wedding photographer in the Midwest. He photographed our wedding in Paris and those of my siblings. I wanted Thomas’s eye to be distinct from mine and my cinematographer Julia [Swain]’s, so I asked Sean to bring his unique perspective. We shot all the photos in six days, which was a logistical challenge but a rewarding experience.
NFS: This feels like a family production. How long was the principal photography?
Andy Vallentine: It spanned 20 days plus a pick-up day in New York for a montage with Nico. Indie films typically shoot in 15 to 25 days. It was challenging, balancing ambitious visions with practical constraints. Some days we shot fewer pages to get every detail right; other days, we had to move quickly due to budget limits.
NFS: That’s a common struggle.
Andy Vallentine: Indeed, even filmmakers with substantial budgets face challenges. In both low-budget and high-budget projects, there are always new obstacles.
NFS: What unexpected challenges arose during writing or filming, and how did you overcome them?
Danny Vallentine: Transitioning from theoretical writing to working within production constraints was challenging. I had to let go of parts I was attached to, learning to collaborate and adapt, which is essential for writers.
Andy Vallentine: Logistically, we planned to film a scene in a beautiful mansion, but budget constraints led to a last-minute change to a motel setting. It was a challenge to adjust the vision, but with script modifications and strong performances from Nico and Juan Pablo, we created a compelling scene.
NFS: How do you support each other creatively in those tough moments?
Andy Vallentine: We’ve been together for so long, almost 14 years, that we know each other well. When problems arise, we support each other through them.
Danny Vallentine: Andy’s calm presence on set helps me when things feel overwhelming. His experience allows him to stay steady, which reassures me.
Andy Vallentine: On set, I have to make numerous decisions daily, hoping most are correct. I remember when “Moon River” was almost cut due to budget, it was important to us both, so we fought to keep it, knowing its emotional value for the narrative.
NFS: Your partnership is impressive; there’s a deep trust in your creative collaboration.
Andy Vallentine: Thanks for this insightful conversation!
NFS: Do you have advice for aspiring writers or directors, especially those collaborating closely?
Danny Vallentine: This screenplay was deeply personal to us. My advice is to tell the story that only you can tell, one that resonates with you deeply. Others will feel that authenticity and connect with it.
Andy Vallentine: Keep creating. We’ve collaborated on various projects, even small ones, throughout our relationship. It took me 12 years in the industry to direct a feature film. Building a supportive community and maintaining positivity is crucial.
NFS: Anything else you’d like to mention?
Andy Vallentine: Follow us at Mattachine Family. We’ve been accepted into 15 film festivals so far, with more announcements upcoming. We’re excited to share our journey with more audiences.
One compelling reason many individuals pursue careers as screenwriters, directors, or storytellers is the desire to share meaningful narratives with a broad audience. Andy and Danny Vallentine’s debut feature film, *The Mattachine Family*, emerges as a poignant reflection of this aspiration, deeply resonating with their personal experiences and community.
*The Mattachine Family* offers a nuanced exploration of queer family dynamics and modern parenthood. The story revolves around Thomas (played by Nico Tortorella) and Oscar (played by Juan Pablo Di Pace), whose ideas about parenthood evolve following their experience with a foster child. The Vallentines skillfully broaden the conversation to include various paths queer couples might take to form families. The film’s ensemble cast significantly elevates the carefully curated narrative, mirroring the Vallentines’ own journey of building a supportive and trusted creative team during production.
Before the film’s screening at the Outfest Film Festival in Los Angeles, Andy and Danny Vallentine shared insights with No Film School about the project’s inspiration, balancing their creative collaboration, and offering essential advice for indie filmmakers.
No Film School: Congratulations on your film’s presence in the festival circuit. What inspired the story, and how did it evolve into a feature-length project?
Andy Vallentine: Danny’s been a lifelong writer, and I’ve been directing for some time. After nearly a decade of marriage, we started collaborating creatively about five years ago. The industry often advises that your first indie film should be personal, something you deeply understand. Our conversations often revolved around questions of our future and the possibility of parenthood, prompting us to draw from these personal experiences for the film.
Danny Vallentine: I found these discussions insightful for understanding my own life. Searching for films that reflected our journey was challenging, particularly regarding queer male parents. Recognizing this gap motivated us to write the screenplay, incorporating our experiences and those of our friends in exploring fostering, adoption, and surrogacy. Our intention was to present a diverse spectrum of queer family dynamics, rooted in real-life conversations and experiences.
Our friends’ varied paths to parenthood—through fostering, adoption, sperm donation, and surrogacy—influenced the film’s organic evolution. While not an exact portrayal of our lives, it reflects our queries about queer parenting and the integration of chosen family ideals with emerging opportunities.
NFS: The narrative structure is intriguing, blending traditional storytelling with distinctive voiceover sequences. Did this format develop during the writing stage?
Danny Vallentine: Yes, we referred to them as ‘narrative narrated sequences.’ Early on, we decided Thomas would be a photographer, leading us to integrate photography into his character’s narrative. This approach allowed us to delve into his thoughts and past connections through images, adding depth to his story.
NFS: Collaborating with Sean Cook on the film’s photography must have been unique. How did that partnership influence the project?
Danny Vallentine: Sean was my college roommate at Michigan State, and he’s an exceptional wedding photographer. He captured our wedding and those of my siblings. We wanted fresh, unique perspectives for Thomas’s character, distinct from my own as a director. Sean joined us for six days, capturing all the photos during production, often shooting in parallel with film scenes. His contribution was invaluable, and it was special to involve someone we’ve known for 23 years in this project.
NFS: The production seems like a family affair. How long did principal photography take?
Andy Vallentine: We filmed over 20 days, with an additional pick-up day in New York for a montage scene. Indie films typically shoot within 15 to 25 days, and we fell in the middle. Filmmaking involves constant compromise based on available resources, requiring flexibility and adaptation. Some days allowed for creative freedom, while others demanded efficiency due to budget constraints.
NFS: Facing unexpected challenges, how did you both support each other creatively?
Andy Vallentine: Our long-standing relationship means we know each other well, but we also influence each other emotionally during crises.
Danny Vallentine: Contrary to that, Andy’s calmness and experience on set help me manage perceived challenges. His pragmatic approach reassures me during stressful moments.
NFS: Any advice for aspiring writers or directors looking to collaborate creatively?
Danny Vallentine: Write a story that feels essential for you to tell. Authentic passion resonates with others.
Andy Vallentine: Keep creating, regardless of scale. Build relationships within the filmmaking community, maintain positivity, and remember that success often requires perseverance.
NFS: Anything else you’d like to share?
Andy Vallentine: Follow *The Mattachine Family*’s journey. We’ve been accepted into 15 film festivals, with more announcements to come, which is incredibly exciting.
The Mattachine Family offers a poignant exploration of queer families and the changing perceptions of parenthood. The narrative follows Thomas (Nico Tortorella) and Oscar (Juan Pablo Di Pace) as they navigate their evolving views on parenthood following the departure of their foster child. Through this story, the Vallentines delve into the diverse ways queer couples can build families. The film’s powerful ensemble cast enhances its thoughtfully executed message. As Thomas relies on his community for support in the film, the Vallentines themselves built a strong network of trust and collaboration to bring their vision to life.
Ahead of the film’s screening at the Outfest Film Festival in Los Angeles, CA, Andy and Danny Vallentine spoke with No Film School about the inspiration for the project, maintaining a balanced creative partnership, and essential considerations for indie filmmakers on set.
No Film School: Congratulations on having your film featured in festivals, allowing it to reach a wide audience. What inspired this story, and how did you decide to develop it into a feature-length film?
Andy Vallentine: Danny has always been a writer, and I’ve always been a director. We’ve been married for almost a decade, but our joint creative journey began about five years ago, after being in the industry for some time. We wanted to collaborate on something personal, drawing from our experiences and expertise. As we reflected, we realized that some of our most intense discussions revolved around our future and whether we wanted children.
Danny Vallentine: These discussions served as a powerful tool for self-reflection. I searched for films that echoed our experiences but found none that truly resonated. While many films focus on queer women as parents, there was a lack of representation for men in similar roles. This motivated us to write a film that not only addressed our questions but also filled a gap we perceived in storytelling. The film draws heavily from our own conversations about fostering, adoption, and surrogacy, as well as insights from friends on similar journeys. Our goal was to explore the various dynamics of queer families and create a narrative space inclusive of diverse relationships.
The story organically expanded to include different family-building paths because we know people who have fostered, adopted, and used surrogacy. While the movie doesn’t directly mirror our lives, it reflects our inquiries into the possibilities open to us as queer parents. The theme of chosen family, so vital in queer history, is woven with new opportunities the future holds. Our film aims to honor the past while embracing the present.
For many straight couples, the path to parenthood is straightforward, but for queer people, it’s often a more complex discussion about the various routes available. We wanted Thomas, portrayed by Nico, to explore these diverse avenues of becoming a parent, enriched by the experiences of other characters like Annie [Funke] and Oscar.
NFS: I appreciated the narrative structure, blending classic storytelling with voiceover elements. Was this always the plan during the writing stage?
Danny Vallentine: We refer to them as narrative narrated sequences, which were integral from the start. When Thomas’s character became a photographer, incorporating photography into the film seemed natural. It allowed us to portray Thomas as an observer, reflecting on his life and relationships through imagery.
NFS: You collaborated with Sean Cook on the film’s photography. What was that experience like?
Danny Vallentine: Sean was my college roommate at Michigan State.
Andy Vallentine: Sean, a talented wedding photographer from the Midwest, captured our wedding in Paris. I wanted Thomas to have a distinct visual perspective, different from mine or my cinematographer Julia Swain’s. Sean spent six days on set, crafting unique images that truly enriched the film.
NFS: The production sounds like a family affair. How long was the principal shooting?
Andy Vallentine: We had a 20-day shoot with an additional day in New York for a montage with Nico. Indie films often have tight schedules, and our 20-day timeframe was challenging yet rewarding. Balancing creative aspirations with budgetary constraints required compromises, but we managed to capture our vision.
NFS: What unexpected challenges did you face, and how did you overcome them?
Danny Vallentine: Writing without considering logistical constraints was new to me. Initially, letting go of scenes I felt attached to was tough, but collaboration taught me the importance of adaptability. As a writer, learning to refine your work in collaboration with others is crucial.
Andy Vallentine: A significant challenge arose when we had to change the location of a pivotal scene due to budget issues. We adapted by relocating to a motel, which required script modifications. Despite this limitation, the actors delivered compelling performances that maintained audience engagement.
NFS: How do you support each other creatively during challenging times?
Andy Vallentine: We’ve been together for nearly 14 years, so our understanding of each other is deep. When challenges arise, Danny’s calm presence often steadies me.
Danny Vallentine: Andy’s experience on set helps me see past the immediate crisis. His pragmatic approach reassures me, allowing us to navigate difficulties together.
NFS: What advice do you have for aspiring filmmakers looking to collaborate with trusted partners?
Danny Vallentine: Write stories that are deeply personal and meaningful to you. Authenticity resonates with others, and when people sense the passion behind your work, they respond positively.
Andy Vallentine: Keep creating, no matter the scale. Collaborate on small projects to build your skills and relationships. It may take time to achieve your goals, but perseverance and positivity are key. Building strong connections within the filmmaking community is invaluable, and maintaining a positive attitude helps overcome challenges on set.
In the world of filmmaking, many pursue careers as screenwriters, directors, or storytellers to share resonant stories with a broad audience. This passion is clear from the opening scene of Andy and Danny Vallentine’s first collaborative feature, *The Mattachine Family*. The film is a deeply personal exploration of queer family dynamics and evolving concepts of parenthood, a subject close to the Vallentines’ hearts and community.
*The Mattachine Family* presents a multifaceted portrayal of queer families, focusing on Thomas (Nico Tortorella) and Oscar (Juan Pablo Di Pace) as they navigate the uncertainties of parenthood after fostering a child. The film broadens the narrative to include various family creation methods for queer couples, supported by a powerful ensemble cast that strengthens the film’s core message. The Vallentines themselves relied on their own network of trust and support throughout the production to bring this heartfelt story to life.
Ahead of the film’s screening at the Outfest Film Festival in Los Angeles, Andy and Danny Vallentine spoke with No Film School about the film’s inspiration, their collaborative dynamic, and essential insights for indie filmmakers working on set.
Editor’s Note: This interview has been edited for length and clarity.
No Film School: Congratulations on the film’s presence on the festival circuit. It’s a remarkable piece, and I hope it reaches a wide audience. What inspired this story, and how did it evolve into a feature-length project?
Andy Vallentine: Danny has always been a writer, while I’ve always directed. We’ve been married for nearly a decade, but our joint creative journey began about five years ago. In our industry experience, we realized that our most personal moments, like discussions about our future and parenthood, were prime material for a film. For our debut, we aimed to create something personal, exploring themes we were intimately familiar with.
Danny Vallentine: These discussions offered a profound way to reflect on our lives. Yet, I found a lack of films addressing the experiences of gay men as parents. This void led us to create a story drawn from our conversations and the journeys of those around us exploring fostering, adoption, and surrogacy. We integrated diverse queer family dynamics, illustrating a space for everyone rather than focusing on a single type.
Our friends’ experiences with fostering, adoption, sperm donation, and surrogacy naturally informed the narrative. While not a direct reflection of our lives, the film mirrors our questions about queer parenthood and the intersection of chosen family with new possibilities. Queer couples face distinct paths to parenthood, which we wanted to explore through Thomas’s journey, including his interactions with Annie [Funke] and Oscar’s fostering experiences.
NFS: The film has an intriguing narrative structure that includes traditional storytelling and unique voiceover sequences. Was this part of the initial writing process?
Danny Vallentine: We refer to them as narrated sequences, and they were always part of the plan. Once we decided Thomas would be a photographer, it naturally led to incorporating photography as a narrative device, helping to convey his thoughts and connections through images.
NFS: You collaborated with Sean Cook on the photography. How was that experience?
Danny Vallentine: Sean was my college roommate at Michigan State.
Andy Vallentine: Sean, a skilled wedding photographer, shot our wedding in Paris and those of my siblings. For the film, I wanted a unique perspective, distinct from my own and my cinematographer Julia Swain’s. Sean spent six days capturing images during production, which was logistically challenging but rewarding. His involvement added a personal touch to the project.
NFS: How long was the principal photography?
Andy Vallentine: We filmed for 20 days, with an additional pick-up day in New York for a montage with Nico. Indie films typically have tight schedules, and ours was no exception. Balancing grand ideas with practical constraints is a constant challenge, but we managed to capture the essence of what we envisioned.
NFS: What unexpected challenges did you face during production, and how did you overcome them?
Danny Vallentine: As a writer, transitioning from theoretical work to practical filmmaking was eye-opening. Letting go of certain script elements was hard but necessary for collaboration and ultimately improved the story.
Andy Vallentine: Logistically, we faced challenges like relocating scenes due to budget constraints, which required creative problem-solving. For instance, a planned mansion shoot was moved to a motel, demanding script adjustments and inventive filmmaking. The actors’ performances made these scenes compelling despite the limitations.
NFS: How do you support each other creatively through challenging moments?
Andy Vallentine: Our long relationship means we’re familiar with each other’s tendencies. We balance each other, with Danny providing calm when I face production challenges.
Danny Vallentine: Andy’s experience and pragmatic approach provide stability during crises, helping us navigate obstacles together.
NFS: What advice would you offer to aspiring filmmakers working with trusted partners?
Danny Vallentine: Find a story that resonates deeply with you. This passion will be evident and compelling to others, making it a story worth telling.
Andy Vallentine: Continuously create, regardless of scale. Relationships and perseverance are key, as the journey often involves years of dedication. Stay positive and collaborative, as these qualities significantly impact your creative environment.
NFS: Any final thoughts?
Andy Vallentine: Follow us on social media for updates on our film festival journey. We’re thrilled to participate in numerous festivals, with more announcements on the way.
In the world of filmmaking, the drive to narrate meaningful stories that resonate with audiences is a shared goal among screenwriters, directors, and storytellers. This aspiration is clearly evident in Andy and Danny Vallentine’s feature film debut, *The Mattachine Family*, which holds significant meaning not only for them but also for their community.
*The Mattachine Family* offers a nuanced exploration of queer families and evolving concepts of parenthood. The film follows Thomas (played by Nico Tortorella) and Oscar (portrayed by Juan Pablo Di Pace) as they navigate their changing perceptions of parenthood after fostering a child. Through this narrative, the Vallentines delve into what family-making looks like for queer couples. The film’s impressive ensemble cast underscores its thoughtfully executed theme. While Thomas’s character finds support within his community, the Vallentines fostered their own supportive production team to bring this heartfelt story to life.
Ahead of their film’s screening at the Outfest Film Festival in Los Angeles, CA, Andy and Danny Vallentine spoke with No Film School. They shared their creative inspiration, the balance in their artistic collaboration, and essential insights for indie filmmakers on set.
### THE MATTACHINE FAMILY (Clip) – Frameline47
**Editor’s Note: The interview has been condensed and edited for clarity.**
**No Film School:** Congratulations on the film’s success at numerous film festivals. It’s truly special, and I hope everyone has the opportunity to see it. Can you share the inspiration behind the story and the journey to making it a feature-length project?
**Andy Vallentine:** Danny has always been a writer, and I’ve been a director. We’ve been married for nearly a decade, but our creative collaboration only began about five years ago, after spending some time in the industry. We wanted our first indie film to be personal and within our expertise. We reflected on our relationship and realized our most challenging discussions revolved around our future together, like whether we wanted children.
**Danny Vallentine:** These conversations were incredibly insightful for understanding our lives. I searched for films that depicted our experiences but found few about men becoming parents. To explore these questions and fill that narrative gap, we began writing this film. Many elements of the story, including Thomas’s journey into fostering and adoption, stemmed from real conversations with our friends. The film reflects various queer family dynamics, inviting audiences to relate beyond a single narrative.
The diversity in family-making naturally unfolded because our friends have adopted, fostered, and used surrogacy. The film mirrors those experiences, asking what it means to be a queer parent and what family-making looks like today, blending chosen family ideals with emerging possibilities.
For queer couples, the path to parenthood involves more discussion. We set Thomas on a journey to discover the diverse ways queer people can become parents, meeting characters like Annie (played by Funke) who have their own fostering experiences.
**NFS:** I appreciated the film’s narrative structure, combining traditional storytelling with voiceover inserts. Was this approach part of the initial writing process?
**Danny Vallentine:** Yes, we called them narrative narrated sequences from the start. We wanted to incorporate Thomas’s perspective as a photographer. It was a natural way to explore his thoughts and connections to his past and family through photography.
**NFS:** You collaborated with Sean Cook to create the film’s striking images. What was that experience like?
**Danny Vallentine:** Sean was my college roommate at Michigan State.
**Andy Vallentine:** Sean, a talented wedding photographer from the Midwest, captured our own wedding in Paris. I wanted Thomas’s photographic eye to differ from mine and Julia Swain, our cinematographer. Sean’s unique perspective helped us create fresh visuals distinct from my own.
Sean joined our production for six days, capturing all the photos. It was a logistical feat, shooting scenes while Sean simultaneously took photos in another room. Having him involved, someone we’ve known for 23 years, was a wonderful experience.
**NFS:** It truly seems like a family endeavor. How long was the film’s principal photography?
**Andy Vallentine:** It spanned 20 days, with a pick-up day in New York for a montage scene with Nico. Most indie films shoot between 15 to 25 days. We faced challenges, balancing big creative ideas with available resources. Some days were perfect, capturing every detail as envisioned, while others demanded quick work due to budget constraints.
**NFS:** Challenges are inevitable. What unexpected obstacles did you face, and how did you overcome them?
**Danny Vallentine:** Although we had done a short film together, writing this feature was a new challenge. Initially, I wrote my ideal version of the story, but collaborating with Andy meant adjusting scenes to fit budget and production realities. Letting go of cherished elements was tough, but ultimately, collaboration improved the script.
**Andy Vallentine:** One logistical challenge involved a scene written for a mansion in Michigan. Budget restrictions forced us to relocate to a motel in Los Feliz, limiting my initial vision. However, with script adjustments, Nico Tortorella and Juan Pablo Di Pace delivered a captivating performance in that single room.
**NFS:** How do you support each other creatively during challenging moments?
**Andy Vallentine:** We’ve been together for nearly 14 years, so we know each other well. While we sometimes spiral together, Danny is my calming influence. His steadiness reassures me during crises.
**Danny Vallentine:** I find that Andy’s experience on set helps me stay grounded. He handles challenges pragmatically, easing my concerns about potential issues like losing sunlight.
**Andy Vallentine:** Directing involves making countless decisions daily, hoping most are right. I recall a moment when “Moon River,” important to our film, seemed unattainable due to budget constraints. Danny was upset, which made me determined to secure it. Our music supervisor, Jennifer Baron, made it happen, reflecting the importance of collaboration and determination in filmmaking.
**NFS:** It’s clear you trust each other deeply in your creative partnership. Do you have any advice for aspiring filmmakers working closely with trusted partners?
**Danny Vallentine:** Write the story you feel compelled to share. A personal story resonates with audiences and draws them in. Our script’s authenticity was what resonated with readers and led to its realization.
**Andy Vallentine:** Keep creating. Collaboration, even on small projects, builds skills and relationships. I began by doing everything myself, from operating the camera to sound, and it took time to reach this point. Positivity is key—filmmaking is a privilege, and fostering a supportive environment is essential.
**NFS:** Anything else you’d like to add?
**Andy Vallentine:** Follow us at Mattachine Family. We’ve been accepted into 15 film festivals, with more announcements soon. We’re excited for the journey ahead.
*This interview was conducted by No Film School and has been edited for clarity and length.*
For the first time since 1960, both the WGA and SAG are striking against P. This situation raises important questions about the strike’s purpose, the reasons behind it, and how one can support the strike while still working in the film industry.
In today’s discussion, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman delve into topics such as:
Subscribe to the No Film School Podcast on:
Explore more episodes of the No Film School podcast here:
This episode of The No Film School Podcast was produced by s.
For the first time since 1960, both the WGA and SAG are striking against P. What are the core issues driving the strike, and is it possible to show solidarity with the strikers while continuing film work?
In this episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman explore:
Tune into the No Film School Podcast on:
Discover additional episodes of the No Film School podcast right here:
This episode of The No Film School Podcast was produced by our team.
For the first time since 1960, both the Writers Guild of America (WGA) and the Screen Actors Guild (SAG) are striking against major producers. This article explores the reasons behind the strike, the importance of the Minimum Basic Agreement (MBA), and how industry professionals can support the strike while continuing their work in film.
In this episode of No Film School, hosts Charles Haine, GG Hawkins, and Jason Hellerman dive into topics such as:
Tune in to the No Film School Podcast on:
Listen to additional episodes of the No Film School podcast right here:
This episode of The No Film School Podcast was produced by the No Film School team.
This marks the first instance since 1960 that both the Writers Guild of America (WGA) and the Screen Actors Guild (SAG) have simultaneously gone on strike against the major Hollywood studios. Understandably, this raises several questions: What are the core issues of the strike? Is there a way to support the strike while still working within the film industry?
In this episode of No Film School, hosts Charles Haine, GG Hawkins, and Jason Hellerman delve into several crucial topics:
– The significance of the Minimum Basic Agreement (MBA) and its vital role in these negotiations
– Why focusing solely on artificial intelligence in the discourse is insufficient
– Our perspectives on the Directors Guild of America (DGA) choosing not to strike
– The unusual sight of food delivery robots being overturned in Los Angeles
– Writers openly sharing their struggles with inadequate pay
– Why attending Comic-Con in cosplay might not be advisable this year
– The ineffectiveness of boycotting subscription services as a form of protest
– The importance of physical presence on the picket lines
– Insights from union leaders
– Predictions on the duration of the SAG strike
– Reasons for new filmmakers to find encouragement amid these industry changes
– Tips on avoiding employment with Alliance of Motion Picture and Television Producers (AMPTP) companies
**Stay Connected with the No Film School Podcast:**
Discover more by subscribing to the No Film School Podcast on various platforms and submit your questions for future episodes by emailing us.
Listen to additional episodes of the No Film School Podcast here.
This episode was produced by our dedicated team at No Film School.
For the first time since 1960, both the Writers Guild of America (WGA) and the Screen Actors Guild (SAG) are striking against major studios. But what are the core issues fueling this strike, and how can we support this movement while still being active in the film industry?
In the latest episode of the No Film School podcast, hosts Charles Haine, GG Hawkins, and Jason Hellerman explore the following topics:
Catch the No Film School Podcast on:
Explore more episodes of the No Film School podcast here:
This episode of The No Film School Podcast was produced by our dedicated team.
For the first time since 1960, both the Writers Guild of America (WGA) and the Screen Actors Guild (SAG) are on strike against major studios. What are the core issues driving this strike, and how can the industry continue to thrive while supporting it?
In this episode, No Film School’s hosts Charles Haine, GG Hawkins, and Jason Hellerman delve into topics such as:
– The significance of the Minimum Basic Agreement (MBA)
– Why focusing solely on AI isn’t sufficient for effective strike action
– The reasons behind the Directors Guild of America’s (DGA) decision not to strike
– The phenomenon of food delivery robots being disrupted in Los Angeles
– Writers opening up about inadequate compensation
– The reasoning against attending Comic-Con in costume this year
– Why canceling subscription services may not be the solution
– Showing physical support for those on the picket lines
– The impact and importance of union support
– Speculations about the duration of the SAG strike
– Why this is an exciting time for emerging filmmakers
– Strategies for avoiding employment with AMPTP companies
**Subscribe to the No Film School Podcast on:**
– Spotify
– Apple Podcasts
– Google Podcasts
Submit your questions for the podcast by emailing us.
*Listen to more episodes of the No Film School Podcast right here.*
*This episode of The No Film School Podcast was produced by our team.*
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