Panasonic will buy your 1st 3D film

Make a short 3D film with Panasonic's AG-3DA1 integrated 3D camcorder and you could have it bought by the manufacturer for €4,000.

It has set up a programme to encourage professional 3D production and wants users to submit their first short film, which it will use for promotion over the next two years. The programme is open to European production companies or independent professionals (whether cameramen or directors), and is not aimed at consumers.

To qualify, the AG-3DA1 must have been purchased between 1 December 2010 and 31 March 2011 (and registered with the programme by 15 April 2011). The production must be produced with this newly bought AG-3DA1E and saved to a 3D-BluRay or BluRay (side by side) disc. Only one production per camcorder can be submitted.

The film must be creative and demonstrate innovation and artistic flair, and must be between three and four minutes long. It can be in any language, but must not include any advertising or any material subject to third-party rights. Productions containing "morally harmful content will not be accepted."

"Innovations in technology show that, this time, the third dimension is here to stay. 3D is delivering dynamic, engaging content and transforming both the viewing experience and the industry as a whole. This initiative is designed to encourage filmmakers to produce new and exciting content and support the industry as it advances into the 3D world," said Adrian Clarke, General Manager, Panasonic AVSE.

By David Fox

Rolling shutter artefacts: fix it in post

HD DSLR and CMOS camcorders suffer from rolling shutter effects during camera moves – but this can now be rescued in post.

Anyone who pans a DSLR while shooting video will notice that any vertical lines in shot lean over. On some DSLRs you can barely move the camera without this happening. It is a fault inherent in the way CMOS sensors are read out. It can be addressed if the manufacturer uses higher clock rates, but is difficult to avoid completely.

It is, thankfully, something that can be fixed in post (although rarely perfectly), with a variety of software plug-ins. These range from high-end products, such as The Foundry's RollingShutter (costing £300 for After Effects or its own Nuke compositor); or more affordable varieties, such as CoreMelt’s Lock & Load X ($149 for Final Cut Pro and After Effects), and its latest $79 version, Lock & Load Express, which is the first stabiliser for Final Cut Express.

This sort of software can be surprisingly effective, even the stabilisation option in Apple's latest version of iMovie can restore demented verticals (as Philip Bloom demonstrates on his blog).

As a mid-range option, Lock & Load Express can give hand held footage "a professionally shot steady cam quality instantly without the need to set tracking points," claimed CoreMelt founder, Roger Bolton. It is not as sophisticated as the version for Final Cut Pro, which is claimed to be "one of the fastest video stabilizers available" at least 12 times the speed of FCP's built-in stabiliser (whereas the express version is just six times as fast as FCP), and offers more advanced tracking features (including keyframes and background processing). Lock & Load Express has presets for the main HD DSLRs, CMOS camcorders such as Sony's EX1, and the likes of Apple's iPhone or the Flip HD.

By David Fox

Three-day Advanced 3D course

Advanced 3D – The National Stereoscopic 3D Training Programme, a course presented by Principal Large Format in association with Talking Point and funded by Skillset and Sky, will take place in London in January.

It is a two-part course. Part 1 will be held at BAFTA on January 25 for up to 220 attendees. The day will cover what you need to know to decide if a particular project is right for 3D, which 3D rig you should use, and the impact that your decisions have on design, post production, budget and schedule.

Part 2 on January 26 and 27 will be held at Twickenham Studios for up to 35 attendees (who also have to attend the opening day). This will provide a hands-on, guide to 3D movie making, using popular 3D rigs, as well as monitoring, recording and post-production tools.  3D equipment will be provided by On Sight, SGO Mistika, Telegenic and Mytherapy. Networking drinks and 3D screenings will take place on all three days.

“With the rapid growth of 3D gaming, cinema and the exciting launch of 3D TV, spearheaded by Sky, there are a wide range of creative and commercial opportunities. However, to position the UK as a true centre of 3D excellence, it’s essential that programme makers invest themselves in the art of 3D, so that we create world leading content.  That’s why we’re supporting valuable training programmes such as this," said Brian Lenz, Sky’s Director of TV Product Development.

PLF founder Phil Streather (pictured above speaking at IBC) said that the two-stage nature of the course is one of the things that make it unique. “On the first day at BAFTA the sessions will take place in a 3D cinema as a stand-alone module, and we expect to host a broad range of broadcast, movie and advertising industry professionals to discuss everything from lens choices to budget implications. Then, on days two and three, we will take a smaller group of DoPs, First ACs, VFX Supers, Editors, Directors and Producers to apply some of the insights gained on the first day to real-world 3D content production.”

Streather has been involved in 3D master classes at NAB, IBC, 3D Masters, the Edinburgh International Film Festival and elsewhere. “I have a very practical and clean approach to 3D training. Clear definitions of terms, such as convergence, parallax and depth budget, are combined with hands on experience. I then explore 3D style and storytelling through the screening and analysis of a diverse selection of 3D material. Stereography is a craft science that every head of department involved in 3D production should now become versed [in].”

Day one will cost £250 (plus VAT), while all three days cost £750 (plus VAT).

Related post on our main site: Mastering 3D: The next dimension is closer than you think, is a report from 3D Masters 2010, which includes advice from Streather on convergence (and much more).

By David Fox

Autocue moves into acquisition

The prompter and newsroom automation maker, Autocue, has expanded into the acquisition market, with lighting and camera support.

The new products are designed to go with its popular Starter Series prompters, "as customers [and dealers] want an all-in-one system," said Autocue CEO, Frank Hyman. "Our Starter Series has really taken off, and we’ve gone from zero to more than 50 units per month in six months."

Its lights are "really, really entry level," he said. The range includes LED and softbox lighting kits, with dimmable 1000 and 500 LED lights (£499 and £279 respectively) and stands (£49), plus a three-head softbox lighting kit including case and 12 fluorescent bulbs for £249. There is also an on-camera, 120 LED light for just £109.

Its first two entry-level aluminium tripods are the Heavyweight (£349) with floor spreader and 18kg payload capacity, and Medium-weight (£229) with mid-level spreader and a 6kg payload capacity.

Hyman is particularly pleased with The Glide, a professional, handheld camera stabiliser, manufactured and designed by Autocue (the other items are OEM). It is aimed at cameras weighing from 450g to 2.7kg, and is competitively priced at £549.

The handle has a high quality foam grip and can be docked on a tripod plate. To aid portability, the whole unit folds up flat for storage in its small carry case. "We believe the Glide is the highest quality product on the market," he added.

It has also introduced four modular video servers, "aimed at the affordable end of the market," with prices ranging from £3,000 to £20,000 (depending on I/O ports and storage – up to four channels and 12TB). It can also do RAID systems that are "ideally suited to VTR replacement and secondary applications, such as back up," said Hyman. They currently work with Autocue's own automation system, but will add others later.

"We were originally asked to provide a video server as part of a complete workflow solution for a university. We saw a great opportunity to offer more ports, more storage and more flexibility at a lower cost than existing devices, and have now developed a uniquely different server solution," added CTO, Neil Hutchins.

It is also now offering Grade 2 production monitors, including 17- and 24-inch versions.

By David Fox

Prokit now Canon Pro Video Dealer

Canon has appointed Prokit as a Pro Video Dealer, specialising in broadcast approved HD camcorders as well as video-enabled DSLR cameras.

Prokit has a live demonstration facility, with Canon trained staff, at its Chiswick, London showroom. Cameras include the XF305 and new XF105 camcorders, together with the 5D MkII, and EOS 7D HD DSLRs. Prokit also stocks and advises on a wide range of support products for these cameras.

"A growing number of regular Prokit clients have been telling us about their interest in Canon DSLR and HD video systems. They have been asking us to supply and support their use of some of these remarkable products. We are delighted to now be in a position to do so. Additionally, we look forward to an expansive period for us with Canon," said Mark Holmes, Prokit Business Development Director.

We've been buying lights, tripods, and accessories from Prokit, one of our local dealers, for several years, and get PAT tests done there too (Portable Appliance Testing - important for electronic equipment like lights).

It is holding a Canon Open Day at its showroom tomorrow - Tuesday 21st, December 2010, from 11am to 3pm.

3D Experience on course for success

Sony Professional has opened its first European Customer Experience Centre, providing 3D training courses and demonstrations of other equipment.

The centre, at its UK offices in Basingstoke, has already been used for 3D training, with the Guild of Television Cameramen having three one-day courses over the past two weeks (the courses are free to members and were in such demand that a third had to be added).

The Centre is equipped to demonstrate Sony's lens to living room story, and includes 3D rigs and camera systems (pictured above by Christina with three GTC members), a production gallery complete with MPE-200 multi format 3D processor, professional 3D monitors and consumer 3D TV sets.

Besides 3D, there is also a fully functional TV production gallery including the latest switchers and Sonaps system. A further demonstration area will feature Sony's latest software, such as HDXchange, Media Backbone and Ensemble.

“Until now our ability to demonstrate a functional broadcast workflow to customers has been restricted due to the space and equipment requirements. This new Experience Centre will change that, allowing us to work with our customers to understand the issues which they face and working collaboratively to solve them," explained David Bush, Director of Marketing, Sony Professional.

“We know from the Sony 3D Technology Centre in Culver City, USA, that customers are appreciative of being able to experience equipment and improve their skills in a comfortable, relaxed atmosphere. We hope that our European customers will gain the same benefits, from this.”

It is also upgrading its Studio+ facility, which will become a fully fitted cinema complete with 2K, 4K and 3D projectors in January.

Sony has been making "a massive investment" in training and support for dealers. Its current Creatology tour includes training classes, seminars and exhibits all over Europe.

It has also put up a useful series of videos giving an overview and introduction to various aspects of 3D, presented by its 3D trainer, Paul Cameron, who conducted the workshops for the GTC.

By David Fox

Ikonoskop A-Cam dII starts to ship

The first Ikonoskop A-Cam dII digital film camera has been delivered to the Stockholm rental house, Ljud & Bildmedia (pictured receiving the camera).

At least five more cameras should be shipping this month. Ikonoskop has also sent a camera to the BBC for testing.

There is also some new Raw (Adobe Cinema DNG) and ProRes test footage to download for workflow testing (or pixel peeping) at www.ikonoskop.com/dii/footage/.

The big attraction of the A-Cam dII is its size (seriously small), price (about €7,000), its uncompressed tapeless recording, and its use of a single 2/3-inch CCD sensor (so none of the skew and rolling shutter problems typical of CMOS sensors).

For full details on the A-Cam dII have a look at our previous post.

By David Fox

Pro Motion buys Rent and Eurocrew

London-based rental house, Pro Motion Hire has bought Rent, the broadcast hire facility, and Eurocrew Worldwide, the international crewing company, from The Farm Group for a six-figure sum.

Pro Motion doubled its revenues in 2010 and invested more than £1million in new equipment, and this new deal will give it a dedicated base in Soho, the heart of London's production and facilities community, providing a variety of production and post production equipment. Eurocrew also gives it access to a large database of freelance talent around the world.

"The acquisition of Rent and Eurocrew Worldwide makes perfect sense for us as we continue to grow. Both companies have great DNA in the industry, as well as fantastic staff and resources that will be valuable assets to our business," said Duncan Martin, Director, Pro Motion Hire (pictured above).

“We wanted the best for Rent and Eurocrew Worldwide, and Pro Motion Hire is the ideal fit. From our many dealings with Pro Motion, we know they have the focus and expertise to take the companies to the next level of success," added Nicky Sargent, Joint Managing Director, The Farm Group.

Pro Motion also has a regional office in Brighton. Clients include Talkback Thames, Edit Works, Nickelodeon, BME AV, Skyworks and Ricochet. 

By David Fox

Aerial Camera Systems workshop

The Guild of Television Cameramen will be holding a workshop at Aerial Camera Systems in Surrey on January 11, where ACS will demonstrate its SMARTheads (pictured), rail and vehicle-mounted Cineflex and Gyron stabilised heads, and vertical tracking kit.

Numbers will be limited but it is hoped to provide the Guild’s first webcast from a workshop for the benefit of members at large. This will be a specialist workshop, so only open to GTC members with a practical knowledge of outside broadcast and studio work.

SDHC card to SxS adapter

Sonnet Technologies has introduced an SDHC Adapter for SxS Camera Slot, for use in Sony XDCAM camcorders that use SxS memory cards for recording. The adapter enables the use of Class 10 or faster SDHC cards in place of SxS cards, giving the performance required for HD recording modes while allowing users to make big savings on the purchase of memory.

The Adapter costs $49.95, so users could buy multiple large capacity SDHC cards for less than a single SxS card, allowing them to shoot longer without having to offload footage, reformat, and then reuse the same SxS card.

Unlike standard memory card adapters it allows the SD card to fit flush inside, which means it is interchangeable with SxS cards, and it ensures that the camcorder's memory card slot door closes completely with the adapter inserted.

Because SxS cards share the same form factor and interface as ExpressCard/34 adapters, the Sonnet adapter can be inserted directly into a laptop's ExpressCard slot to read the SDHC card, or the cards can be read in any SDHC card reader.

By David Fox 

Panasonic AF101 in high demand

A few buyers of Panasonic's new AG-AF101 (AF100) camcorder may get them in time for Christmas, but anyone ordering now could be in for a long wait.

Demand for the large-sensor camera has been much higher than expected. "The first shipment has been well over sold. The second shipment is probably pre-sold too," said Richard Payne, Technical Business Development, at Holdan, Panasonic's UK distributor (whose video discussing the advantages of the AF100/AF101, shot by Martin Kay using an AF101 and Zeiss 35mm Compact Prime, is above).

Anyone ordering one now would be unlikely to receive it before the end of January, and perhaps even later. Some of its dealers have ordered hundreds of them.

"I've never seen so much demand for pre orders for something no one has seen yet. It's been very unusual," he added. He believes the biggest attraction of the camera is "mainly the ability to produce creative depth of field on a camera costing about £4,000."

He has spent some time with a pre-production model, and says: "It is fabulous. It's as good as I expected it to be." He hopes to buy one himself, and has been demonstrating it to possible customers, such as the National Film and Television School, where it was put through low-light tests in just candlelight. The results looked so good that Brian Tufano, the cinematographer of Billy Elliot, Trainspotting and many TV dramas (who also teaches at the NFTS), said he'd like to use it to shoot a feature film.

It is possible that Holdan will be able to get some shipments to dealers just before Christmas, but most won't have them until the week of the 27th.


Panasonic AG-AF100 / AF101 from UrbanFox.TV on Vimeo.

Key features of the AF100/AF101 include:

• a Micro Four Thirds sensor (almost as large as a 35mm movie frame)
• ability to be used with a wide range of lenses, including Zeiss Compact Primes and stills lenses via adaptors 
• 24Mbps AVCHD recording onto SD cards, but with HD-SDI and HDMI outputs for 4:2:2 recording
• variable frame rate recording for slow and fast motion
• it has none of the aliasing or moiré effects seen on HD DSLR cameras (as it uses an optical filter to reduce the resolution and smooth out any possible defects)
• it also has lots of useful video features (that you won't find on DSLRs), such as peaking, waveform display, various gamma modes, internal optical neutral density filters, uncompressed audio with XLR inputs, and timecode input/output.

Related posts: Panasonic's HD DSLR killer + New Panasonic AF100/AF101(updated)

By David Fox

World's first HD DSLR EVF ships

South Korean camera accessories manufacturer, Cineroid, is the first to ship an electronic viewfinder attachment for DSLRs, ahead of Zacuto and Redrock.

"It's shipping this month. Any others that have been shown won't be shipping until Spring," said Tony O'Connor, director of Cineroid's exclusive distributor for the UK and Ireland, Octica.

An EVF has been a major request from video users of DSLRs, who want to be able to work in the way they have been used to with traditional camcorders, rather than being forced to be in line with the lens, as they generally are with the camera's LCD or a loupe viewfinder attachment.

The Cineroid EFV-4L includes HDMI loop through, so it can also be used with a separate HDMI monitor for others to view while the DLSR user looks through the viewfinder. The EFV-4L also offers Peaking and Pixel Mapping to make focusing easier, as well as Underscan and audio out via a stereo 3.5mm phono jack or mixed mono via an integral speaker.

The 3.2-inch, 800x400 resolution, wide-angle LCD screen is fitted into a lightweight, compact single unit viewfinder design, and boasts "an intelligent menu" with user settable memory keys. The detachable Loupe also flips up to allow the screen to be used as a monitor.

It is supplied as a kit in a carry bag with an HDMI cable, mini ball head, battery and charger, and can be attached to any shooting set up via a hot shoe or articulated arm, and costs £549.

Octica is also exclusive UK distributor for Chrosziel, Bebob and Protech, and will be introducing other products from Cineroid, including a new wireless follow focus, next year.

By David Fox

OConnor supports Modern Family

Cinematographer James Bagdonas ASC has chosen OConnor fluid heads to support the new season of the US mockumentary, Modern Family. "I’ve been using OConnor fluid heads my entire career,” said Bagdonas (pictured). “I’ve had them on Lois and Clarke, The Guardian, Chicago Hope and Boston Legal. With my last two shows they have become the only head we use. For the style of this show, we decided to shoot with Panavised [Sony] F35 cameras and either Primo or Optimo [Angenieux] zooms.

“With having to whip pan constantly, our operators need to keep one hand on the zoom lens at all times for constant changes. The fluid head is the only answer. With OConnor’s superior balance at any angle, these moves are possible. With many of the new camera systems, the lenses usually outweight the camera. Only the OConnor will handle this with no problem.

“Many of the shots are not rehearsed and, at times, the operators even have to grab the focus knob,” added Bagdonas. “A good example would be the Dumphy kitchen scenes. We usually have four to six people all moving about the business of the day, going into the refrigerator, getting something from the cabinets. In this fray, we sometimes try to go for their hands or pan with a look to a POV and other opportunities that just ‘happen.’ That’s where the 2575 is essential. No other fluid head has such great balance through a wide range of motion.

“At times, I change to the new OConnor 120 EX head, especially on the heavier zoom lenses. For a head that was designed to carry more weight, this 120 EX still gives you a lightweight feel.”

Modern Family, a 20th Century Fox produced comedy series, has garnered over 20 award nominations and four wins, and airs on ABC in the US and Sky One in the UK.

By David Fox

New, faster format for Compact Flash

Sony, Nikon and SanDisk have developed a new high-speed specification for CompactFlash memory cards, making them more suited to HD video recording at higher bitrates, including RAW 3D.

They are proposing a new format rated at up to 500 megabytes per second (4gbps), about three times faster than the latest version of CompactFlash announced last month (CF6.0, which could theoretically reach about 1.33gbps). The proposals have been put to the CompactFlash Association, the international standards organization, with the intent to standardize the format.

The format won't be backwards compatible with existing CF cards, although they will look the same. It will use the versatile PCI Express interface (found in many laptops), while current CF cards use a more limited Parallel ATA interface. The specification is also claimed to offer improved battery performance thanks to a power scaling system.

For HD DSLR cameras, the high-speed cards would allow continuous RAW shooting of high-resolution stills as well as higher quality video.

There has been a previous attempt to introduce a faster, but non-compatible CF card format (using the Serial-ATA interface), called CFast, which was released more than two years ago, but camera manufacturers have not made any models using it. However, with such heavyweights as Sony, Nikon and SanDisk backing it, this system looks more likely to get off the ground, not just as camera storage but also for other data storage as the cards could hold 2TB or more.

This format "will enable further evolution of hardware and imaging applications, and widen the memory card options available to CompactFlash users such as professional photographers,” said the CFA's chairman, Shigeto Kanda, from Canon. “This next generation format is expected to be widely adapted to various products.”

“The ultra high-speed media, which will be realized by this new card format, will expand the capability of digital SLR cameras and other professional digital imaging equipment,” added Kazuyuki Kazami, Nikon VP and general manager for imaging development.

The companies are hoping to introduce cameras using the new cards in the near future, probably during 2011.

By David Fox

Tiny HD camera blends in

LMC (LiveMotionConcept) has introduced what it claims is "the smallest HD CCD camera on the market" – the new Camaeleon.

It uses a 2/3-inch CCD interline transfer progressive scan sensor, and measures just 44x44x53mm, which means it "can be installed at locations where no other camera has gone before."

It is claimed to be extremely light sensitive, offering native HD 1080p pictures (25 or 30p – 8-bit or 10-bit YUV 4:2:2 via HD-SDI). It also boasts 64dB dynamic range, 14-bit signal processing, exposure times of up to 1/100,000 sec, and consumes about 5W of power. It is remote controllable, via RS485 and RS232.

LMC also supplies a box that converts all of the Camaeleon's signals to fibre-optics, houses an integrated HD monitor plus an intelligent battery system and which can optionally transmit all signals via a wireless connection to the OB truck.

Camaeleon should be available in the next few weeks and will be usable with different housings that can adapt to the environment (using a variety of colours and shapes - such as that pictured left), including waterproof and underwater housings for applications like diving, rowing or sailing. Camaeleon can also be used for 3D on a mini-rig. It takes C-mount lenses, or can optionally be fitted with PL or B4 mounts.

LMC's Antelope UltraSlowMotion system was used last week at the Barclays ATP World tour tennis finals, in London. ATP Media apparently chose the system due to its high light sensitivity and its De-Flickering technology.

By David Fox

The Hobbit to be Red 3D Epic

Red Digital Cinema's long-awaited Epic 5k camera looks like it is finally going into production, and will be used on Peter Jackson's The Hobbit, which will be shot in 3D using at least 30 Epics.

The Hobbit will start shooting in New Zealand early next year and will use some of the first, hand-machined Epics – full assembly lines probably won't be running before about February, although Red's founder, Jim Jannard, expects that there will be widespread availability by NAB in April.

The first Epic kits, including Epic-M body, titanium PL mount, Bomb EVF, 5-inch touchscreen LCD, a REDmote, four batteries plus charger, and solid state storage with four 128GB SSDs, will cost $58,000.

The Epic promises 5k resolution, up to 120 frames per second recording, and a new HDRx mode for "the highest dynamic range of any digital cinema camera ever made".

Red has taken everything they learned from building the Red One, and then designed Epic from scratch, to produce "a smaller, lighter camera that is an order of magnitude more powerful."

The Hobbit will be one of the first productions to use Epic and Red claims that its "small size and relatively low weight, makes it perfect for 3D – where two cameras have to be mounted on each 3D rig."

Jackson (pictured above with Epic) has been a Red supporter since directing a war movie short, Crossing the Line, as a very early test of prototype Red One cameras. "I have always liked the look of Red footage," he said. "I'm not a scientist or mathematician, but the image Red produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo."

Jannard and several of his staff went to New Zealand earlier this year so that Jackson could test Epic and assess its suitability. "Everybody at Red is incredibly proud that Peter has chosen the Epic," Jannard said. "The Hobbit is a major production, and could have chosen any camera system that they wanted. The fact that they went with us is extremely gratifying."

Dynamic pictures

One of the most interesting aspects of Epic is its High Dynamic Range mode, which extends the usable dynamic range of the camera from a little over 13 stops on the M-X sensor, to 18 stops. "Now we're well beating film in terms of its overall latitude," claimed Red's principal spokesman, Ted Schilowitz.

HDRx is simple to enable and shoots "two conjoined frames" that are linked together: a normal exposure and a very fast exposure that protects the highlights (you can select how many stops to protect). "You can choose to use as little or as much of this HDR effect as you want in post production."

It means that users won't have to change their shooting style. "There is really no penalty for shooting HDR, other than a little more data," he claimed. However, it means that if you shoot in 24fps mode, you record 48fps.

This could be substantial, as the 5k image is "more than 60% more data than the 4k image" delivered by the Red One.

Epic is a complete redesign, addressing many of the problems the previous system had, such as cooling. Although it is smaller, it uses a much more efficient cooling engine, which also avoids any electronics getting wet if rain gets in. The camera will also be a lot easier to service, with parts like the fan user replaceable.

Although the camera will ship "when it's ready," it is now functional, and there are only a few minor issues to address. "There is a lot of pent-up demand and desire for a camera that is this small and this powerful," he said.

Epic has a 14megapixel sensor that can do both stills and motion, quickly switching between them.

It is highly modular, but a typical shooting rig will weigh about 4kg, and the body will have three independent monitoring paths or feeds, with the possibility to add more outputs if necessary. Almost every accessory available for the Red One will work with Epic.

Red is building electronic lens mounts for use with PL-mount, Nikon and Canon lenses (Canon L series initially, although it is also working on Tamron and Sigma Canon-mount connections), and it is developing Red lenses that will also have electronic connections. These should be able to autofocus, with touchscreen control for pulling focus, and Schilowitz promises that it will support a wide range of lenses eventually.

For post, it is working on getting its Redrocket accelerator to support 5k files for real-time workflows, which should be done in time for Epic's release.

Related post: Red Scarlet prototype shown working

By David Fox