The release of the GoPro Hero 5 was delayed for the end of 2015, but the wait will be worth it, because the rumors are indicating a major improvement in specifications, as GoPro aims to shock the adrenaline enthusiasts.
Award-winning cinematographer Theo Van de Sande, ASC recently completed his second pilot, CBS’s Evil Men, shot with Panasonic’s new VariCam 35 4K camera/recorder.
BVE 2015 exclusive, Atomos announce the implementation of Avid DNxHR 4K recording, playback, play-out and editing for the highly acclaimed Shogun.
In the latest update of Adobe's Premiere Pro CC 2014.1, you can now find the GoPro Cineform codec as an export setting. When you update your version of Premiere Pro CC, this great value is automatically added to your computer. It now works native without having to use the GoPro Cineform studio application that is also available as a free download on GoPro’s website.
Shutterstock’s 4K content has been increasing since last year’s NAB show, and the strong demand for it over the past year is only continuing to grow. With over two million stock photos in Shutterstock’s database, (100,000 of those being in 4K) it’s safe to say 4K’s future is already here.
Florida-based cinematographer Michael Minock recently shot a narrative short about human trafficking, Don’t Look Away, with Panasonic’s new VariCam 35 4K camera/recorder. The 25-minute film will be submitted to film festivals and provided free of charge to organizations that specialize in caring for and rehabilitating victims of the crime.
by 4KHUB Contributor, Janet DaltonBy 2014, 4K moved beyond early trade-show rumblings to become a dominant player in the world of acquisition formats. There are many advantages to shooting 4K including increased creative flexibility to zoom and reframe shots in post, higher quality keying & 3D capabilities and a more secure medium for archiving purposes. However, while the shift from SD to HD took almost 10 years to take hold, the move from HD to 2K to 4K is happening in less than half that time.
On Gone Girl, Light Iron colorist Vertovec does most of the first pass on his own, according to Cioni. “Then David and Jeff come in and start working and setting up some more looks. Then, every single day, Ian outputs an H264 to Pix and allows David to review more of the days’ work offsite.”
by 4KHUB Contributor, David WellsThere is no shortage of hype surrounding the 4K initiative, most of it coming from the high-end camera and television manufacturers. During our research on the 4K topic we’ve found very few compelling reasons to support this technological advancement, and quite a few points that prove the world isn’t quite ready for the current implementation of 4K. We’ll outline some of the pros and cons of 4K technology and you can decide for yourself if 4K is the right tool for your job.
As you might expect the battle lines have been quickly drawn on both sides of the 4K camp. The naysayers claim that most people can't tell the difference between 4K and HD. On the other side of the fence the proponents are saying that it's a major jump from HD with better color and a true immersive experience.
by 4KHUB Contributor, Larry JordanI was delighted when the folks at 4KHUB asked me to contribute an article to their launch. Because I have opinions about this. You can call me a skeptic, but from my perspective, this 4K business is not the solution to world peace, nor perpetual prosperity. (And, as an aside, for this article, I’ll use the term “4K” to mean all image sizes larger than 1080p HD.)
As the next high-resolution media evolution approaches, a unique set of workflow challenges comes along with it. Advents in 4K and UHDTV technology offer artists and consumers higher frame rates, wider color gamuts, increased dynamic range, and higher pixel counts—but offer post-production teams potential workflow efficiency headaches.
As many have reported, the two big features that are appearing are 4K video recording at 30FPS and a built-in touch display.Unfortunately, these two features won’t be appearing in the same camera. Instead, there will be two models: the HERO4 Black and the HERO4 Silver.
With lofty production goals and a modest budget, Gayle Tattersall and Bernie Laramie employed the AJA Ki Pro Quad 4K/UltraHD/2K/HD file-based recorder and Canon EOS C500 camera to capture and record more than 40 hours of 4K ProRes 444 footage shot across Downtown Los Angeles and Malibu over the course of 17 days.