JVC's New 4K Cameras Includes One Made for Drones

The quartet of new 4K cameras that JVC introduced at NAB Show includes one made for drone filmmaking.

Explains Engadget, "The GW-GBLS1 [is] a gimbal-mounted Super 35mm camera tailor-made for aerial drones. It can not only shoot overhead 4K footage, but stream the live video to the ground -- handy for both coordinating movie shoots and sparing news broadcasters the trouble of launching a helicopter."

Read the full story here.

Panasonic Talks First 4K Camera from NAB Show

In the below video from B&H, Panasonic's Steve Cooperman talks about Panasonic's first 4K camera, the VariCam 35. "This is our first super 35mm sensor," says Cooperman. "We're really excited about it...It allows customers to record 4K in-camera on our new Express P2 card, while simultaneously recording 2K or HD along with proxy on MicroP2 cards."

Watch below.

Watch Philip Bloom, Vincent Laforet and More Experts Discuss the Future of 4K

In the below video from NAB Show 2014, Steadicam's Garret Brown, Philip Bloom, NewsShooter's Matt Allard and Dan Chung, Vincent Laforet and Sony's Favien Pisano discuss the future of 4K and whether it will become an industry standard anytime soon.

Watch below.

Watch Test Footage from the KineMINI

The below test footage is from Kinefinity's KineMINI, shot with the cameras on exhibit at NAB Show last week. The 4K camera, priced at $3200 for the body only, replaces the originally announced 2K KineRAW MINI and shoots at up to 100 fps.

Watch below. (via motionVFX Blog)

4K Brings Film Scanners Back into the Limelight

4K buzz has renewed interest in film scanners, reports Televisual's Jake Bickerton.

He writes, "There’s been something of a renewed interest in film scanners of late, with the expected widespread adoption of 4K potentially offering content owners the possibility to generate new revenue streams from material currently sitting on the shelves. It’s fairly straightforward to derive Ultra HD from scanning 35mm film, giving a new 4K lease of life and new opportunities to monetise content currently gathering dust."

Read the full story here.

Apertus to Launch Crowdfunding Campain for Apertus Beta Open-Source 4K Camera

Apertus has announced that it has plans to launch a crowdfunding campaign for their Axiom Beta open-source 4K camera.

JVC Unveils Four New 4K Cameras at NAB Show 2014

JVC is demoing four new 4K cameras at NAB Show this week: the GY-LSX1, GY-LSX2, GW-SPLS1, and GW-GBLS1.

Explains Tim Dashwood of DV Info, "JVC Kenwood is unveiling four new 4K camera models at NAB2014 featuring 4K CMOS Super35 sensors from its sister company AltaSens. The cameras on display in the booth are prototypes and JVC has not set release dates or pricing."

Read more, and see photos of the prototypes, here.


Editing 4K Files in Adobe Premiere Pro and After Effects

In the below video, Luke Neumann shows you how to set up your computer along with the settings in Adobe Premiere Pro and Adobe After Effects so that you can playback and edit 4K files without freezing up your computer.

Watch below. (via Premiumbeat)

Watch Larry Jordan's Lecture on the Realities of Incorporating 4K Into Your Workflow

In the below video lecture from BVExpo 2014, Larry Jordan discusses how far 4K has come in the past year and what he sees as the future of the format. He also looks into the realities and associated costs with integrating 4K into projects and workflows.

Watch below. (via motionVFX Blog)

Choosing an Entry-Level 4K Camera

Videographer Michael Murie explains why he chose the Sony FDR-AX100 for his first foray into 4K.

He writes, "I just got the Sony FDR-AX100, which I think can be accurately described a being their 'most inexpensive (currently) available' 4K camera. I thought it was time to at least dabble in 4K, but I didn't really have the budget to buy anything really good - no Sony F5 or Canon C500 in my budget!"

Read more here on his Notes on Video blog.

VFX House Framestore: 4K Content Needs to Be Made to New Specifications

VFX house Framestore was one of the first to work with 4K (for a Sony commercial) and they explain some of the medium's challenges and its future on Creative Bloq.


Hands-On with the Panasonic GH4

In the below video, The Camera Store TV goes hands-on with a pre-production 4K Panasonic GH4.

"This is exciting, because, first-off, some interesting still capabilities which we'll look at but, even more importantly, this is a powerful video camera. It's 4K and it's affordable."

Watch below.

LaCie Ships Thunderbolt 2 Portable Drive For 4K Video Editing

Cupertino, Calif. — Seagate Technologies has expanded its premium LaCie line of portable storage products for use with Apple computers with Thunderbolt ports.

The new LaCie Little Big Disk, featuring two Thunderbolt 2 ports, delivers read/write speeds up to 1,375MBps and is being marketed specifically to professionals who edit 4K video in the field.

The portable drive has twin 500GB PCIe Gen 2 solid-state drives for 1TB of storage.

In addition, the two Thunderbolt ports allow daisy-chaining to another Little Big Disk. By connected both drives in parallel to any new Mac Pro series, computer transfer speeds can be pushed up to 2,600MBps, 10 times faster than any mobile USB 3.0 hard drive on the market, according to the company, making it possible, for example, to transfer 300GB of 4K video footage in less than three minutes, LaCie said.

2014 Will See Better Content Thanks to Shifting Workflows

What will 2014 mean for content creation? FCPWorks' Sam Mestman thinks that an ever-lowering barrier to entry will fundamentally shift workflows.

He writes on, "Alright, so we finally got all the new toys we’ve been waiting for. A new version of OSX, FCPX, Resolve, XSAN, the Mac Pro, and a new flavor of Thunderbolt. Things are different now. I think the real question is, how is all this going to change the way that we work? Just a couple years ago, Firewire, USB 2.0, and ESATA were the standard. None of those ports even exist on modern Mac hardware for editors anymore (Retina, iMac, or Mac Pro). With all the new gear, features, and processing power, it seems to me that it would also make sense if some new ways of doing things were now available as well. Honestly, I think all of the pieces are in place now for a fundamental change in the way content is created."


Travis Rice Announces New 4K Snowboard Film

Red Bull Media House and Brain Farm Digital Cinema are making a new snowboarding film with snowboarder Travis Rice, whose previous films include That's It, That's All and The Art of FLIGHT.

There aren't many details about the new project yet, but it will be shot in 4K. Says Rice, "This film is an incredibly ambitious project. After pushing the limits in 'The Art of FLIGHT' we knew that it would be tough to take it to the next level without seriously getting out there. I can't reveal where we're going yet, but I can say we are headed into the unknown, and it’s an entirely new approach to following winter for me. Our team is going all in on this one.”

David Leitner: 4K Is Not an Arbitrary Number

Cinematographer David Leitner gave a presentation last week entitled "Shooting in 4K: Is it Right For You?" where he broke down what 4K is and when it should be used.

He said, "What’s past is prologue. 4k is the resolution of 35mm motion picture negative. Not an arbitrary number. It’s Cinematic, something we all recognize. 4K fits historically in everything you’ve seen coming out of cinema. 35mm projection, however, never delivered that to the screen. At most 35mm delivered 1.3k to the screen, so we’ve never seen 4k before until now. So this is a new era, in the sense that we can see for the first time real 4K – shot well and projected properly – is really stunning.” 

Read the full story here on ARCBlog.

The Future of 4K May Be Closer, and More Mobile, Than You Think

Do you hold the future of 4K in your pocket?

Patrick Moorhead of Forbes thinks signs point to yes in his article “Why Mobile Could Be the Primary Driver of 4K Experiences.” In it, he explains the reasons why television might take a backseat to phones and tablets when it comes to pushing the 4K industry forward.


Inside 4K: A Look at Changing Workflows

4K is a term that has been bounced around the industry for years but now, as its advent becomes a reality, it’s time to take a look at the nitty-gritty of its workflow.


Watch 4K Sample Footage from the Pansonic GH4

Panasonic has released 4K sample footage from its upcoming GH4. The film was shot by Bryan Harvey, who says, "I chose the Yucatan, Mexico for this project because of its vibrant color palate - the intense turquoise blues of the Caribbean, juxtaposed with the whitest sand, and most vivid green jungle...and of course who could pass up the pink flamingos."

If Harvey was indeed going for vibrancy, all we can say is: mission accomplished. Watch below and see more videos about the camera here on PetaPixel.

Panasonic GH4 Puts 4K Video Front and Center

Gizmodo delves into the specs of the upcoming Panasonic GH4, a mirrorless still camera capable of shooting 4K video.

They write, "Accessible 4K video shooting is still in its infancy, but it was only a matter of time before it started showing up in consumer cameras. The Panasonic GH line's history of robust video capability makes it a natural fit for 4K, and the new Lumix GH4 squeezes as much as it can into a familiar frame."

Read the full story here.

4K Explained in 2 Minutes

The below video from Mashable explains everything consumers need to know about 4K in under 2 minutes, summarizing both the good and bad.

They say, "4K imaging has been touted as the newest craze in video and while it may be new to consumers, 4K has actually been around since the invention of movie cameras."

Watch below.


How 4K Is Changing Cinematography and Our Perceptions

Cinematographer Paul Cameron talks to the ASC blog Parallax View about how 4K is changing his craft.

He says, "The natural long lens anamorphic look, with extreme out-of-focus backgrounds, feels and looks different in 4K, even though the optics are the same. With all that resolution and no grain, to me, it’s different. And we have to learn to use it, to develop a slightly new sensibility about it. With anamorphic lenses, I like to light the wide shots at 5.6 or 8 then ND down two to three stops and shoot at 2.8. That way, when I go in for the close-up, I shoot at 5.6-8. That way I can control the amount of soft focus in the background for the big screen. Now in 4K, it feels different. I’m using the psychology of depth of field in new ways. The disciplines I grew up with are changing."


Adventures in 4K Acquisition: Assembling A Workflow with Canon’s EOS C500 and AJA's Ki Pro Quad

Though the adoption timeline is debated, 4K is clearly the future (high resolution pun intended). In the next few years we’re going to see more high-end editorial shops and post facilities adopt 4K workflows to remain competitive in their markets. As the industry embraces the format, there are still a number of hurdles to overcome with regard to the production chain, primarily acquisition and drive bottlenecks.

See Winter Unfold in Yellowstone National Park

See winter unfold in glorious 4K in Henry Jun Wah Lee's "Fathom," shot in Yellowstone National Park.

He explains, "'Fathom 4K' is a journey into Yellowstone, Grand Tetons and the Wyoming wilderness. It is a film about the stories told by nature through the natural world: clouds, stars, trees, rivers, geysers, mountains and more. In our everyday lives, it is difficult to observe these stories being told. To the casual eye, our world appears to be static and unchanging. But these stories are seldom told on the human scale. They are often told on the scale of cosmic or geologic time. Years, centuries, millennia and eons."

The film was shot on a Canon 1-DC and 5D Mark III. Watch below.

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