Tim Tyler

Good idea, Satsuki. If you want to write up a list of short descriptions for each category, I'll add them. They'll appear below each sub-forum name. For example, I just added one for the General Discussion forum.

Cinematography.com has over 20 main categorized sub-forums, and even more very specialized categories for specific camera formats and camera manufacturers. Why is it that most new threads are started in the General Discussion forum? PLEASE - When you're starting a new thread, scroll through the list of categorized forums and choose the appropriate forum carefully. When you properly categorize your post, Cinematography.com notifies other forum members that are interested in reading your post. If you are asking a question, the people who can best answer you are probably subscribed to the categorized forum that specializes in that topic. There's nothing I enjoy more than spending a day moving incorrectly categorized threads from General Discussion to more appropriate sub-forums... except maybe paying taxes or cleaning a toilet. If you think we need more or fewer categorized sub-forums, or should combine existing sub-forums, please reply here.

It's possible the J Lamar King account has been compromised.

Blackmagic Design today announced Blackmagic URSA Mini Pro 12K, a new digital film camera with an advanced 12,288 x 6,480 12K Super 35 image sensor, 14 stops of dynamic range and high frame rate shooting at up to 60 frames per second in 12K at 80 megapixels per frame. This new 3rd generation model supports new Blackmagic Generation 5 Color Science and higher Blackmagic RAW performance, all in the award winning URSA Mini Pro camera body. Blackmagic URSA Mini Pro 12K will be available in July 2020 from Blackmagic Design resellers worldwide for US$9,995. Blackmagic URSA Mini Pro 12K is a revolution in digital film with a 12,288 x 6480 12K Super 35 sensor and 14 stops of dynamic range, built into the award winning URSA Mini body. The combination of 80 megapixels per frame, new color science and the flexibility of Blackmagic RAW makes working with 12K a reality. Oversampling from 12K gives customers the best 8K and 4K images with the subtle skin tones and extraordinary detail of high end still cameras. Customers can shoot at 60 fps in 12K, 110 fps in 8K and up to 220 fps in 4K Super 16. URSA Mini Pro 12K features an interchangeable PL mount, as well as built in ND filters, dual CFast and UHS-II SD card recorders, a SuperSpeed USB-C expansion port and more. URSA Mini Pro 12K’s extreme resolution goes well beyond traditional motion picture film. Customers get the benefits of shooting with film including incredible detail, wide dynamic range and rich, deep color. Perfect for feature films, episodic television and immersive, large format IMAX. The incredible definition around objects makes it ideal for working with green screen and VFX including compositing live action and CGI. Super sampling at 12K means customers not only get better color and resolution at 8K, but also a smoothness that comes from making aliasing invisible. The Blackmagic URSA Mini Pro 12K features a revolutionary new sensor with a native resolution of 12,288 x 6480, which is an incredible 80 megapixels per frame. The Super 35 sensor has a superb 14 stops of dynamic range and a native ISO of 800. The new 12K sensor has equal amounts of red, green and blue pixels and is optimized for images at multiple resolutions. Customers can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 110 fps without cropping or changing their field of view. URSA Mini Pro’s interchangeable lens mount lets customers choose from the widest range of vintage and modern cinema lenses, so customers can capture every ounce of character and detail from their favorite optics. The URSA Mini Pro 12K sensor and Blackmagic RAW were designed together to make 12 bit RAW workflows in 12K effortless. As an incredibly efficient next generation codec Blackmagic RAW lets customers shoot 12K and edit on a laptop, a capability that simply isn’t possible with other codecs. The massive resolution of the sensor means you can reframe shots in post for delivery in 8K and 4K. It’s like a multi camera shoot with only one camera. And it’s perfect for great looking vertical and square video, too. The advanced design of the sensor and Blackmagic RAW means that customers can work in any resolution in post production instantly, without rendering, while retaining the full sensor’s color accuracy. Only Blackmagic RAW makes cinema quality 12-bit, 80 megapixel images at up to 60 frames a reality. Constant quality Q0 and Q5 options and new Q1 and Q3 lock the quality level, allowing compression to adapt, matching the detail of the scene. Constant bitrate encoding options 5:1, 8:1, 12:1 and the new 18:1 are designed to give customers the best possible images with predictable and consistent file size. Customers can record RAW to two cards simultaneously so customers can shoot 12K or 8K to either CFast or UHS-II cards, even at high frame rates. Blackmagic RAW stores camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post production. Shooting RAW in 12K preserves the deepest control of detail, exposure and color during post. Oversampling means customers get extremely sharp 8K without harsh edges. Best of all, Blackmagic RAW is designed to accelerate 12K for post production, making it as easy to work with as standard HD or Ultra HD files. It is highly optimized, multi‑threaded, works across multiple CPU cores and is also GPU accelerated to work with Apple Metal, CUDA and OpenCL. So customers can always work with their camera RAW files without having to make proxies. Blackmagic RAW 12K images provide unprecedented resolution and quality for color, keying, compositing, reframing, stabilization and tracking in 4K or 8K. Blackmagic Generation 5 Color Science features a new film curve designed to make full use of the massive amount of color data from the new URSA Mini Pro 12K sensor. This delivers even better color response for more pleasing skin tones, and better rendering of highly saturated colors such as neon signs and car tail lights in high contrast scenes. Generation 5 Color Science informs complex Blackmagic RAW image processing, with color and dynamic range data from the sensor preserved via metadata for use in post production. Compatible with all previously shot Blackmagic RAW files, Generation 5 Color Science lets customers take advantage of the new film curve even with their existing work. URSA Mini Pro 12K is multiple cameras in one, shooting standard resolutions and frame rates in 4K, 8K and even insanely detailed 12K. With a massive 80 megapixels per frame at 60 fps in RAW customers can capture perfect stills and motion shots in a single camera at the same time. Customers can shoot up to 60 fps in 12K 12,288 x 6480 17:9. For higher frame rates, customers can shoot 110 fps at 8192 x 4320, 140 fps at 8192 x 3408 and even window the sensor to Super 16 to capture 4K at an incredible 220 fps at 4096 x 2160 DCI. URSA Mini Pro 12K has flexible frame rate and resolution options, and captures with improved motion rendering which means that customers get smoother edges in 8K and 4K even at lower frame rates. URSA Mini Pro 12K is the ultimate high bandwidth recorder with 3 options for recording 12K, which contains almost 10 times the resolution of Ultra HD. Customers get dual built in CFast and UHS-II SD card recorders, and a SuperSpeed USB-C expansion port for recording to fast SATA and NVMe drives. With "Record RAW on 2 Cards" turned on, URSA Mini Pro 12K can record simultaneously across two cards up to an incredible 900MB/s to 2 CFast cards, or an impressive 500MB/s to 2 UHS-II SD cards. The SuperSpeed USB-C expansion port on the rear can record to USB-C flash storage up to 900MB/s as a third recording option so customers won’t be short of choices for capturing stunning 12K up to 60p or 8K up to 110p. Different projects require different lenses which is why URSA Mini Pro features an interchangeable lens mount. Customers can quickly switch between PL, EF and F mount lenses on the URSA Mini Pro 12K, as well as B4 lenses on the URSA Mini Pro 4.6K G2. That means customers can work with high quality large PL cinema lenses, EF or F mount photographic lenses, and even B4 broadcast lenses, making URSA Mini Pro compatible with the widest possible range of professional lenses. Blackmagic URSA Mini Pro features an innovative high speed USB-C Expansion Port. The 4.6K G2 model features USB-C 3.1 Gen 1 which operates at up to 5 Gb/s, while the new 12K model has a USB-C 3.1 Gen 2 for a blistering 10 Gb/s. Customers can connect and power external flash disks and SSDs or on URSA Mini Pro 12K customers can connect the new URSA Mini Recorder for recording to fast NVMe SSD drives for longer recording times. NVMe SSD drives are ideal for shooting 12K in the highest constant quality 12‑bit Blackmagic RAW in the Q0 setting or for high frame rates. When shooting is complete customers can simply move the external disk to their computer and start editing from the same disk, eliminating file copying. URSA Mini Pro includes a full version of DaVinci Resolve Studio. Customers get the world’s most advanced solution that combines professional editing, color correction, audio post and visual effects all in one software tool. DaVinci Resolve is used to finish more Hollywood feature films than any other solution, so users will get the best possible post production tools to edit native video from their camera and retain every bit of quality. Whether users are working on major Hollywood feature films, episodic television, music videos, commercials or even the latest YouTube shoot, DaVinci Resolve Studio gives customers a completely lossless workflow for native editing, color correction, effects, audio and delivery. The new Blackmagic URSA Mini Recorder lets customers record 12-bit Blackmagic RAW files onto fast 2.5 inch SSDs, including the latest U.2 NVMe Enterprise SSDs. SSDs such as the latest 7mm U.2 NVMe disks are super fast, delivering data transfer speeds of up to 900 MB/s. This blazing fast performance allows customers longer recording times for full resolution 4K, 8K and 12K 12-bit Blackmagic RAW files in the highest quality Q0 encoding. The unique design of the Blackmagic URSA Mini Recorder means it attaches directly to the back of their URSA Mini Pro between the camera and the battery. It’s controlled via the USB-C so customers don’t have to worry about manually starting or stopping the SSD recorder. "With Blackmagic URSA Mini Pro 12K we have advanced imaging technology into a new generation where new styles of shooting will be possible", said Grant Petty, CEO, Blackmagic Design. "Its not just the 12K sensor, but there is so many other innovations in this camera. From the Generation 5 Color Science, the in sensor scaling, new symmetrical color pattern, full RGB quality and of course the 12K resolution, it's going to be exciting to see what DOPs do creatively with this technology!" Blackmagic URSA Mini Pro 12K Features 12,288 x 6480 12K Super 35 sensor. Use for feature films, VFX and high end TVC's. 14 stops of dynamic range and native 800 ISO. New Blackmagic RAW for real time 12K editing. Blackmagic RAW optimized for Metal, CUDA and OpenCL. Generation 5 Color Science with new film curve. Shoot up to 60 fps in 12K, 110 fps at 8K and 220 fps at 4K. Dual card CFast recording at up to 900MB/s. PL mount included, EF and F mounts available. SuperSpeed USB-C for recording to external disks. Includes DaVinci Resolve Studio for post production. Compatible with new Blackmagic URSA Mini Recorder.

Please update your password and use the Two Factor Authentication option. This helps protect your account from being compromised and used to scam other members. I just received a report where a member had been recently scammed by a long time Sustaining Member forum account that had been compromised.

https://www.blackmagicdesign.com/media/release/20200424-01 Blackmagic Design today announced a new lower price for the popular Blackmagic Pocket Cinema Camera 6K of US$1,995. This is a reduction of $500 which will help make this camera more affordable for users working on digital film as well as live production with the new ATEM Mini switchers. With the current demand for multi camera live streaming from home broadcast studios, the Blackmagic Pocket Cinema Camera 6K makes a perfect studio camera when combined with the recent studio camera software update! Blackmagic Pocket Cinema Camera 6K is available immediately from Blackmagic Design resellers worldwide for US$1,995. Blackmagic Pocket Cinema Camera now works as a studio camera for live production when used with ATEM Mini. Video and control is via the HDMI connection, which is available as soon as customers plug the cameras in. The record light becomes a tally light so customers can see which camera is on air. The ATEM Software Control camera page has a camera control unit (CCU) style interface for adjusting and matching their cameras. Move the CCU control vertically for iris and left to right to adjust black level. It's the same as a broadcast CCU. There are also controls for color tint to balance camera as well as focus, gain and shutter speed. Customers can even ISO record Blackmagic RAW in the camera for editing later. The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high end digital film features into a miniaturized, handheld design. Made from lightweight carbon fiber polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at their fingertips. Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K model lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects. Blackmagic Pocket Cinema Cameras have an incredible 13 stops of dynamic range which means they preserve more detail in the lightest and darkest areas of an image than simple video cameras can. This allows customers to set exposure for an indoor scene and still retain the details of bright outdoor light coming through a window. The Blackmagic Pocket Cinema Camera features built in CFast and SD UHS-II card recorders, and a USB-C expansion port for recording direct to an external media disk. Customers can use regular SD cards for HD or higher performance UHS-II and CFast cards for native 4K or 6K when using Blackmagic RAW. Imagine capturing over an hour of full resolution 6K images on a single 256GB SD UHS-II card. The ProRes and Blackmagic RAW files work with all video software. Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from their camera. Video formats such as H.264 are highly compressed, plus add noise and artifacts, causing original sensor detail to be lost forever. Blackmagic RAW eliminates this problem and gives customers stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings as metadata so customers can set ISO, white balance and exposure in camera or override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with. Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. The touchscreen displays critical information while users are shooting, menus for setting up the camera and intuitive touch to focus controls. On screen overlays show status, a histogram, focus and peaking indicators, levels, frame guides, playback controls and more. With the advanced Blackmagic OS, customers get an intuitive and user friendly camera operating system based on the latest technology. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. Customers also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more. Both Blackmagic Pocket Cinema Camera models feature a mini XLR input with 48 volts of phantom power for connecting professional microphones such as lapel mics and booms. The four built in microphones have an extremely low noise floor and are shock and wind resistant, allowing customers to capture great sound in any location. There’s also a 3.5mm audio input for connecting video camera style microphones, along with a built in speaker for playback and a 3.5mm headphone jack. "We have worked very hard to build this camera at lower cost, and we think even more people will be able to take advantage of this price reduction to move into a more advanced and much higher quality digital film workflow," said Grant Petty, Blackmagic Design CEO. "This has become more important with COVID-19. Many broadcasters have been setting up home studios for presenters, which have used ATEM Mini switchers and Blackmagic Pocket Cinema Cameras. We think with the recent software updates for switcher control of the Pocket Cinema Cameras from the ATEM Mini switchers, combined with this more affordable price it will greatly help this workflow."

April 1, 2020; Secaucus, New Jersey – ARRI Rental, a leading provider of camera, lighting, and grip equipment, is pleased to announce that Andy Shipsides will assume the role of President of ARRI Rental North America Camera on May 1, 2020. Peter Crithary will transition from President of ARRI Rental, North America to lead the marketing function for ARRI Inc. in the newly created role of Vice President of Marketing and Market Development for the Americas. Shipsides will work alongside Carly Barber, the President of ARRI Rental US Lighting, and will be responsible for overseeing camera rental operations in North America. Based out of ARRI Rental's headquarters in Secaucus, New Jersey, Shipsides will be responsible for developing new opportunities, fostering strong relationships within the creative community and expanding ARRI Rental’s line of exclusive technologies. Shipsides says, “The North American market offers a lot of opportunities, and we are well-positioned to grow our business with unique technology offerings and a people-driven service philosophy.” Shipsides brings to his new role over 13 years of production technology experience. Before joining ARRI Rental in September 2019 as Vice President of Technology, Shipsides served as the Chief Technology Officer at AbelCine, where he ran the company's Los Angeles operation for seven years. During his time at AbelCine, he developed their training and education program, built their technical outreach team, and substantially grew their Los Angeles rental andsales presence. "With a deep background in sales and rental Andy brings the right blend of field experience and new ideas to reinforce ARRI Rental’s position in North America," says ARRI Executive Board Member Markus Zeiler. "We look forward to his guidance as we further engage with our customers, work to transform our business, and strengthen our performance.” He adds: “I’d like to thank Peter Crithary for his leadership and tremendous effort over the last 16 months and welcome him in his new role. In his newly created role, Peter Crithary will lead the North and South American marketing teams as well as oversee key, global initiatives. Crithary joined ARRI Rental in December 2018, where he made immediate contributions to the successful restructuring of the North American business. Before joining ARRI Rental, Crithary gained extensive experience in the broadcast and film industry, including over ten years with RTL Television, one of Germany's leading media companies, where he was responsible for broadcast news, magazine, and event production. Additionally, Crithary has also held key roles with Sony Electronics, including broadcast solutions development, marketing and market development of several motion picture cameras, including the VENICE platform. He began his career as a cameraman in Australia and continued in the US, working in motion pictures, television, production, and postproduction. Crithary will assume his new role on May 1, 2020.

https://www.iatse.net/news/iatse-union-launches-mutual-aid-effort-iatsecaresorg https://iatsecares.org/ Monday, March 30, 2020 New York, NY — IATSE launched its mutual aid program, dubbed Coronavirus Active Response and Engagement Service (C.A.R.E.S.) on Saturday. Through a new website, iatsecares.org the program facilitates volunteer deliveries for at-risk members, as well as a system for volunteers to intermittently check in with other members by phone. “We’ve had over 1,000 members already commit to volunteering just days after the launch of the website,” said IATSE Director of Communications Jonas Loeb. He added that C.A.R.E.S. is part of a larger campaign to organize mutual aid efforts both inside and outside of the union. For more information please contact Jonas Loeb IATSE, Director of Communications comms@iatse.net

This seems like a good time to end this thread ?

IATSE Responds to Passage of ‘CARES’ Act in Congress Friday, March 27, 2020 - 2:59 pm IATSE released a statement regarding the passage of the “CARES” Act: CONGRESS PASSES “CARES” ACT PROVIDING IMMEDIATE ECONOMIC RELIEF FOR ENTERTAINMENT WORKERS In its latest response to the novel coronavirus (COVID-19) crisis, Congress has passed a third package of emergency relief legislation, the Coronavirus Aid, Relief, and Economic Security “CARES” Act. This bill will provide tangible and immediate economic relief for entertainment workers across the United States, many of whom found themselves out of work overnight due to COVID-19 related cancellations across all sectors of the entertainment industry. Entertainment freelance, or gig, workers who expected to work for a day, week, month, or season on a production are now without planned wages and benefits indefinitely. Current state unemployment insurance benefits tend to be insufficient for entertainment workers, and many are not eligible for the paid leave expansion in the newly passed Families First Coronavirus Response Act because of the unique nature of freelance work. IATSE members and allies sent over 107,000 letters to Congress urging lawmakers to include displaced entertainment workers in the next legislative relief package, and our voices were heard. IATSE commends Congress for expanding access to economic support for loss of work related to COVID-19. The CARES Act contains the following key provisions: Creates a Pandemic Unemployment Assistance program to provide payment to those not traditionally eligible for unemployment benefits who are unable to work as a direct result of the coronavirus public health emergency. This includes entertainment workers with limited work history and scheduled, or offered, work that did not commence. Provides an additional $600 per week payment to each recipient of unemployment insurance or Pandemic Unemployment Assistance for up to four (4) months. Provides an additional thirteen (13) weeks of unemployment benefits to help those who remain unemployed after weeks of state unemployment are no longer available. Provides one-time direct payments of $1,200 for all individuals making up to $75,000; $112,500 for head of household. Married couples making up to $150,000 who file a joint return are eligible for $2,400. Those amounts increase by $500 for every child. The check amount is reduced by $5 for each $100 a taxpayer’s income exceeds the phase-out threshold. The amount is completely phased-out for single filers with incomes exceeding $99,000, $136,500 for head of household filers, and $198,000 for joint filers. Waives the 10-percent early withdrawal penalty for distributions up to $100,000 from qualified retirement accounts for coronavirus-related purposes. Entertainment workers will now receive economic support to help make up for the income lost due to cancelled or postponed work, and that money will soon be in the hands of working families. The bill also increases federal arts funding – $75 million each – for the National Endowment for the Arts, National Endowment for the Humanities, and Corporation for Public Broadcasting for grants to assist arts nonprofits and other employers in financing projects and performances. However, our work is not done – the crisis continues and so does the fight. The IATSE remains focused on ensuring that subsequent COVID-19 relief legislation includes pension relief, access to affordable healthcare, and economic support for the entertainment industry to put people back to work. We also stand in solidarity with our brothers, sisters, and kin on the front lines of this coronavirus pandemic and call for increased safety and protections as they seek to help others. We look forward to the day when entertainment workers can start helping the country heal, but we must first mitigate this public health crisis and ensure we sustain working people until they can safely return to work.

IMO, the solution is to test all the people that interact in public, and those who are positive or not immune should self-quarantine, at least until the healthcare facilities are able to handle any influx of new cases.

They've only tested 1600 WY residents, a state with 577,000 people. The positives are spread out all over the state. If WY self-quarantines longer they can slow the spread.

Yet.

If there is a plan to test everybody, we don't know about it yet. I agree with The Atlantic article though: "Projecting when each facet of daily life will be restored would be easier if public-health authorities had an omniscient view of who is infected, who has recovered and become immune, and who is still susceptible—this is the information that would emerge from widespread testing,"

Getting back to the original question... This article from The Atlantic does a good job of predicting the future. The Four Possible Timelines for Life Returning to Normal The coronavirus outbreak may last for a year or two, but some elements of pre-pandemic life will likely be won back in the meantime. https://www.theatlantic.com/family/archive/2020/03/coronavirus-social-distancing-over-back-to-normal/608752/

That's enough. If any women would like to add to this thread, let me know and I'll unlock it.

Great discussion, although not about David's cinematography.

Season 3 Trailer

It looks to me like every shot in this trailer might have been captured with the same focal length lens. From IMDB: Red Epic Dragon, Zeiss Master Prime Lenses /Red Epic-W Helium 8K S35, Zeiss Master Prime Lenses

General formula for bi-aspheric singlet lens design free of spherical aberration RAFAEL G. GONZÁLEZ-ACUÑA & HÉCTOR A. CHAPARRO-ROMO In layman's terms: https://gizmodo.com/a-mexican-physicist-solved-a-2-000-year-old-problem-tha-1837031984 The Optical Society - https://www.osapublishing.org/ao/abstract.cfm?uri=ao-57-31-9341 In this paper, we present a rigorous analytical solution for the bi-aspheric singlet lens design problem. The input of the general formula presented here is the first surface of the singlet lens; this surface must be continuous and such that the rays inside the lens do not cross each other. The output is the correcting second surface of the singlet; the second surface is such that the singlet is free of spherical aberration. ao-57-31-9341.pdf

12x12 in a room only 9 feet high.

Yep, sorry. Looks like that's a admin-only option. I just added a "Remove Format" button. Hope that helps. It's the Tx to the right of the S button.

Click the "Source" button in the Reply form. It's on the left edge of the Formatting Bar (Bold, Italics, etc.)

Once you're logged in on your phone, click the three horizontal bars to the right above the Cinematography.com logo. Then click Activity / Unread Content. (Save that as home-screen shortcut on your phone?) Or have you tried that, Phil?

Auto-double-spacing seems to be common practice in text editors these days like WordPress. I don't mind it. If you use Shift-Return at the end of a line you can bypass it.