Atomos continues its cooperation with different camera brands to extend the use of Apple ProRes RAW with a variety of models. ProRes RAW is now a firmly established as the new standard for RAW video capture and is available on a growing number of cameras, ranging from the Sony Alpha 7S III to a selected range of Z CAM cameras that output RAW over HDMI. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes.

The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Atomos was the first to implement the professional Apple ProRes RAW format for recording with cinema cameras and continues push the boundaries of innovation with RAW recording over HDMI. Now it is time for the Olympus OM-D E-M1X and OM-D E-M1 Mark III mirrorless cameras to get access to the feature, making the brand the eighth to use the format.

As these Olympus cameras and the Atomos Ninja V will record Apple ProRes RAW directly from the camera’s sensor, Olympus users who love the OM-D family for its portability and in-body 5-axis image stabilization will get all the benefits of a ProRes RAW workflow – creative control to adjust the color and look of the video in post-production while extending brightness and shadow detail, making it ideal for HDR workflows.

Olympus OM-D cameras and the Ninja V

Both ProRes RAW, and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro X and Adobe Premiere Pro along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight and Grass Valley Edius.

The Ninja V allows users to accurately monitor the RAW signal on its daylight-viewable 5” 1000nit brightness HDR screen. Setup is simple with perfectly tuned color settings applied automatically. Users can then view the image in HDR quality with a choice of HLG and PQ (HDR10) formats. The Ninja V offers touchscreen access to tools like waveforms, 1-1 magnification and focus peaking, allowing users to perfect their shot setup. The Ninja V then records the ProRes RAW data onto a removable AtomX SSDmini or other SSD drive. When shooting is complete the drive is removed and connected to a computer via USB for immediate offload and editing.

Jeromy Young, Atomos CEO, said: “We’re thrilled to work with Olympus and their stunning mirrorless cameras to bring the power of Apple’s ProRes RAW to OM-D users. We can’t wait to see the creativity that results from this partnership”.

The firmware update to enable these features is scheduled for winter 2020.

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Hollywood is mighty entertaining. Here at Adobe, we are constantly blown away by the creative minds in the industry. We’ve been sassed by an unlikely superhero in Deadpool. We’ve been moved by an intimate portrait of the great Ruth Bader Ginsburg in RBG. We’ve laugh-cried at Portlandia and Our Cartoon President. We’ve braved the tough love of Atlanta’s impenetrable music scene. From MINDHUNTER to Stranger Things to Gone Girl, Hail, Caesar!, Only the Brave, The Florida Project, and more, Adobe Creative Cloud users in Hollywood have kept us on the edge of our seats and inspired us beyond belief. And now it’s time for us to be there for the post-production community in a bigger way than we ever have before.

With more Hollywood productions relying on Creative Cloud tools to get the job done, we’re cutting the ribbon on our first office dedicated to the unique needs of the entertainment industry. ….read more

Streaming Media launched during the dot-com bubble, and while some of the early players faded away when their funding ran out, others helped chart the future of the industry.

As I write this, the top story on the Streaming Media website is about a report from Futuresource Consulting that says that there are now 125 million subscription video­ on ­demand (SVOD) subscriptions in the United States. That only accounts for 10 percent of total consumer spending on pay TV—which means cable and satellite operators are still the dominant forces in the market—but that number should give you pause, especially if you’ve been in the streaming media industry as long as Streaming Media has.

2018 marks the 20th anniversary of the Streaming Media brand, which launched smack in the middle of the dot­com bubble, just a few years after the very first webcast. The early Streaming Media shows reflected that, with high­ profile speakers like Bill Gates and Mark Cuban and massive parties taking over venues like the Queen Mary in Long Beach, Calif., and the Ministry of Sound in London. I wish I could have been there, but my previous life as a music journalist had me writing for another dot­com company, Sonicnet, which put into practice the audio streaming that was being innovated by the attendees and exhibitors at Streaming Media conferences. Tim Siglin, who was there, wrote about the first 10 years in “A Decade of Streaming Media.”

We all know what happened to most dot­com companies. Some, like Cuban’s Broadcast.com, managed to sell for ridiculously inflated prices before the bubble burst, but most either blew through their funding and faded away before ever leaving a real mark or were acquired by larger companies, a few of which are still around. …read more

Facebook has announced a new platform for video shows, called Watch. It will initially be launched to a limited group in the United States before a wider rollout to a potential user base of 2 billion people. It may be rather late in taking on YouTube but its regular reach could offer producers an attractive audience.

“We believe it’s possible to rethink a lot of experiences through the lens of building community — including watching video,” founder and chief executive Mark Zuckerberg wrote in a post on Facebook. “Watching a show doesn’t have to be passive. It can be a chance to share an experience and bring people together who care about the same things.”

“We hope Watch will be home to a wide range of shows — from reality to comedy to live sports,” he wrote. “Some will be made by professional creators, and others from regular people in our community.”

Facebook already has videos in its news feed and added a dedicated video tab in the United States, which will be replaced with Watch…[continue reading]

Intel’s vision for Thunderbolt was not just to make a faster computer port, but a simpler and more versatile port available to everyone. We envision a future where high-performance single-cable docks, stunning photos and 4K video, lifelike VR, and faster-than-ever storage are commonplace. A world where one USB-C connector does it all – today, and for many years to come. With this vision in mind, Intel is announcing that it plans to drive large-scale mainstream adoption of Thunderbolt by integrating Thunderbolt 3 into future Intel CPUs and by releasing the Thunderbolt protocol specification to the industry next year.

With Thunderbolt 3 integrated into the CPU, computer makers can build thinner and lighter systems with only Thunderbolt 3 ports. For the first time, all the ports on a computer can be the same – any port can charge the system and connect to Thunderbolt devices, every display and billions of USB devices. Designs based on Intel’s integrated Thunderbolt 3 solution require less board space and reduce power by removing the discrete component needed for existing systems with Thunderbolt 3…[continue reading]

The Society of Motion Picture and Television Engineers committee at work on a new standard for professional video over IP is nearing the stage where its work can be put to the test. Many are hopeful the SMPTE 2110 standard will deliver what’s needed for the industry to coalesce around an IP protocol that broadcasters and others in the industry can support.  

When it comes to use of IP in the production, transport and distribution of television by broadcasters and other in the media and entertainment industry, it appears that all roads lead to the SMPTE 2110 standard.

At least that’s the hope of vendors, consultants and other members of the industry intelligentsia who believe the lack of a commonly accepted IP media protocol is contributing to the fence-sitting of broadcasters and others who are waiting for consensus on a standard before moving forward with IP….[continue reading]