![]() Hedge Elements targets companies that need their video files to conform to their organizational structures and procedures, whether ad-hoc or rigidly formal.ĮditReady, a transcoding application that’s popular because it is easy to use and fast, now supports RAW video, including ARRI RAW, Codex HDE, ProRes RAW, and Red R3D and Blackmagic RAW. ![]() Elements can include user-inputted information and “intrinsic” data, such as the date. They ensure that files are correctly labeled. Presets are a way for future recipients to communicate with those responsible for sending the data to them. As Hedge moves data from camera cards and other storage sources, a review panel will pop up to prompt the operator to insert the required data. They do this by creating a preset that they send to Hedge operators during the data transfer. Those who receive files can now specify what elements of information they need to organize and process those files. Hedge users reported that proper file-tracking is a serious and growing problem, forcing editors to spend valuable creative time naming and annotating incoming files. It is a critical part of a modern video workflow. ![]() Keeping track of files involves knowing what they’re for, where they’ve come from and why they’re important. “These product releases are a direct result of their most popular and persistent requests, and customers actively helped in testing these releases in their workflows.”Įlements is Hedge’s term for the varied and customizable metadata that users can now associate and keep with a file to clarify the role of that file for other creative and technical professionals later in the workflow. “Hedge customers have been a driving force in our product development and roadmap from day one,” says Paul Matthijs, co-founder/CEO of Hedge. The company says these updates address common challenges today’s modern video editors face: dealing with unorganized media that requires custom-built metadata fields RAW transcoding and ensuring individual media archives can span multiple LTO tapes. The new 4K camcorder offers Apple ProRes 4444 (up to 30p) and ProRes 422 HQ (up to 60p) support.Hedge has released three product updates to its suite of tools for filmmakers and video pros: Hedge Elements, EditReady RAW and Canister Spanning. The VariCam LT records in multiple formats ranging from 4K, UHD, 2K and HD, and like the VariCam 35, is fully capable of High Dynamic Range (HDR) field capture. It also delivers 14-plus stops of dynamic range with V-Log, and the dual native ISOs of 800/5000. VariCam LT inherits the same super 35mm sensor and superb imaging capabilities as the VariCam 35, but with significant reductions in size, weight and price. And, VariCam LT boasts an incredible array of shooting options that mirror many of its big brothers. The LT is very nicely balanced with an old-style handheld feel, but with the wallop of VariCam technology. Weighing in at a very respectable and manageable 5.95 pounds, without a lens, the LT was a delight to get up on my shoulder. But the original VariCam is pretty big and not all that portable. Anybody who has shot on the original Panasonic VariCam has loved every minute of its blow-you-away, beautiful images, crazy-mad resolution and stunning cinematic imagery. Panasonic’s (VariCam LT (model AU-V35LT1G) is a great and solid addition to the VariCam family. Simply the most revolutionary product I have ever seen at NAB.” This new camera could very well be the game changer of NAB 2016. One post pro in attendance said, “The Lytro Light Field Camera blew my mind. The camera has up to 16 stops of dynamic range and wide color gamut, and has one of the highest resolution video sensors ever designed. Every pixel has color, directional and depth properties, bringing the control and creative flexibility of computer-generated VFX to the real world. With the Lytro Cinema camera, every frame of a live action scene becomes a 3D model. Data - not images - recording 755 raw megapixels at up to 300fps. Making our way through, we learned that the Lytro records data. Demonstrated before an absolutely jam-packed crowd, it was hard to even get into a session. The implications could be huge for post production. This non-traditional camera, which doesn’t record images traditionally, is so revolutionary it’s almost impossible to describe. Without a doubt, the star of the camera universe at NAB 2016 was the Lytro (Light Field Camera.
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