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Kickstarter news: wireless GoPro charging!
Posted by Andrzej, motionVFX Team
December 19, 2014, at 3:44 PM

It doesn’t happen all that often that you’re able to say a particular Kickstarter campaign is almost 100% going to be successful, before it hits the goal. It appears that this little innovation will do just that. At the moment of writing this MOTA wireless charger for GoPro has got over $10 000 out of $15 000 goal, and plenty of time to go.

The name is self-explanatory – the MOTA charger has been designed and optimized for GoPro 3 and 4 and the set allows you to charge these cameras wirelessly without the need to swap the batteries – the camera can remain in its housing. Without further ado – the video posted in the product’s Kickstarter campaign page explains it all:

More info from the campaign page:

The patent-pending wireless receiver is the technology that makes the MOTA Wireless Charger compatible with Hero 3 and Hero 4 batteries. The receiver is engineered to enable wireless charging for your existing batteries. Before placing your camera in its casing, replace the GoPro’s USB port cover with the MOTA wireless receiver and align the bottom flap along the device’s base. After doing so, enclose your GoPro in its casing and simply insert it into the MOTA charging station.

If (of when, should we say) the campaign is successful, the product should be available at the turn of first and second quarter of 2015. Find out more about the product, and support if you wish, at the official Kickstarter campaign page here.


Vincent Laforet's killer MoVi setup
Posted by Andrzej, motionVFX Team
December 19, 2014, at 2:59 PM

It’s no secret that Vincent Laforet is a great fan of MoVi gear, and has been supported strongly it ever since it came out. There’s been a number of articles in his blog featuring MoVi systems, and now Vincent has posted another – this time showing his ultimate setup. Though the price of all constituents may cause headache, the versatility of this setup is mind blowing. Some info first:

I’ve been shooting a commercial for 2 weeks this pre-holiday season and I’ve really had a chance to put the MōVI through it’s paces once again.   We’ve been flying the MōVI handheld, on roller blades, running around,  on a jib, on a suction cup mounted to a cab, and on an RC car from Freefly Systems called a Tero. What I can tell you is that I’ve finally got MY system down… it took me awhile but i’ve found my "perfect" formula if you will and I’m happy to share it with you below in the hopes that you fly your MōVIs with as much glee as I have been! 

Vincent also posted a short video:

In his text, Vincent goes though every piece of equipment he’s used for the setup, starting from HDMI cable to external monitor. For each piece he provides the price, explanation for his choice and a photo. Apart from the small bits, and obviously, the MoVi stabilizer, the most significant parts to build this remote kit were:

MoVi wireless controller:

(…) a professional grade remote system that allows the operator full control over Pan, Tilt, and Roll. 

Axis 1 wireless follow focus:

The Axis1 from Hocus Products is the best wireless follow focus system you will get in this price range in my opinion. I have yet to have a SINGLE problem with the Axis1.  Ever.   And it intergrates perfectly w/ the Freefly remote so you can focus or zoom or iris control FROM the controller with the proper kit from Freefly.

Paralynx Arrow Plus transmitting set:

One Paralinx Arrow Plus Transmitter and 2 receivers.  Or 3 transmitters if you can make that happen.   I’ve chosen this system because it’s reliable and this is the smallest transmitter.  It stays permanently mounted on any of my cameras and is powered by the IDX battery above or a USB cable.  Love it.

To see the entire setup, with photos, photos, info from Vincent, and gear shop links, please follow this link to Vincent’s blog.


Adobe updates Creative Cloud apps!
Posted by Andrzej, motionVFX Team
December 19, 2014, at 11:07 AM

A few days back, we posted info about Adobe’s growing number of subscriptions and big plans to grow. Their development goes in pair with increased frequency of updates, which was advertised as one of the benefits of being part of the cloud. Now, another update has been released for the cloud apps, including Adobe’s video software Premiere Pro, After Effects, Media Encoder, and couple of others.

As Eric Philpott writes in his post at about the changes:

The Premiere Pro CC 2014.2 update includes a number of feature enhancements for editors, including support for Arri Open Gate media, the ability to set transitions and still image default durations in either seconds or frames, and improved GoPro CineForm export. In addition, QuickTime and GoPro CineForm codecs can now be used as sequence preview file formats on Windows

The 2014.2 update of After Effects CC provides more control over text through scripts and expressions. Additionally, based on customer feedback, the team made visual tweaks to the UI such as making the keyframe icons a bit brighter to stand out better against the background.

The video below shows how you can upload to Vimeo (among others) with all of the settings available in the ME:

Eric continues:

Along with Destination Publishing to YouTube and Vimeo, the Media Encoder CC update includes updated Vimeo and GoPro CineForm presets, the option to automatically append preset names to output file names, the ability to export audio channels as separate WAV files, and more. Audition CC, Prelude CC, Story CC Plus, and SpeedGrade CC offer a number improvements as well.

Eric’s post also contains links to blogs related to specific apps, where you’ll find more detailed info about the recent changes. Full post can be found here.


Atomos Shogun & Odyssey 7Q+: external recorders specs comparison
Posted by Andrzej, motionVFX Team
December 18, 2014, at 2:18 PM

After the four camera ‘fun comparison’, Sareesh Sudhakaran has published another ‘fun’ text. If you haven’t read the previous part, the ‘fun’ in the title denotes a careful analysis of the gear on the basis of specs only, and a handful of author’s remarks. This time Sareesh deals with two external recorders: Atomos Shogun and Convergent Design Odyssey 7Q+. The article is quite fresh, but still, at the time of writing it, they were both pre-order only. Both offer similar features and screen sizes, both allow 4K recording, and their price range is comparable, but the author suggests we should be far from calling them twins.

After a disclaimer informing the readers not to make their decision on the basis of specs-only comparison, Sareesh moves on to comparing the two in the major fields, including resolution, frame rates, codecs, in/outputs and a number of others. In each category the winner is chosen.

Among some of the differences you’ll find: slightly bigger OLED screen for 7Q+ compared to Shogun’s smaller IPS screen; the recording features are comparable, again in slight favor of 7Q+ owing to 4:4:4 4K recording. Sareesh also point at the difference in inputs/outputs: Shogun offers HDMI, SDI and XLR, while 7Q+ has HDMI and 3 SDIs. So far, the 7Q+ has a slightly better position in Sareesh's comparison, but probably the biggest difference may turn 'slightly' into considerably'.

One really important aspect that makes Odyssey 7Q+ a better choice than Atomos Shogun are the monitoring aids:

If the Shogun doesn’t have frame markers, it’s a big booboo (for me, at least). Otherwise both of them have enough tools to keep a cinematographer and crew so busy they’ll forget to look at the scene in front of them.
Secondly, the Shogun doesn’t have a histogram, which is the tool to have to expose RAW correctly, especially ETTR.
Winner? Odyssey 7Q+, just for the markers and histogram. They are so critical. I hope it’s included, but so far, there’s no word on either on the Shogun.

According to Sareesh’s calculation, even though the price difference is relatively small, it becomes much more significant when you consider the cost of media – if you’re on a tight budget and the specs of Shogun satisfy you, it can make the difference. If you’re not, Sareesh cocludes, 7Q+ will be a better investment for the future. Full comparison can be found here.


New Trends from the Trenches episode: Sony A7 Mark II, Fujifilm X100T & more!
Posted by Michal, motionVFX Team
December 18, 2014, at 1:36 AM

The Slanted Lens published the latest episode of Trends from the Trenches in which traditionally Jay P Morgan and cinematographer Lars Lindstrom talk about what happened lately (mainly last month) in the industry. You will hear a bit on the Sony A7 Mark II full frame mirrorless camera (it utilizes the same 24.3MP Exmor CMOS sensor and BIONZ X processor as its predecessor) and on image stabilization, Lars and Jay P also talked about drones and helicopters - especially in the context of new laws and how they might affect photographers. Jay P reports that you will also learn about the Dynalite Baja B4, X-Rite ColorChecker Passport, X-Rite i1Display Pro, Datacolor Spyder4ELITE and there's also a review of the Fujifilm X100T camera. 




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