Welcome to mBlog
mTitle 3D Halloween Plugin for FCPX and Apple Motion 5
Posted by Szymon Masiak
September 29, 2015, at 4:59 PM

Once a year there is a day other than everyone else - Halloween. It’s mostly a fun day, but for many editors it’s a time of intensified work. With that many parties, thematic shows, concerts and events, there is a huge demand for all sorts of motion graphics and opening typography. We like to make the community’s life easier so we decided to do most of the work for you.

We created a ready-made themed pack of 3D title intros with the most popular halloween stylizations that you can just drop into your FCPX edit. mTitle 3D Halloween use all the coolest 3D features of Motion 5 to give you a unique typography with top-notch quality and fantastic design. As always we kept all the aspects of our projects tidy and maximally customizable, so you can produce an intro that fits your edit’s needs perfectly, directly inside Final Cut Pro X. We pushed the capabilities of the software to the limits, so our titles are really awesome in all aspects, as well as easy and fun to use. Every professional editor values time and amounts of work that their projects require, we are perfectly aware of that and do everything in our power to lend them a helping hand. With our mTitle 3D Halloween plugin, you are guaranteed to have some extra free time for trick-or-treating!

More info: mTitle 3D Halloween

Comparison test - iPhone 6s versus Sony A7r II. Which shoots better 4K footage?
Posted by Michal, motionVFX Team
September 29, 2015, at 1:39 AM

As you probably know, the iPhone 6s can shoot 4K videos and as expected, the quality of the footage is more than good. Apple was always focused on bringing great technology and in the case of photography and video shooting, all iPhones were always performing much better than most of their competition. But what about the new iPhone 6s? Well, as usual Apple made some improvements to the camera and in the video below you will see a very nice and informative comparison test. Two cameras are put on the table - the popular Sony A7r II and obviously the new iPhone. Both devices are able to shoot 4K, but without any doubt the A7r is a much more advanced hardware if you look at it from filmmaking perspective. But if you wonder if a smartphone can keep up and deliver similar video quality, check out this cool test by Fstoppers!



Daniel2 codec from Cinegy handles 8K and beyond with ease
Posted by Andrzej, motionVFX Team
September 28, 2015, at 2:06 PM

4K is predicted to become the industry standard soon and remain as such for the 10 years. With 8K already being experimented with, we’ll need codecs that can handle 8K (and beyond) files. At IBC ’15 Cinegy, presented their new DANIEL2 codec. An article at provides us with some valuable information.

First of all, DANIEL2 is an acquisition and production codec designed from scratch, and relying on GPUs rather than CPUs. In the text, Jan Weigner, Cinegy’s Managing Director, is quoted:

Today, even if users could decode multiple 4K or 8K streams using a CPU, which they cannot, they would probably still want to use the power of the GPU for effects and filters. Then there is the issue of system bus bandwidth bottlenecks for those trying to transfer decoded streams to the GPU’s memory. This is where DANIEL2 shines as streams a fraction of the size of their uncompressed counterparts are read from disk, or via a network, and are passed to the GPU for decompression faster than uncompressed frames can be copied.


The way that DNxHR, ProRes and XAVC codecs are architected doesn’t allow them to take full advantage of GPUs, and this is something that cannot – ever - be rectified. The usefulness of those codecs ends with 4K, in some cases even HD; and they certainly have no place in an 8K production workflow. However, with DANIEL2, you can encode/decode 8K right now, in real time, on hardware you already own.

We read further that on their IBC stand, Cinegy used a sub $1000 off the shelf computer to demonstrate how DANIEL2 decodes multiple 4K and 8K streams with simultaneous heavy graphic work being done on the machine, and results being displayed in real time.


According to info provided at, DANIEL2 features:

  • Up to 4:4:4:4 colour space for RGBA, keying, graphics overlays etc.
  • Up to 8, 10, 12 or 16 bit colour depth
  • Extremely low decoding latency
  • Multi-generation re-compression without artefacts
  • Efficient with "almost transparent" frames
  • Selectable compression ratio from 1:3 to 1:30, adaptable, variable bit rate encoding
  • Optimized for Nvidia CUDA

And is able to decode:

  • HD    17000 fps
  • 4K     4300 fps
  • 8K     1100 fps
  • 16K   280 fps

How soon before the codec is released? It should be available as an SDK by the end of this year, no specific dates have been provided.


RED enters sub $10,000 4K camera market with the new Raven
Posted by Andrzej, motionVFX Team
September 28, 2015, at 9:10 AM

The number of sub $10,000 cameras with professional features shooting 4K is growing rapidly, and yet another company has announced one  - this time it’s RED with their new Raven. Before we get any further, a note that Raven is not just meant as a new, cheaper model available within their product range, but as a means to attract (and keep) customers that didn’t own any of RED cameras:

RED RAVEN makes it even easier for passionate shooters to join the RED ecosystem—and truly experience quality without compromise. All RED RAVEN accessories are compatible with WEAPON®, allowing your tools to evolve with your shooting needs.

In advertising the Raven, RED calls for 4K for all – the Raven features the same sensor (Dragon) as more expensive cameras in RED’s lineup. While it shoots 4K Redcode RAW at up to 120 frames (2K with 240 fps), shooting ProRes is limited to 2K and 60 fps. The compression at 13:1 with 4K 120 fps may prove troublesome, however the option is there. RED claims that dynamic range will be over 16.5 stops. The camera weighs only 3.5 lbs (1.5 kg), making it a desirable piece of gear to use with drones.

While the body costs only $5,950, you’ll need some accessories, which are somewhat pricy. RED has prepared two sets of accessories: Jetpack Package and Base I/O Package, which will allow you to save a few hundred bucks, as opposed to buying them separately. These cost $9,750 and $9,500 respectively. However, aside from accessories available in the package, you’ll need more stuff for sure (e.g. more mini-mags), and you may end up with costs closer to (or even higher than) $12,000 for the entire system. One more aspect that may be an issue is the lens mount. RED decided to use a fixed EF mount. While plenty of potential customers already have lots of Canon EF glass, the lack of possibility to change may be putting off. Finally, RED really could've skipped the giant skull logo on Raven's back and right side; it doesn't look too professional.

RED Raven will be shipping around February 2016. Check out the official product page here for more technical details.


New amazing Tesla Drone? Not a Tesla, hardly a drone yet.
Posted by Andrzej, motionVFX Team
September 25, 2015, at 9:06 AM

The new Tesla Drone offering unique design, 60 minutes flight time, 4K recording with an innovative design that doesn’t require a gimbal to produce a stable image is really incredible; more than that, the drone has the option of vertical and horizontal configuration (see concept below). The only issue is that the previous sentence has little to do with truth. Elon Musk’s Tesla has nothing to do with it, it’s hardly a design – merely a concept, and all data is more of a wishlist.

For some reason plenty of news webpages, including those in the filmmaking industry, decided to publish info on a concept of a drone posted on by a UK based designer Fraser Leid. Announcing that the drone could fly for 60 minutes surely must have drawn lots of attention. But how Fraser calculated the flight time without specific information on battery capacity, drone weight, type of drone motor etc. remains a mystery.

Secondly, no gimbal? In the decription we read:

The second key component I addressed was related to design and straying away from convention. By not replicating a Quadcopter, but configuring a new twin blade design that allows the propellers to act as the drone camera’s stabiliser, a gimbal isn’t required for video stability.

The description doesn’t quite explain that, but stating two propellers, one close above other (in vertical setup), will allow for a stable footage without a gimbal seems hardly believable. The addition of ‘GlideLite®’ carbon blades or ‘MagDock®’ docking/charging bay, with trademarks that can’t be found on neither US nor UK trademark databases only adds more flavor.

The concept itself looks more than exceptional (you can see it here). With, or without Tesla logo it uses for some reason. The presentation – even more so.  It’s impressive enough to make people ask for price & availability at this stage. If, somehow, Fraser builds a working, flying prototype, even with specs comparable to those of currently available UAVs, he’s bound to get customers for it.



Copyright © 2013 MotionVFX. All rights reserved.