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V-LOG L firmware update for GH4 will increase dynamic range by 2 stops!
Posted by Andrzej, motionVFX Team
September 3, 2015, at 10:15 AM

This should be a merry news for GH4 users: Panasonic has announced that the V-Log L Function Firmware Update Kit is now available. We should highlight the should part of it, as the firmware update is not free – you’ll have to pay $99 for it. Still, sounds like a good deal, if you really need it.

What the FW update brings is:

  • Adds V-Log L Gamma Profile to GH4
  • Wide Dynamic Range of up to 12 Stops
  • Improved Color Matching with Varicam
  • Similar Characteristics to Cineon
  • Same LUT and Curve as Standard V-Log

At we read:

In response to the demand from the film production market, log video recording (V-Log L) is now available for the LUMIX GH4, and offers exceptional flexibility as well as wider dynamic range for color grading in post-production process. V-Log / V-Log L were developed to feature similar characteristics to Cineon, which is a characteristic curve for film digitalization. Taking full advantage of Four Thirds sensor, V-Log L boasts a log characteristic with 12 stops. Both V-Log and V-Log L have the same characteristic curve, and LUT (Look Up Table) can be utilized.

What you’ll also find there is an instruction, which explains that what you purchase is not a immediate, downloadable content, but rather a key code, that you later on type in. The process is quite simple – after downloading the 2.3 firmware the usual way, you’ll need to juggle an SD card between the camera and your computer a bit, and it’s done. Keep in mind that the key is locked to GH4’s serial number – once activated on one camera, it can’t be moved to another. Full install instruction can be found here.


Apple looking into original programming?
Posted by Andrzej, motionVFX Team
September 3, 2015, at 9:32 AM

The latest rumors on Apple’s plans suggest that the company is considering becoming a full scale media company. Andrew Wallenstein’s article at suggests that Apple may already be making efforts to move into original programming, and explores several rumor paths as to what this content could actually be:

The scale of Apple’s ambitions vary depending on whom is asked, but one high-level executive who talked with the company said the goal is to create development and production divisions that would churn out long-form content to stream in a bid to compete with Netflix. Apple is hoping to put a headhunting firm on those hires in the coming months, according to source, with the goal of being in operation next year. Unknown is whether the focus is on TV series, movies — or both.

Andrew believes that getting into original programming would be a strategic move, that would improve Apple’s position against other tech giants like Google, Amazor or Facebook, whereas the cost of such an investment would not be significant against the amount of resources Tim Cook has at his disposal.

The article’s author suggests it may be possible that Apple TV may become the key device here:

That device, which is expected after years of languishing to get a significant upgrade at a press event Apple is hosting next week, could be central to the company’s content plans.(…) it’s possible the company is willing to take on filling the content pipeline itself to at least supplement the service. But it’s highly doubtful the programming piece would be in place by next week, let alone any time this year.

We also should keep in mind, the author reminds, that Apple has already made some first steps by launching the Apple Music service and the Beats 1 radio. Given the brand and capital Apple possesses, it won't be a problem to hire top executive staff and add some famous names to it, that would make the new service really competitive.

For full article at please follow this link.


Atomos presents the Assassin. Perfect for small 4K capable cameras?
Posted by Andrzej, motionVFX Team
September 2, 2015, at 2:11 PM

Atomos has just presented their new external monitor/recorder that might prove a very interesting solutions for small, yet 4K capable DSLRs and mirrorless cameras. It’s called Ninja Assassin and among the most important differences between Assassin larger external recorders we’ll find the lack SDI and XLR ports, making it just the right product for users of GH4, a7s and other similar cameras. There’s one more thing – it costs considerably less than Shogun.

The advantages and new features of Assassin are presented in the below promo video:

Key specs include (via

  • 7.1” with 1920x1200 resolution touch screen
  • Records up to 10 bit 4:2:2 4K-UHD 3840x216 to ProRes and DNxHR
  • Bypasses 30 min recording length barrier
  • Pre-Roll cache recording, up to 8 seconds of HD or 2-3 seconds of 4K-UHD
  • Lightweight - 430g weight
  • LUT support -  3D/1D LUT (on screen, on output, in recording, split screen view)
  • Monitoring tools including Focus Peaking Zebra and Waveform/Vector Scopes

Full specs sheet is available here. Atomos Assassin is available now for $1295.


Logic Pro X in Hyper Light Drifter - a tutorial in designing game sounds
Posted by Andrzej, motionVFX Team
September 2, 2015, at 11:09 AM

Here we’d like to bring up a detailed Logic Pro X tutorial, however, let’s start with some background story. The tutorial covers creating sounds to an indie game called ‘Hyper Light Drifter’ that was recently funded on Kickstarted. If the name doesn’t ring a bell, don’t be discouraged, but please note that the game’s campaign goal of $27,000 was vastly stretched and raised a total of $645,158.

This general description taken from the campaign’s page is as follows:

Hyper Light Drifter is a 2D Action RPG in the vein of the best 8-bit and 16-bit classics, with modernized mechanics and designs on a much grander scale.

This short introduction should be helpful in understanding the work done in the below LPX tutorial – designing sound effects for particular game events entirely from scratch. The tutorial has been recorded by Akash Thakkar, the sound designer for Hyper Light Drifter. The main point of the video is to show how much of a trial and error this work can be; how sounds evolve from basic to complex, and how many completely different versions can arise from a basic concept by modifyind and adding new layers.

What is more, Akash explains that in designing game sounds you cannot be sure whether you’ve nailed the right one – you need to send your work to the development team to see how it works in the game, and when it doesn’t, you end up creating another and another modified (sometimes entirely) version. The video focuses on only a few sounds, showing how much work is put into each of them:

You may want to check out previous videos on developing sound for the game: part one and part two. For really detailed info on the game itself, please head over to the campaign page here.


The future of post - discussion panel on 4K, High Dynamic Range & Wide Color Gamut
Posted by Andrzej, motionVFX Team
September 1, 2015, at 11:15 AM

4K, High Dynamic Range, Wide Color Gamut – these are still hot topics, but the voices have mostly changed from ‘if’ to ‘when’ and ‘how’. In a recent panel sponsored by KeyCode Media and Sony, and moderated by Larry Jordan, the experts discussed the future of post production. The panel featured Michael Cioni (Light Iron), Mike Whipple (Sony Pictures Entertainment) and Bryan McMahan (Modern Video Film).

Michael Cioni’s comment depicts the vision of future clearly:

People often speak of 4K or HDR or Wide Color Gamut. But it isn’t “or,” its “and.” The video we’ll be editing in the future will contain higher-resolution images and greater dynamic range and wider color gamut. Think of it as three legs of a tripod supporting the video of the future.

However, as 4K is practically here, the other two lag behind, and remain extremely costly:

HDR and Wide Color Gamut video requires vastly larger storage due to the size of the source files, plus video monitoring gear that allows display of the extended color range images. (…) Here, prices are not cheap. While no specific brands were suggested, a color-grade-capable HDR monitor is in the $30,000 price range.

Another important aspect is the change in the market that the experts believe will occur. The motor for such changes will be broadband companies, not traditional broadcasters:

The money for HDR and 4K won’t come from broadcasters or cable. They are a long way from updating their infrastructure to support this technology, because the upgrades are expensive and time-consuming. The market is broadband companies — Netflix, Amazon, Hulu, Microsoft and Apple — who are able to instantly deliver 4K media directly to the home via the Internet.

When asked by Larry about shooting and broadcasting beyond 4K, which is already happening, Michael replied:

I expect 4K to be a standard delivery format for the next 10 years. While resolutions we use in production will continue to increase, the resolution we deliver will remain constant for a while. This means that editorial houses can standardize on a 4K deliverable.
HDR will take longer to develop because we need to get HDR-capable TV sets into the home to drive demand. The interesting thing about HDR is that it looks great regardless of the resolution of the video. HD, even SD, looks much better when displayed using HDR

Full text can be found here, and the entire 90 minute panel can be seen here:



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