#appleprores

[victorianantics]

$3999.95 ~ DJI Inspire 2 X5S (15mm Lens) Quadcopter - CinemaDNG/AppleProRes (3 Batteries ), Small Camera Drones, Drone for Aerial, Compact Camera Drones, Best Camera Drones, Aerial Camera Drones, Camera Drones, High End Camera Drones Find Out This Small Camera Drones

[otticafotobenzi]

Panasonic Lumix Gh6 Kit 12-60 G Vario Black

TIPO Tipo Fotocamera DSLM (Digital Single Lens Mirrorless) Montaggio dell'obiettivo Montaggio Micro Quattro Terzi SENSORE DI IMMAGINE Tipo Sensore Live MOS (17,3 x 13 mm) Pixel effettivi fotocamera/Pixel totali 25,21 Megapixel / 26,52 Megapixel Rivestimento AR (antiriflesso) Sì Proporzioni/Filtro a colori 4:3/Filtro colori primari Sistema di riduzione della polvere Sensore di immagine mobile LATITUDINE Dynamic Range Boost ON: Oltre 13 stop (V-Log) Dynamic Range Boost OFF: Oltre 12 stop (V-Log) FOTO Formato di registrazione dei file JPEG (DCF, Exif 2.31), RAW Rapporto d'aspetto 4:3 / 3:2 / 16:9 / 1:1 Dimensione dei file (pixel) 4:3 5.776 x 4.336 (L) / 4.096 x 3.072 (M) / 2.944 x 2.208 (S) / 11.552 x 8.672 (XL)* / 8.192 x 6.144(LL)* *Modalità alta risoluzione. 3:2 5.776 x 3.848 (L) / 4.096 x 2.728 (M) / 2.944 x 1.960 (S) / 11.552 x 7.696 (XL)* / 8.192 x 5.464 (LL)* *Modalità alta risoluzione. 16:9 5.776 x 3.248 (L) / 4.096 x 2.304 (M) / 2.944 x 1.656 (S) / 11.552 x 6.496 (XL)* / 8.192 x 4.608 (LL)* *Modalità alta risoluzione. 1:1 4.336x4.336(L)/3.072x3.072(M)/2.208x2.208(S)/8.672x8.672(XL)*/6.144x6.144(LL)* *Modalità alta risoluzione. Qualità dell'immagine RAW/RAW+Fine/RAW+Standard/Fine/Standard Spazio dei colori sRGB, AdobeRGB VIDEO Formato di registrazione dei file Formato audio MOV: LPCM (2 canali 48 kHz/24 bit, 96 kHz/24 bit*) (4 canali 48 kHz/24 bit**, 96 kHz/24 bit**) MP4: AAC (2 canali 48 kHz/16 bit) *Quando si collega un microfono Φ3,5 mm o DMW-XLR1 (venduti separatamente). **In caso di collegamento di DMW-XLR1 (in vendita separatamente). Frequenza di sistema 59,94 Hz/50,00 Hz/24,00 Hz Area immagine del video Full / Pixel by Pixel MOV (*¹) (*²) *HLG è selezionabile. 59.94Hz 5.760x4320 (4:3) 29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 23.98p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 59.94Hz 5.728x3024 (17:9) 59.94p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 47.95p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 23.98p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 59.94Hz 4.352x3264 (4:3) 59.94p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 47.95p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 59,94 Hz 4.096x2.160 119.88p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 59.94p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 47.95p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 29.97p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (+C27:C42H.264/MPEG-4 AVC, LPCM) 29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. 59,94 Hz 3.840x2.160 119.88p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 59.94p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 47.95p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 29.97p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (+C27:C42H.264/MPEG-4 AVC, LPCM) 29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. 59,94 Hz 1.920x1.080 239.76p, 800Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*/** 239.76p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*/** 119.88p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)* 119.88p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 59.94p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 59.94p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 59.94i, 100Mbps (4:2:2 10-bit ALL-Intra) / 50Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 47.95p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 47.95p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 29.97p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 29.97p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 23.98p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 23.98p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. **Con Area immagine del video impostata su FULL. 50.00Hz 5.760x4320 (4:3) 25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 50.00Hz 5.728x3024 (17:9) 50.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 50.00Hz 4.352x3264 (4:3) 50.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 50Hz 4.096 x 2.160 100.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 50.00p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. 50Hz 3.840 x 2.160 100.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 50.00p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. 50Hz 1.920 x 1.080 200.00p, 800Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*/** 200.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*/** 100.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)* 100.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 50.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 50.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 50.00i, 100Mbps (4:2:2 10-bit ALL-Intra) / 50Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 25.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 25.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. **Con Area immagine del video impostata su FULL. 24.00Hz 5.760x4320 (4:3) 24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24.00Hz 5.728x3024 (17:9) 48.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24.00Hz 4.352x3264 (4:3) 48.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24Hz 4.096 x 2.160 120.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. 24Hz 3.840 x 2.160 120.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. 24Hz 1.920 x 1.080 120.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)* 120.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 24.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 24.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) *Con Dynamic Range Boost impostato su OFF. MP4 (*¹) 59,94 Hz 3.840x2.160 59.94p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)* 29.97p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)* 23.98p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)* 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) *HLG è selezionabile. 59,94 Hz 1.920x1.080 59,94p, 28 Mbps (4:2:0 8 bit LongGOP) (H.264/MPEG-4 AVC, AAC) 29,97p, 20 Mbps (4:2:0 8 bit LongGOP) (H.264/MPEG-4 AVC, AAC) 23,98p, 24 Mbps (4:2:0 8 bit LongGOP) (H.264/MPEG-4 AVC, AAC) 50Hz 3.840 x 2.160 50.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)* 25.00p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)* 25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) *HLG è selezionabile. 50Hz 1.920 x 1.080 50p, 28 Mbps (4:2:0 8 bit LongGOP) (H.264/MPEG-4 AVC, AAC) 25p, 20 Mbps (4:2:0 8 bit LongGOP) (H.264/MPEG-4 AVC, AAC) 24 Hz - - Apple ProRes (*¹) (*²) 59.94Hz 5.728x3024 (17:9) 29.97p, 1.9Gbps (Apple ProRes 422 HQ) / 1.3Gbps (Apple ProRes 422) (H.264/MPEG-4 AVC, LPCM) 23.98p, 1.5Gbps (Apple ProRes 422 HQ) / 1.0Gbps (Apple ProRes 422) (H.264/MPEG-4 AVC, LPCM) 50.00Hz 5.728x3024 (17:9) 25.00p, 1.6Gbps (Apple ProRes 422 HQ) / 1.1Gbps (Apple ProRes 422) (H.264/MPEG-4 AVC, LPCM) 24.00Hz 5.728x3024 (17:9) 24.00p, 1.5Gbps (Apple ProRes 422 HQ) / 1.0Gbps (Apple ProRes 422) (H.264/MPEG-4 AVC, LPCM) VFR (Variable Frame Rate) MOV (*1) *HLG è selezionabile. 59.94Hz 5.728x3024 (17:9) 29.97p (uscita massima sensore pari a 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 23.98p (uscita massima sensore pari a 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* **Con Area immagine del video impostata su FULL. 59,94 Hz 4.096x2.160 59.94p (uscita massima sensore pari a 120fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 29.97p (uscita massima sensore pari a 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 29.97p (uscita massima sensore pari a 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 23.98p (uscita massima sensore pari a 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 23.98p (uscita massima sensore pari a 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* *L'uscita massima del sensore è 60 fps con Dynamic Range Boost impostato su ON. 59,94 Hz 3.840x2.160 59.94p (uscita massima sensore pari a 120fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 29.97p (uscita massima sensore pari a 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 29.97p (uscita massima sensore pari a 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 23.98p (uscita massima sensore pari a 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 23.98p (uscita massima sensore pari a 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* *L'uscita massima del sensore è 60 fps con Dynamic Range Boost impostato su ON. 59,94 Hz 1.920x1.080 59.94p (uscita massima sensore pari a 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)* 59.94p (uscita massima sensore pari a 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 29.97p (uscita massima sensore pari a 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)* 29.97p (uscita massima sensore pari a 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 23.98p (uscita massima sensore pari a 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)* 23.98p (uscita massima sensore pari a 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* *L'uscita massima del sensore è 60 fps con Dynamic Range Boost impostato su ON. *L'uscita massima del sensore è 120 fps con Area immagine del video impostata su PIXEL/PIXEL. 50.00Hz 5.728x3024 (17:9) 25.00p (uscita massima sensore pari a 60 fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* *Con Area immagine del video impostata su FULL. 50Hz 4.096 x 2.160 50.00p (uscita massima sensore pari a 120 fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 25.00p (uscita massima sensore pari a 60 fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 25.00p (uscita massima sensore pari a 120 fpss), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* *L'uscita massima del sensore è 60 fps con Dynamic Range Boost impostato su ON. 50Hz 3.840 x 2.160 50.00p (uscita massima sensore pari a 120 fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 25.00p (uscita massima sensore pari a 60 fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 25.00p (uscita massima sensore pari a 120 fpss), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* *L'uscita massima del sensore è 60 fps con Dynamic Range Boost impostato su ON. 50Hz 1.920 x 1.080 50.00p (uscita massima sensore pari a 240 fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)* 50.00p (uscita massima sensore pari a 300 fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* 25.00p (uscita massima sensore pari a 240 fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)* 25.00p (uscita massima sensore pari a 300 fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)* *L'uscita massima del sensore è 60 fps con Dynamic Range Boost impostato su ON. *L'uscita massima del sensore è 120 fps con Area immagine del video impostata su PIXEL/PIXEL. 24.00Hz 5.728x3024 (17:9) Read the full article

[roysboss]

あと15分　　　早く〜🤤　 #premierepro #FinalCutProX #appleprores #vlog #camera #videographer #スマホ #旅行 #映像クリエイター　#撮影依頼 #編集依頼 #空撮依頼 #movie製作 #鬼撮塾👺 #思い出作り請負管理人 #空撮クリエーター #リラクゼーション #動画のチカラ (Roy's Book) https://www.instagram.com/p/CaGdtjHhLtp/?utm_medium=tumblr

[shubham2d]

New iPhone 13 Pro and iPhone 13 Pro Max With ProMotion Display, Cinematic Mode, 1TB Storage, and More

[rodneycooperfilmz]

So, after many field tests I’ve created my own monitoring LUT for my cinema camera using Davinci Resolve 16. The agony I went through to create this 😡lol. It was worth the effort, complementing skin tones as well as scene based locations. Hard work pays off 🚀 . . . . #bmpcc6k #pocketcamera #musicvideoeditor #pocket4k #colorist #samsungt5 #butteryluts #bmpcc4k #rokinon85mm #blackmagicdesign #creator #rokinon35mm #smallrigcage #tilta #smallrig #bmpcc4k #filmset #blackmagic4k #blackmagicnewsofficial #primelens #appleprores (at Planet Earth) https://www.instagram.com/p/CFAcCyIBS7m/?igshid=1vc0843sngi2u

[exitstageleftse]

Colorgrading day 🎞🎥⌨️🖥😀 #davinciresolve #davinciresolve15 #blackmagicdesign #colorgrading #colorgradinglife #postproduction #bmpcc #raw #prores #appleprores #nodes #colorgrade #colorcorrection #color #videoediting #videoeditor #filmmaker #filmmaking #director #exitstageleft2019 (på/i Exit Stage Left) https://www.instagram.com/p/BxbvNT0oAgP/?igshid=1vih460i40dx9

[spectrumvideoandfilm]

S-VHS to Apple ProRes 422 - quite the engineering feat. Transferd to DVCAM first, then SDI out to digital recorder for best results. #svhs #appleprores #dvcam #sdi #digitalrecorder #dub

[dkhauver]

View this post on Instagram

A post shared by DKHcinema (@dkhcinema)

Our friends @djiglobal across the street popped by to show Off the #djizenmusex7 ! Super 35 sensor!!! 5.2k #appleprores ! 14 stops of #dynamicrange !This thing is sick!!! @cinemaworks @dkhcinema #drone #dronestagram #dji #filmmaking (at Samy's Cinema Works)

[dreamilymygiver-blog]

Bien arriver au pays basque !!! Premier vol, juste impressionnant 😵#mcclic #discoveryshow #monaco #monaco🇮🇩 #paysbasque #cotebasque #dji #djiinspire2 #djiinspire #djix5s #aerialvideo #filmaker #bestdrone #cinemadng #prores #appleprores #dronestagram #video #film (à Hasparren, Aquitaine, France)

[roysboss]

肉団子🧆みそチキン、、、😳　ダンゴ汁だね #premierepro #FinalCutProX #appleprores #vlog #camera #videographer #スマホ #旅行 #映像クリエイター　#iPhone13promax #撮影依頼 #編集依頼 #空撮依頼 #movie製作 #鬼撮塾👺 #思い出作り請負管理人 #空撮クリエーター #リラクゼーション #動画のチカラ (Roy's Book) https://www.instagram.com/p/CaGdVgEhy0z/?utm_medium=tumblr

[ladyisabella6]

loop AppleProRes 422.mov from Isabella`s erotische Hypnose on Vimeo.

[kristablogs]

On-camera monitors that will improve your video shots

Make it easy to see what you're filming. (Jakob Owens via Unsplash/)

Today it’s easy to shoot gorgeous video in HD and even 4K using your DSLR, mirrorless camera, or low-priced video cameras. But many of these cinema-worthy tools suffer from the same problem: small built-in screens. How can you shoot if you can’t see your subject? An on-camera monitor solves this problem. Used by enthusiasts and professionals alike, these screens attach to the camera via HDMI or SDI cables, and are larger, brighter, and sharper than the camera’s—but they’re light enough to keep things comfortable even without a tripod. The monitors also come packed with software to assist in focusing and setting exposure. What’s more, some of them can also record footage in formats better than those in with your camera—and that includes the industry-standard raw format. On-camera monitors are a cameraman’s best friend, and these Hollywood tools are accessible to anyone.

For the professional who wants all the bells and whistles. (Amazon/)

The Atomos Shogun 7 is a powerhouse, with a 7-inch, 1920 x 1280 touch-screen that makes it easy to see small details. It provides a suite of scopes and software tools to help set exposure, pull focus, or apply different looks—known as LUTs—that help you see your footage as it’ll look after being color-corrected. The monitor supports resolutions up to DCI 4K at 60p, and up to 2K at 240p for slow-motion effects. More than just a monitor, the Shogun 7 records footage to 2.5-inch solid-state drives using AppleProRes Raw, ProRes 4:2:2, CinemaDMG, and Avid DNxHD codecs. For those shooting in high-dynamic range formats like Sony’s SLog3, Canon’s CLog, or Blackmagic Cinema, the Shogun 7’s AtomHDR display produces more accurate color and contrast. The monitor runs off a single Sony L-series battery, and dual battery plates support hot-swapping so you don’t have to interrupt your shoot. The monitor also has balanced XLR inputs with +48V phantom power in case your camera’s audio isn’t up to snuff.

When you need a professional monitor without the recording. (Amazon /)

The monitors on many cameras suffer from poor performance in bright daylight. The SmallHD 702 solves this problem by delivering a whopping 1500 nits of brightness, which reduces the need for a sun shade when shooting outdoors. The seven-inch, 1920 x 1200 monitor is also 100-percent DCI-P3 color accurate—that’s something you’ll appreciate in post-production when you’re color-correcting your footage. The camera comes with custom scopes, waveforms, and other imaging tools, and features real-time, user-definable looks to help you achieve your creative vision. It has two 3G SDI inputs, HDMI/SDI cross-conversion, and is powered by convenient Sony L batteries.

Common SD cards provide a convenient storage solution. (Amazon/)

Blackmagic Design’s Video Assist HDMI/6G-SDI Recorder is an affordable, compact system for monitoring and capturing HD footage. It features a five-inch, 1920 x 1080 screen, and can record up to 1080p in Apple’s industry-standard ProRes 4:2:2 codec. Nothing is worse than running out of recording media when you’re in the middle of a shoot, so it’s nice that the Blackmagic records to SD cards, which can be purchased at most big-box stores if you find yourself unexpectedly running low. The touch screen provides access to scopes, focus assist, audio meters, timecode, and many other tools. Dual slots accommodate lightweight, easy-to-find Canon LP-E6 batteries.

Lightweight, five-inch screen. (Amazon/)

With the Shinobi 4K HDMI monitor, Atomos provides an inexpensive, small-scale monitoring solution that still delivers all the tools found on their higher-end models. The five-inch, 4K display is razor-sharp, and the 1000-nit screen is bright enough to perform well in most daylight situations. Focus assist, false color, and an array of scopes help in composing the perfect shot, while a mirror-mode is a nice nod to bloggers. At seven ounces, the Shinobi sits comfortably on any camera and won’t weigh you down in the field.

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On-camera monitors that will improve your video shots

Make it easy to see what you're filming. (Jakob Owens via Unsplash/)

Today it’s easy to shoot gorgeous video in HD and even 4K using your DSLR, mirrorless camera, or low-priced video cameras. But many of these cinema-worthy tools suffer from the same problem: small built-in screens. How can you shoot if you can’t see your subject? An on-camera monitor solves this problem. Used by enthusiasts and professionals alike, these screens attach to the camera via HDMI or SDI cables, and are larger, brighter, and sharper than the camera’s—but they’re light enough to keep things comfortable even without a tripod. The monitors also come packed with software to assist in focusing and setting exposure. What’s more, some of them can also record footage in formats better than those in with your camera—and that includes the industry-standard raw format. On-camera monitors are a cameraman’s best friend, and these Hollywood tools are accessible to anyone.

For the professional who wants all the bells and whistles. (Amazon/)

The Atomos Shogun 7 is a powerhouse, with a 7-inch, 1920 x 1280 touch-screen that makes it easy to see small details. It provides a suite of scopes and software tools to help set exposure, pull focus, or apply different looks—known as LUTs—that help you see your footage as it’ll look after being color-corrected. The monitor supports resolutions up to DCI 4K at 60p, and up to 2K at 240p for slow-motion effects. More than just a monitor, the Shogun 7 records footage to 2.5-inch solid-state drives using AppleProRes Raw, ProRes 4:2:2, CinemaDMG, and Avid DNxHD codecs. For those shooting in high-dynamic range formats like Sony’s SLog3, Canon’s CLog, or Blackmagic Cinema, the Shogun 7’s AtomHDR display produces more accurate color and contrast. The monitor runs off a single Sony L-series battery, and dual battery plates support hot-swapping so you don’t have to interrupt your shoot. The monitor also has balanced XLR inputs with +48V phantom power in case your camera’s audio isn’t up to snuff.

When you need a professional monitor without the recording. (Amazon /)

The monitors on many cameras suffer from poor performance in bright daylight. The SmallHD 702 solves this problem by delivering a whopping 1500 nits of brightness, which reduces the need for a sun shade when shooting outdoors. The seven-inch, 1920 x 1200 monitor is also 100-percent DCI-P3 color accurate—that’s something you’ll appreciate in post-production when you’re color-correcting your footage. The camera comes with custom scopes, waveforms, and other imaging tools, and features real-time, user-definable looks to help you achieve your creative vision. It has two 3G SDI inputs, HDMI/SDI cross-conversion, and is powered by convenient Sony L batteries.

Common SD cards provide a convenient storage solution. (Amazon/)

Blackmagic Design’s Video Assist HDMI/6G-SDI Recorder is an affordable, compact system for monitoring and capturing HD footage. It features a five-inch, 1920 x 1080 screen, and can record up to 1080p in Apple’s industry-standard ProRes 4:2:2 codec. Nothing is worse than running out of recording media when you’re in the middle of a shoot, so it’s nice that the Blackmagic records to SD cards, which can be purchased at most big-box stores if you find yourself unexpectedly running low. The touch screen provides access to scopes, focus assist, audio meters, timecode, and many other tools. Dual slots accommodate lightweight, easy-to-find Canon LP-E6 batteries.

Lightweight, five-inch screen. (Amazon/)

With the Shinobi 4K HDMI monitor, Atomos provides an inexpensive, small-scale monitoring solution that still delivers all the tools found on their higher-end models. The five-inch, 4K display is razor-sharp, and the 1000-nit screen is bright enough to perform well in most daylight situations. Focus assist, false color, and an array of scopes help in composing the perfect shot, while a mirror-mode is a nice nod to bloggers. At seven ounces, the Shinobi sits comfortably on any camera and won’t weigh you down in the field.