Author: carlomacchiavello Page 9 of 18

It is said that age brings advice, that people of a certain age have a more propensity to complain…

This is the premise of a Genoese, citizen of the world who in the DNA bears the concept of "mugugno", dialectal word that indicates a continuous and low-voice lament, which this time complains of complaints… sometimes age brings experience and you complain less, but you point to the result.

For some years now, among the most useless complaints I find that of the poor battery life, that the rooms can not be used because their power supply is greedy of current, because every 3×2 have to change the battery, etc… normally these kinds of complaints come from filmakers who level up or start from medium-high-level digital cameras and cameras (as quality) at an honest price.

Before we talk about rooms, we make a simple reasoning about a much simpler product (let's say), the smartphone, object that is in everyone's pockets, and those who use mobile phones for longer know that smartphones are greedy objects of current, if you arrive in the evening using it really is a miracle, especially for those who were used to using mobile phones of yes kind, whose battery (1/3 of the mAh of the current ones) lasted by telephones wide from 8
to 10 DAYS. To make a smartphone battery last during the day you often find yourself:

• disable wifi if we are not connected (search consumes a lot of current)
• disable GPS (with gps active and used by the apps on many smartphones we have less than 2 hours of autonomy)
• Disabling BlueTooth (constant searching for devices to mate reduces cellular range)
• in areas with severe electrical disturbances or with field problems it is important to force you to use a slower connection such as 3g or gprs, otherwise the continuous field search could consume the battery at the speed of light.

But without thinking about the stand by, have you ever wondered why the cell phone if you talk so much on the phone heats up? It's all current dispersed in heat, a lot of current…

Because if you play challenging games on your mobile phone, the battery disappears? because it is using the GPU and this causes a very high battery consumption, often for trivial operations, for games with the same graphics that ran on an 8bit processor, with 64k of memory, but here it must all be managed with a 64bit octacore and therefore waste on power waste.

Have you ever wondered why cell phone recordings warm up the device so much, and if you slow down after a tot stops to prevent overheating (although it's actually already hot).

Whether you use a phone with Ios or Android or WP you will have recognized more than one of these situations, but do not complain about it, indeed, you get excited that it has that potential, at most put a powerbank in your pocket.

If you use a camera, the concept that you have to use a proper power battery to use the product is not acceptable… curious analogy, isn't it?

In fact all this is only a recent problem, because the new "mugugnoni" born with phones are convinced that the batteries should last forever, people who have never used amateur cameras with ridiculous batteries (40-50 minutes basic) because the tapes more than one tot had no autonomy, often to get to 60 minutes you had to buy the most capacious batteries.

Operators using more serious rooms are familiar with the 100-200w vmount and gmount batteries that provide a more productive lifespan, or the old belt batteries, which added weight to operators already loaded with 10-15kg of camercorder on their shoulders, but provided more energy.

Having quality, sensitivity, low compression requires energy. It is no coincidence that many cameras and cine cameras generate a lot of heat and consume a lot of energy.

Now if you claim to have a Ferrari or at least a Lamborghini and that you consume like a 50 scooter, do so, but as it does not work in the automotive sector, it does not work in electronics either…

We learn to read between the lines, and if a camera battery allows 350 shots, why should it allow the camera to stay on for hours, with sensor that reads and all other electronic devices running?

If a camera comes with a standard battery (BMD, Sony, Canon), but then there are larger batteries, battery packs, etc. maybe it is because the standard battery serves for a more limited or specific use of the object?

How to calculate the power of a battery

Try to read the battery consumption of your room, do two accounts of the servant and you will understand many things. Often there are so many different acronyms, it is not easy to understand how to understand consumption and duration times.

Normally consumption is indicated in W i.e. Watts per hour of operation, we take a camera for example the BMD Pocket4k, which is highly criticized for the buffer battery, machine that has as consumption indicated 22w.

A professional battery is indicated with the W dispensed for hours, so if we have a 95w Gmount battery it means that 95/22 offers a lifespan of about 4.31 hours of battery life.

Smaller batteries, on the other hand, are indicated the capacity in mAh, so to understand its capacity we have to make a small calculation where :
the Watt expresses the electrical power, Ampere the current, Volt is the voltage delivered.

A Watt corresponds to Ampere x Volt

Ampere x Volt-Wat
tSThen a 1300 mAh x 7.3v battery plus 9.4w
/hMa if the room requires 22w/h the fact that the battery in question lasts 30 minutes is correct, it is not a defect or a design error, it is simply a basic math.

Cameras have batteries that last longer, and cost more

When taking a C100MkII the battery provided is from 4900 mAh or 37W and since the room consumes 10W it is no wonder that almost 4 hours, however it costs 200 euros, not 30-40 as many claim from those bmd… and we think that the suggested one that costs 400 euros is from 7800 mAh or 58w, but since that is a room that costs more we are not surprised that they cost more batteries.

If we take a camera that uses the same battery as the Pocket4k, the 5D Mk IV, we find that without using the display (so using the optical viewfinder to save battery) the camera can only make (from canon manual) only 900 shots. Reading the specifications on the manual, the camera consumes about 14w/h then using it to make videos, without having the mirror mechanism that rises and lowers even she can not reach a shooting duration of hours.

In my experience only with mirrorless Panasonic I was able to do long shots, theatrical performances etc with the standard battery, but no one complains about the BMD as of other rooms, for example the Alfa7S2 has a consumption of 13w/h with batteries from 1020 mAh to 7.2v, this time I leave to the reader the simple calculation on how long the room can last on…

Now in all this article what do we deduce?

Whether Canon or Sony producing cameras and cameras, they are not fools, but simply divide the product categories, so for cameras and cameras there are large and sufficient batteries to do their job, while in the cameras they allow to make short videos, but even if they have strong inclinations to the video, the battery compartment is not designed for real and direct competition to the video department (excluding external batteries , battery packs and similar).

That Blackmagic Design producing a series called CINEMA camera introduces buffer batteries to allow the external battery change without interrupting filming, or for fast run & gun shooting (for which there are actioncams, cameras, mirrorless and dslr more oriented to this) or for use on gimbal where weight and agility are the priority of the product, and a battery from 1500-1600 mAh offers sufficient autonomy to work.

Then you have to check:

• the consumption of a room and adjust us accordingly
• consumption and capacity of a room and/or battery before purchase, downloading the user manual and/or using google
• the lens for which that given camera or battery was created: quality or capacity, flexibility or verticality, durability or lightness.

There will be fewer surprises, but above all less useless "moguls" on the web and directed 😀

 

The umpteenth product that dies, and not for lack of funds, since the company that bought it from its creator to carry on its development is one of the richest in the world.

In the past before developing software you thought about it, they were investments and time, while in the internet generation you shoot in the pile, hoping that something will work, or, enough, you close shack and puppets and who you saw you saw, who invested time and money (little in this case) in their product is seen abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything in this case is seen abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything in this case is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (since 2016) will disappear.

In my computer life (since 1982) I have seen many software, many software houses born and die, for bad choices, for lack of users and therefore funds, for obsolescence, but the most embarrassing thing is the ease today in which you create products, you collect hundreds of thousands of users and then… everything closes because it was an experiment, because they were not able to manage the investment income relationship, because a manager leaves and who happens decides in spite of closing and canceling what he has achieved, I wrote spite, that word that usually associates with children, but that I have encountered as behavior in fifty years from the board of directors , because age does not mature, unfortunately….

Today the creation of so many Renting systems involve such damage, because in reality the moment you accept the rental of the limited-time software (the purchase of the license was unlimited at the discretion of the manufacturer, there is no unlimited purchase without clauses), you are agreeing to put a loop around your neck much narrower than you imagine, you are taking your files hostage to people who do not care about your work , nor that you can deliver or complete your work, and above all they have no interest that you can keep those files over time.

I explain better, if you try to open a project 5 years ago, depending on whether you work in the 3D, 2d, video etc you could have great surprises, I have projects 25 years ago, which at the time I stored with copies of the software to make sure that I reopened in the same way, and today archive also with a virtual image of the operating system , because that can be a problem too.

Today legally it is not possible because if they close the server that activated the software (from cs4 onwards) technically you can no longer use, you have to resort to illegal techniques to return to use or convert files that we created.

I know someone might say I can open them with new versions of the software… not always… for example all the projects of premiere pro – premiere pro cs3 I can not open them, this because the gentlemen only developed under Windows the program, and the modern mac version by error in opening that type of file… a text file, an xml whose handling and parsing is a third week of programming (I taught it in early 2000), but especially if that part of the project import code is present in the win version, it should only be added to the mac version, not even created from scratch. 
Not only that, opening it from the new version will give several errors, while opening "in stages" from intermediate versions (cs3-cs6-cc2014-cc2019) will not by errors. The acronyms mentioned are not random but are turning points of package development, where they have changed certain components and structures in the program that cause errors in reading the structure, which as I wrote before remains an XML structure, a text… something very trivial to manage for a programmer.

Or… this is the error given by 2020, and I can only open it with a 2014, which officially I can not have installed, as from mining emails sent by Adobe because they do not want to pay Dolby licenses… error that I solved by installing as a demo the cc2014, too bad that if I had not had the installer, that almost no one has because Adobe hid the download of such installers I would have stuck, and the company that asked me to update the old project (in the documentary is normal even after 15 years) would not have commissioned me the work.
But it doesn't stop there… Official responses from the Adobe site.

 

Do we give some examples of forced obsolescence?

In the field of 3D many software change the rendering engines, change the parameters as they act in combined, so even if I open on Maya, Max a scene 5 years ago I could have some big problem, I mention these that were licensed an engine (Mental ray) that now no longer have, because the license is back in Nvidia, and now they use Arnold Arnold , and having both switched to subscription-only models, it becomes very difficult to open the old scenes… And you can't buy or rent the old version… the only solution is the illegal route, which is embarrassing since it is software that paid you thousands of euros per license.

Let's go into the field of 2D animation, I open a project made with the 2014 of AfterEffects, it's slow and I do the conversion of the project in 2019, the save, check that it's in place and everything works, too bad that the scene on the old computer took 35 minutes, on the new takes 17 hours to render and they are disaffected all colors because they changed somewhere the management of the color space

Let's go into the video montage, I have already talked about the debachè on the Dolby codec, I open a scene two years ago and I find myself without audio, because the camera was running with codec dolby AC3, and despite Adobe flagging the fact that with the subscription we could install all the versions we wanted until the CS5, actually now it is restricted everything to 2018 without codec dolby because they do not want to get in agreement with Dolby that rightly having seen yeast in the way sales of the suite, they wanted to re-negotiate the economic agreements.

Let's go within the web, how many software has changed from the current Animate, which comes from the ashes of the second Flash, the first was an animation program, the second purely for programmers, alienating so many people from the program, eliminated for mile reasons and reborn as a phoenix from the ashes again as an animation program.

Opening old projects or files is not a wish but a real necessity, some example :

• Remastering products, from sd to FHD or 4k, having 3D sources is better to rerender in quality than to do a brutal scaling of the material
• Repertory material acquired in the codecs of the time and often lost the original masters, much of the documentary filmmaker's work is based on that
• "I often have to fish for products 4-6 years ago to modify and distribute them on other country markets," he says.
• creating new products from the old, and starting from scratch when you've already made libraries is silly

Unfortunately, today's world is superficial and limited, things are done to make them last, but those who produce content would rather do something that remains, otherwise that they produce to do?

Of course I imagine from the choir to hear the voices of those who say… "It is your responsibility to keep files and projects open" "in large companies… "

I stop all these rumors citing big companies like Dreamworks, that to make the 3D version of Shreck have converted the renderings and did not re-render them because they could not properly reopen the scenes from new machines and new software, while doing a lot of work at home, and the costs of reopening the old scenes, redoing the compositing etc exceeded the 18 million dollar cost of the conversion from 2d to 3D.

However, if those who develop codecs stop developing them or are acquired by another company (main concept from adobe), if the operating systems change support for external codecs (both Apple and Microsoft) by closing the installation of external codecs, if a company decides to no longer support versions of old projects (not because it is difficult to read them but only translate structures and effects/ plugins from the old to the new) we content creators can do little.

In the new millennium there are new professional figures who deal precisely with the migrations of projects and products from one century to the next and will become increasingly important to save the past.

 

The umpteenth product that dies, and not for lack of funds, since the company that bought it from its creator to carry on its development is one of the richest in the world.

In the past before developing software you thought about it, they were investments and time, while in the internet generation you shoot in the pile, hoping that something will work, or, enough, you close shack and puppets and who you saw you saw, who invested time and money (little in this case) in their product is seen abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything in this case is seen abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything in this case is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (since 2016) will disappear.

In my computer life (since 1982) I have seen many software, many software houses born and die, for bad choices, for lack of users and therefore funds, for obsolescence, but the most embarrassing thing is the ease today in which you create products, you collect hundreds of thousands of users and then… everything closes because it was an experiment, because they were not able to manage the investment income relationship, because a manager leaves and who happens decides in spite of closing and canceling what he has achieved, I wrote spite, that word that usually associates with children, but that I have encountered as behavior in fifty years from the board of directors , because age does not mature, unfortunately….

Today the creation of so many Renting systems involve such damage, because in reality the moment you accept the rental of the limited-time software (the purchase of the license was unlimited at the discretion of the manufacturer, there is no unlimited purchase without clauses), you are agreeing to put a loop around your neck much narrower than you imagine, you are taking your files hostage to people who do not care about your work , nor that you can deliver or complete your work, and above all they have no interest that you can keep those files over time.

I explain better, if you try to open a project 5 years ago, depending on whether you work in the 3D, 2d, video etc you could have great surprises, I have projects 25 years ago, which at the time I stored with copies of the software to make sure that I reopened in the same way, and today archive also with a virtual image of the operating system , because that can be a problem too.

Today legally it is not possible because if they close the server that activated the software (from cs4 onwards) technically you can no longer use, you have to resort to illegal techniques to return to use or convert files that we created.

I know someone might say I can open them with new versions of the software… not always… for example all the projects of premiere pro – premiere pro cs3 I can not open them, this because the gentlemen only developed under Windows the program, and the modern mac version by error in opening that type of file… a text file, an xml whose handling and parsing is a third week of programming (I taught it in early 2000), but especially if that part of the project import code is present in the win version, it should only be added to the mac version, not even created from scratch. 
Not only that, opening it from the new version will give several errors, while opening "in stages" from intermediate versions (cs3-cs6-cc2014-cc2019) will not by errors. The acronyms mentioned are not random but are turning points of package development, where they have changed certain components and structures in the program that cause errors in reading the structure, which as I wrote before remains an XML structure, a text… something very trivial to manage for a programmer.

Or… this is the error given by 2020, and I can only open it with an old version, which officially I can not have installed, as from mining emails sent by Adobe because they do not want to pay Dolby licenses… error that I solved by installing as a demo the cc2014, too bad that if I had not had the installer, that almost no one has because Adobe hid the download of such installers I would have stuck, and the company that asked me to update the old project (in the documentary is normal even after 15 years) would not have commissioned me the work.
But it doesn't stop there… Official responses from the Adobe site.

 

Do we give some examples of forced obsolescence?

In the field of 3D many software change the rendering engines, change the parameters as they act in combined, so even if I open on Maya, Max a scene 5 years ago I could have some big problem, I mention these that were licensed an engine (Mental ray) that now no longer have, because the license is back in Nvidia, and now they use Arnold Arnold , and having both switched to subscription-only models, it becomes very difficult to open the old scenes… And you can't buy or rent the old version… the only solution is the illegal route, which is embarrassing since it is software that paid you thousands of euros per license.

Let's go into the field of 2D animation, I open a project made with the 2014 of AfterEffects, it's slow and I do the conversion of the project in 2019, the save, check that it's in place and everything works, too bad that the scene on the old computer took 35 minutes, on the new takes 17 hours to render and they are disaffected all colors because they changed somewhere the management of the color space

Let's go into the video montage, I have already talked about the debachè on the Dolby codec, I open a scene two years ago and I find myself without audio, because the camera was running with codec dolby AC3, and despite Adobe flagging the fact that with the subscription we could install all the versions we wanted until the CS5, actually now it is restricted everything to 2018 without codec dolby because they do not want to get in agreement with Dolby that rightly having seen yeast in the way sales of the suite, they wanted to re-negotiate the economic agreements.

Let's go within the web, how many software has changed from the current Animate, which comes from the ashes of the second Flash, the first was an animation program, the second purely for programmers, alienating so many people from the program, eliminated for mile reasons and reborn as a phoenix from the ashes again as an animation program.

Opening old projects or files is not a wish but a real necessity, some example :

• Remastering products, from sd to FHD or 4k, having 3D sources is better to rerender in quality than to do a brutal scaling of the material
• Repertory material acquired in the codecs of the time and often lost the original masters, much of the documentary filmmaker's work is based on that
• "I often have to fish for products 4-6 years ago to modify and distribute them on other country markets," he says.
• creating new products from the old, and starting from scratch when you've already made libraries is silly

Unfortunately, today's world is superficial and limited, things are done to make them last, but those who produce content would rather do something that remains, otherwise that they produce to do?

Of course I imagine from the choir to hear the voices of those who say… "It is your responsibility to keep files and projects open" "in large companies… "

I stop all these rumors citing big companies like Dreamworks, that to make the 3D version of Shreck have converted the renderings and did not re-render them because they could not properly reopen the scenes from new machines and new software, while doing a lot of work at home, and the costs of reopening the old scenes, redoing the compositing etc exceeded the 18 million dollar cost of the conversion from 2d to 3D.

However, if those who develop codecs stop developing them or are acquired by another company (main concept from adobe), if the operating systems change support for external codecs (both Apple and Microsoft) by closing the installation of external codecs, if a company decides to no longer support versions of old projects (not because it is difficult to read them but only translate structures and effects/ plugins from the old to the new) we content creators can do little.

In the new millennium there are new professional figures who deal precisely with the migrations of projects and products from one century to the next and will become increasingly important to save the past.

 

The umpteenth product that dies, and not for lack of funds, since the company that bought it from its creator to carry on its development is one of the richest in the world.

In the past before developing software you thought about it, they were investments and time, while in the internet generation you shoot in the pile, hoping that something will work, or, enough, you close shack and puppets and who you saw you saw, who invested time and money (little in this case) in their product is seen abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything in this case is seen abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything in this case is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (already from 2016) and today is indicated first by email and then on the site that must be requested a definitive key because everything is abandoned (since 2016) will disappear.

In my computer life (since 1982) I have seen many software, many software houses born and die, for bad choices, for lack of users and therefore funds, for obsolescence, but the most embarrassing thing is the ease today in which you create products, you collect hundreds of thousands of users and then… everything closes because it was an experiment, because they were not able to manage the investment income relationship, because a manager leaves and who happens decides in spite of closing and canceling what he has achieved, I wrote spite, that word that usually associates with children, but that I have encountered as behavior in fifty years from the board of directors , because age does not mature, unfortunately….

Today the creation of so many Renting systems involve such damage, because in reality the moment you accept the rental of the limited-time software (the purchase of the license was unlimited at the discretion of the manufacturer, there is no unlimited purchase without clauses), you are agreeing to put a loop around your neck much narrower than you imagine, you are taking your files hostage to people who do not care about your work , nor that you can deliver or complete your work, and above all they have no interest that you can keep those files over time.

I explain better, if you try to open a project 5 years ago, depending on whether you work in the 3D, 2d, video etc you could have great surprises, I have projects 25 years ago, which at the time I stored with copies of the software to make sure that I reopened in the same way, and today archive also with a virtual image of the operating system , because that can be a problem too.

Today legally it is not possible because if they close the server that activated the software (from cs4 onwards) technically you can no longer use, you have to resort to illegal techniques to return to use or convert files that we created.

I know someone might say I can open them with new versions of the software… not always… for example all the projects of premiere pro – premiere pro cs3 I can not open them, this because the gentlemen only developed under Windows the program, and the modern mac version by error in opening that type of file… a text file, an xml whose handling and parsing is a third week of programming (I taught it in early 2000), but especially if that part of the project import code is present in the win version, it should only be added to the mac version, not even created from scratch. 
Not only that, opening it from the new version will give several errors, while opening "in stages" from intermediate versions (cs3-cs6-cc2014-cc2019) will not by errors. The acronyms mentioned are not random but are turning points of package development, where they have changed certain components and structures in the program that cause errors in reading the structure, which as I wrote before remains an XML structure, a text… something very trivial to manage for a programmer.

Or… this is the error given by 2020, and I can only open it with a 2014, which officially I can not have installed, as from mining emails sent by Adobe because they do not want to pay Dolby licenses… error that I solved by installing as a demo the cc2014, too bad that if I had not had the installer, that almost no one has because Adobe hid the download of such installers I would have stuck, and the company that asked me to update the old project (in the documentary is normal even after 15 years) would not have commissioned me the work.

Do we give some examples of forced obsolescence?

In the field of 3D many software change the rendering engines, change the parameters as they act in combined, so even if I open on Maya, Max a scene 5 years ago I could have some big problem, I mention these that were licensed an engine (Mental ray) that now no longer have, because the license is back in Nvidia, and now they use Arnold Arnold , and having both switched to subscription-only models, it becomes very difficult to open the old scenes… And you can't buy or rent the old version… the only solution is the illegal route, which is embarrassing since it is software that paid you thousands of euros per license.

Let's go into the field of 2D animation, I open a project made with the 2014 of AfterEffects, it's slow and I do the conversion of the project in 2019, the save, check that it's in place and everything works, too bad that the scene on the old computer took 35 minutes, on the new takes 17 hours to render and they are disaffected all colors because they changed somewhere the management of the color space

Let's go into the video montage, I have already talked about the debachè on the Dolby codec, I open a scene two years ago and I find myself without audio, because the camera was running with codec dolby AC3, and despite Adobe flagging the fact that with the subscription we could install all the versions we wanted until the CS5, actually now it is restricted everything to 2018 without codec dolby because they do not want to get in agreement with Dolby that rightly having seen yeast in the way sales of the suite, they wanted to re-negotiate the economic agreements.

Let's go within the web, how many software has changed from the current Animate, which comes from the ashes of the second Flash, the first was an animation program, the second purely for programmers, alienating so many people from the program, eliminated for mile reasons and reborn as a phoenix from the ashes again as an animation program.

Opening old projects or files is not a wish but a real necessity, some example :

• Remastering products, from sd to FHD or 4k, having 3D sources is better to rerender in quality than to do a brutal scaling of the material
• Repertory material acquired in the codecs of the time and often lost the original masters, much of the documentary filmmaker's work is based on that
• "I often have to fish for products 4-6 years ago to modify and distribute them on other country markets," he says.
• creating new products from the old, and starting from scratch when you've already made libraries is silly

Unfortunately, today's world is superficial and limited, things are done to make them last, but those who produce content would rather do something that remains, otherwise that they produce to do?

Of course I imagine from the choir to hear the voices of those who say… "It is your responsibility to keep files and projects open" "in large companies… "

I stop all these rumors citing big companies like Dreamworks, that to make the 3D version of Shreck have converted the renderings and did not re-render them because they could not properly reopen the scenes from new machines and new software, while doing a lot of work at home, and the costs of reopening the old scenes, redoing the compositing etc exceeded the 18 million dollar cost of the conversion from 2d to 3D.

However, if those who develop codecs stop developing them or are acquired by another company (main concept from adobe), if the operating systems change support for external codecs (both Apple and Microsoft) by closing the installation of external codecs, if a company decides to no longer support versions of old projects (not because it is difficult to read them but only translate structures and effects/ plugins from the old to the new) we content creators can do little.

In the new millennium there are new professional figures who deal precisely with the migrations of projects and products from one century to the next and will become increasingly important to save the past.

 

Blackmagic Design is unstoppable, one disaster after another, after producing the Pocket 4k, machine with so many design flaws that it can not stay behind the sales, desired by everyone at a ridiculous price, after a year (the pocket 4k was announced in April 2018 and shipped in September 2018) today comes out with another dramatic announcement : Pocket 6k with S35 and EF attack!!!

Now there are only the specifications online on their site, but what you infer is very simple, they just want to make mistakes, the same limited features for a room of only 1300 euros in a larger sensor camera (s35) with an even more popular attack among filmakers and photographers (EF canon) and with more resolution (6k for the wishful and pixel peepers of the web , certainly not for reframing and stabilisation) for about 2500 euros or less than the competing cameras with footage in h264 in 4:2:0!!
! In the new firmware best dialogue with gimbal, external sync systems to have more rooms in action, more crop options and anamorphic shooting.

Let's end it here, it's better, otherwise they're going to be too ridiculous…

the ironic thing is that using the same machine body, same software, same braw … all the accessories and equipment available for the pocket4k can be reused, it will only be sensor upgrades and mount… and who would want such a thing?

Luckily they still put the usual 1200mAp batteries, which last only 40 minutes, do not last 5 hours of shooting like the batteries that mount on the c100 MkII which is only 7300mAp and that does not cost 70 euros but 400 euros…

I joke about it, and I admire their production and imaginative capabilities of this company that continues to amaze us with products of the highest quality at prices more than acceptable for every type of professional.

It's also ready as orders and shipments, and there are materials available in the new Braw6k

Sample indie movie

Sample documentary