BTM_Pix

From my perspective of growing up as a kid in the late 60s/early 70s in the UK, the whole thing bemuses me !
It is now a fairly big deal in the UK too - although it hasn't quite become as ingrained in our national culture as changing Prime Minister every few weeks has - but it certainly wasn't the case until relatively recently.
Our halloween consisted of three elements, all of which consisted of some sort of fruit or vegetable and an element of borderline abuse.
The first was what was referred to where we lived as duck apple but was called bobbing for apples in other parts of the country.
This consisted of about a dozen or so apples being put in a bucket of water, having your hands tied behind your back and putting your head in the water to retrieve one with your mouth.
Putting your head in the water is a euphemism for one of your brothers repeatedly pushing your head in and holding it down until you'd completed the mission. Fair play to them, the skill involved in holding someone's head down in the water until just prior to the point of drowning was quite an art.
Hidden amongst the selection of apples were ones that had had a small incision made in them by my Dad to secrete a coin but the downside to this triumph was that if you managed to survive the drowning attempts to emerge with one of these prizes you then had to eat the apple to claim the coin.
These weren't your fancy dan French Golden Delicious apples, though, as these were the tartest inedible cooking apples that a 1970s UK grocer could provide so it was very much a pyrrhic victory.
The second element of the 1970s halloween in our house, retained the cooking apples and the hands tied behind the back aspect but added a new one in the form of a blindfold.
You were placed in a chair, bound and blindfolded, and you had to try and catch in your teeth whatever was swung past you on a piece of string and weren't allowed to leave the chair until you'd caught something.
The "somethings" on offer were one of the leftover apples from the previous fun and games and a bar of soap.
It was considered against the spirit of the game to not take a fulsome bite attempt at whatever wafted past so half hearted attempts were strongly discouraged using the clip around the back of the head school of correction.
In an act of unexpected generosity, all of the leftover apples were loaded with a coin this time but the same rules applied regarding eating it whereas with the soap you were at least allowed to get away with just the initial bite.
Either way, you weren't going to get away unscathed in the disgusting taste department.
We may have grown up on the shores of Liverpool Bay but with the blindfolds, hand bindings and forced water immersion techniques our house was very much more Guantanamo Bay at halloween in those days.
The final element is the one which most closely resembles the modern version of halloween in the UK, namely the carved lantern.
Now, I'm reliably informed that pumpkins were introduced into the UK in the 16th century but let me assure you that in our local shops in the 1970s you'd have been as likely to come across pheasant or quinoa as you were to encounter a pumpkin so our lantern base of choice was the turnip.
Due to its density, trying to hollow out a raw turnip and carve a face into it is something that should realistically only be attempted with the aid of power tools.
The potential dangers offered by us using the one sharp knife we owned and its main role (carving the Sunday roast) being a protected occupation meant that we had to make do with regular table knives and a spoon.
The process could be measured in days rather than hours which, combined with the rudimentary tools on offer, would inevitably lead to the adoption of the "fuck it, that will have to do" approach to fit and finish that is evident in this typical effort from the period.

As for interior illumination of the lantern, again, if tealight candles were available in the UK at that time they certainly weren't available in our local shops so it was the workmanlike though more inherently dangerous standard candle that had to be put in them.
As these never fit properly into whatever mounting hole that could be fashioned with a spoon, they would inevitably fall over and the smell of burning turnip was a constant in the atmosphere of the UK for the last week of October. Or every Sunday with my mother's propensity to burn the Sunday dinner.
The nadir of the grim lantern years was 1973 when we didn't even have the candles as there was a shortage of them as people prepared for the power cuts of the impending three day week where frivolity of using candles for turnip illumination gave way to having to use them for illuminating offices as seen here.

As regards, scary halloween movies, we didn't have any that come to mind but, truth be told, we were pretty much living in one anyway!
Things are very different now and it does appear to be on its way to being on a par with what happens in the US but for my era it was completely overshadowed by Bonfire Night a few days later.
Bonfire Night in the 70s took the danger levels of halloween to another level but as it was in honour of chaotic and ultimately doomed plots at the Palace of Westminster then it was actually very much on brand for the modern day life in the UK.

Apologies for going a bit off topic here as this post doesn't relate to Gerald Undone directly but Atomos are releasing a firmware update in the new year for the Ninja V/V+ to record 16 bit RAW output of the A7RV to ProRes RAW.

Not sure if its available from launch but Resolve is coming to the new M2 powered iPad Pro.

No indication of how fully featured it will be compared to the desktop version (the Cut and Colour pages are illustrated as being available in this screenshot) or price or codec support etc  but it will be interesting to see nonetheless.
It will actually have to go some to compete with LumaFusion which is the current state of the art for the iPad and which has been becoming ever more feature laden over the past couple of years.
LumaFusion has actually had an FCPX export option for a while (and is very much an app favoured by Apple in their marketing and presentations) so I'm curious about why Apple are now putting Resolve front and centre in their announcement when it will presumably offer the same functionality for a rival desktop editing system to their own.
Irrespective, these new iPads are further blurring the lines between desktop and tablets for content creation whether one is mobile or not.
Full details of the new iPads here :
https://www.apple.com/uk/ipad-pro/

I find sticking to the Cut page and using the SpeedEditor controller is the way to go.
Really speeds the basic assembly and keeps you away from falling down the fannying about rabbit hole until the last minute and treating that as a final process.
Hopefully it will work with the new iPad version as it is BLE as well as USB-C.
Usually find them sub €200 on eBay (without Resolve included) and they are a bargain for what they bring to the process.
 

Not sure if its available from launch but Resolve is coming to the new M2 powered iPad Pro.

No indication of how fully featured it will be compared to the desktop version (the Cut and Colour pages are illustrated as being available in this screenshot) or price or codec support etc  but it will be interesting to see nonetheless.
It will actually have to go some to compete with LumaFusion which is the current state of the art for the iPad and which has been becoming ever more feature laden over the past couple of years.
LumaFusion has actually had an FCPX export option for a while (and is very much an app favoured by Apple in their marketing and presentations) so I'm curious about why Apple are now putting Resolve front and centre in their announcement when it will presumably offer the same functionality for a rival desktop editing system to their own.
Irrespective, these new iPads are further blurring the lines between desktop and tablets for content creation whether one is mobile or not.
Full details of the new iPads here :
https://www.apple.com/uk/ipad-pro/

About the camera though...
Good news for all E-mount owners in general but very relevant for the FX30 is that Meike have announced an EF to E mount version of their drop in variable ND adapter.

Turns the FX30 (or FX3 if you want full frame) into a very compact Cinecorder for $199
https://meikeglobal.com/products/mk-efte-c?variant=43529048326372
 

Not sure if its available from launch but Resolve is coming to the new M2 powered iPad Pro.

No indication of how fully featured it will be compared to the desktop version (the Cut and Colour pages are illustrated as being available in this screenshot) or price or codec support etc  but it will be interesting to see nonetheless.
It will actually have to go some to compete with LumaFusion which is the current state of the art for the iPad and which has been becoming ever more feature laden over the past couple of years.
LumaFusion has actually had an FCPX export option for a while (and is very much an app favoured by Apple in their marketing and presentations) so I'm curious about why Apple are now putting Resolve front and centre in their announcement when it will presumably offer the same functionality for a rival desktop editing system to their own.
Irrespective, these new iPads are further blurring the lines between desktop and tablets for content creation whether one is mobile or not.
Full details of the new iPads here :
https://www.apple.com/uk/ipad-pro/

Not sure if its available from launch but Resolve is coming to the new M2 powered iPad Pro.

No indication of how fully featured it will be compared to the desktop version (the Cut and Colour pages are illustrated as being available in this screenshot) or price or codec support etc  but it will be interesting to see nonetheless.
It will actually have to go some to compete with LumaFusion which is the current state of the art for the iPad and which has been becoming ever more feature laden over the past couple of years.
LumaFusion has actually had an FCPX export option for a while (and is very much an app favoured by Apple in their marketing and presentations) so I'm curious about why Apple are now putting Resolve front and centre in their announcement when it will presumably offer the same functionality for a rival desktop editing system to their own.
Irrespective, these new iPads are further blurring the lines between desktop and tablets for content creation whether one is mobile or not.
Full details of the new iPads here :
https://www.apple.com/uk/ipad-pro/

Difficult to be definitive as there will be variances in camera and lens but, in my experience, EF to E is the most reliable converter type for AF (outside of the native DSLR to Mirrorless adapters from Canon and Nikon obviously).
It also makes a cheaper introduction to first time E mount camera owners coming from an EF based/adapted system.
Outside of AF, the appeal of this for me would be as an intermediate adapter with ND for Y/C, Leica M and Nikon F mounts.
 

The web promo went live so I'll post a link to it...
Overall, I am proud of it, but I must say that everything that could go wrong... did. All in all, I am happy with it, but I wish I had more than an hour to shoot it and a day to edit it before I locked it and sent it to the sound editor.

I thought I'd resurrect this topic since I am still shooting on my trusty 5D3. Here's a frame from a web promo I shot last week...
 

No, no, no, not at all.
Its just a covincidence 🙂
 

They bought Fairchild (original BM cameras) and Truesense/Kodak (Digital Bolex) too but the lineage of the Arri stuff is definitely from Cypress as both the D-20 and the Alexa had a Cypress sensor 
https://web.archive.org/web/20101230013456/http://www.businesswire.com/news/home/20101220005251/en/Cypress’s-Industry-Leading-CMOS-Image-Sensor-Portfolio-Designed
Its a bit of stretch for that press release to be claiming those were jointly developed with onsemi as they didn't actually buy the sensor division of Cypress (which was predominantly FillFactory who Cypress themselves had acquired previously) until a year after the Alexa had been released and six years after the D-20 was released.
In that respect, its a bit like BMW claiming they developed the original Mini Cooper because they now own the company that did.
FillFactory were based in Mechelen in Belgium and as onsemi offer CMOS hardware design jobs listed at the same site then I suspect that, as with the previous cameras, the current Arri sensors are still physically being developed in Belgium rather than the US, albeit with funding from the US parent company of course.
https://onsemi.dejobs.org/mechelen-bel/hardware-design-engineer/1025F288A9BF4AC584B993271B8E9BC2/job/
 

They bought Fairchild (original BM cameras) and Truesense/Kodak (Digital Bolex) too but the lineage of the Arri stuff is definitely from Cypress as both the D-20 and the Alexa had a Cypress sensor 
https://web.archive.org/web/20101230013456/http://www.businesswire.com/news/home/20101220005251/en/Cypress’s-Industry-Leading-CMOS-Image-Sensor-Portfolio-Designed
Its a bit of stretch for that press release to be claiming those were jointly developed with onsemi as they didn't actually buy the sensor division of Cypress (which was predominantly FillFactory who Cypress themselves had acquired previously) until a year after the Alexa had been released and six years after the D-20 was released.
In that respect, its a bit like BMW claiming they developed the original Mini Cooper because they now own the company that did.
FillFactory were based in Mechelen in Belgium and as onsemi offer CMOS hardware design jobs listed at the same site then I suspect that, as with the previous cameras, the current Arri sensors are still physically being developed in Belgium rather than the US, albeit with funding from the US parent company of course.
https://onsemi.dejobs.org/mechelen-bel/hardware-design-engineer/1025F288A9BF4AC584B993271B8E9BC2/job/
 

Synth reviewers on YouTube are plagued by copyright strikes when they demonstrate filter sweeps as someone has managed to convince the YouTube content review clowns that they own the copyright to the sound of a filter sweep.
If I could convince YouTube that I own the copyright to the phrases "Hey, whats up, its your boy..", "with that being said", "lets get into it" and "I have been sent this for free but..." then I'd be rolling in it.

In May 2022, just over six months after her appointment as CEO, Estelle McGechie was fired from Atomos due to her being unwilling to re-locate to Australia.
At the time, it seemed a bit odd because you would have thought that her appointment to that senior role would have been contingent on her re-location from the get go.
According to a suit that she has now filed in the US, she claims that there was more to it than her relocation.
A lot more.
In addition to her claims about gender discrimination and a toxic corporate culture at Atomos, there are also allegations that there was 'rampant illegality' at the company with regards to shipping out 'dud' products to fraudulently inflate sales figures to meet projected targets.
One example product mentioned in her filing is the CAST switcher add on for the Ninja V range which was shipped without any functioning firmware.

The other product mentioned is the Neon grading monitor which shipped with know deficiencies that rendered it outside of the capabilities detailed in its marketing literature and packaging.
 
The CAST product interests me because I've been surprised that for something that is such an appealing product (turns your Ninja V into an ATEM) there has been very little buzz about it since it was launched and comparatively few reviews on YouTube and certainly none from the past few month.
Possibly now not as surprising as I'd originally felt.
The share price of Atomos in the past twelve months certainly wouldn't have been bringing a nice warm glow to investors anyway, but this latest news has knocked it further.

Needless to say, Atomos have refuted all of Estelle McGechie's allegations so it will be interesting to see how this pans out.
Full story here :
https://www.afr.com/rear-window/ex-ceo-alleges-rampant-illegality-at-ellerston-regal-backed-atomos-20220831-p5be2q
 

Synth reviewers on YouTube are plagued by copyright strikes when they demonstrate filter sweeps as someone has managed to convince the YouTube content review clowns that they own the copyright to the sound of a filter sweep.
If I could convince YouTube that I own the copyright to the phrases "Hey, whats up, its your boy..", "with that being said", "lets get into it" and "I have been sent this for free but..." then I'd be rolling in it.

Synth reviewers on YouTube are plagued by copyright strikes when they demonstrate filter sweeps as someone has managed to convince the YouTube content review clowns that they own the copyright to the sound of a filter sweep.
If I could convince YouTube that I own the copyright to the phrases "Hey, whats up, its your boy..", "with that being said", "lets get into it" and "I have been sent this for free but..." then I'd be rolling in it.

Synth reviewers on YouTube are plagued by copyright strikes when they demonstrate filter sweeps as someone has managed to convince the YouTube content review clowns that they own the copyright to the sound of a filter sweep.
If I could convince YouTube that I own the copyright to the phrases "Hey, whats up, its your boy..", "with that being said", "lets get into it" and "I have been sent this for free but..." then I'd be rolling in it.

Well it looks like Nikon are up for a fight over this.
https://www.slashcam.de/news/single/Interne-RAW-Aufnahme--Nikon-haelt-RED-Patente-fuer-u-17452.html
"Nikon disputes the validity of the RED patents, arguing that they were applied for too late at the time and should therefore not have been granted. Nikon points out that RED already offered a camera for pre-order at NAB 2006, in which the relevant codec technology was integrated, but it took more than a year before a patent application was filed. The patent, which was only registered after the fixed one-year period had expired, was wrongly granted from Nikon's point of view, since the patent office had no information that the technology had already been implemented and offered for advance sale"
Seems they are going down the route of "the only thing we've violated in the Z9 is a patent that should never have been granted in the first place".
Not to mention, of course, the defence of "how can we be violating a patent when we can't get our arse in gear sufficiently to actually deliver the fucking camera anyway".
At this rate, RED could probably sue them for infringing their patent on painfully delayed availability of cameras after launch. 
Although, as I've said before, I do wonder whether the lawsuit and the tight availability are actually linked.
 

Makes it far more logical by a country mile to buy it in the PL mount version instead of the EF mount 

Sorry, yes, I was keeping my comments in reference to the Mini.
From the HD model upwards, there is a Holdout Matte input.
There is an 80% price jump from the Mini to the HD though so it increases the cost of a multi camera setup considerably but it is still very good value for money for anyone needing the facility.
With some thought, dual background and foreground elements could be coaxed out of Unreal.
 

In May 2022, just over six months after her appointment as CEO, Estelle McGechie was fired from Atomos due to her being unwilling to re-locate to Australia.
At the time, it seemed a bit odd because you would have thought that her appointment to that senior role would have been contingent on her re-location from the get go.
According to a suit that she has now filed in the US, she claims that there was more to it than her relocation.
A lot more.
In addition to her claims about gender discrimination and a toxic corporate culture at Atomos, there are also allegations that there was 'rampant illegality' at the company with regards to shipping out 'dud' products to fraudulently inflate sales figures to meet projected targets.
One example product mentioned in her filing is the CAST switcher add on for the Ninja V range which was shipped without any functioning firmware.

The other product mentioned is the Neon grading monitor which shipped with know deficiencies that rendered it outside of the capabilities detailed in its marketing literature and packaging.
 
The CAST product interests me because I've been surprised that for something that is such an appealing product (turns your Ninja V into an ATEM) there has been very little buzz about it since it was launched and comparatively few reviews on YouTube and certainly none from the past few month.
Possibly now not as surprising as I'd originally felt.
The share price of Atomos in the past twelve months certainly wouldn't have been bringing a nice warm glow to investors anyway, but this latest news has knocked it further.

Needless to say, Atomos have refuted all of Estelle McGechie's allegations so it will be interesting to see how this pans out.
Full story here :
https://www.afr.com/rear-window/ex-ceo-alleges-rampant-illegality-at-ellerston-regal-backed-atomos-20220831-p5be2q
 

The Ultimatte 12 HD Mini in particular is very interesting.
As they all include frame stores so they can be used 'in line' as it were with a camera, then with the 12 HD Mini being €500, it brings the cost of a four camera fixed virtual set system down to well under €3000 depending on what ATEM you get to switch them with.
OK, it won't be an all singing all dancing system with tracked movements as the background will be pre-rendered and static, but for a lot of applications that will be perfectly acceptable.
Incredible value for money.
 

In May 2022, just over six months after her appointment as CEO, Estelle McGechie was fired from Atomos due to her being unwilling to re-locate to Australia.
At the time, it seemed a bit odd because you would have thought that her appointment to that senior role would have been contingent on her re-location from the get go.
According to a suit that she has now filed in the US, she claims that there was more to it than her relocation.
A lot more.
In addition to her claims about gender discrimination and a toxic corporate culture at Atomos, there are also allegations that there was 'rampant illegality' at the company with regards to shipping out 'dud' products to fraudulently inflate sales figures to meet projected targets.
One example product mentioned in her filing is the CAST switcher add on for the Ninja V range which was shipped without any functioning firmware.

The other product mentioned is the Neon grading monitor which shipped with know deficiencies that rendered it outside of the capabilities detailed in its marketing literature and packaging.
 
The CAST product interests me because I've been surprised that for something that is such an appealing product (turns your Ninja V into an ATEM) there has been very little buzz about it since it was launched and comparatively few reviews on YouTube and certainly none from the past few month.
Possibly now not as surprising as I'd originally felt.
The share price of Atomos in the past twelve months certainly wouldn't have been bringing a nice warm glow to investors anyway, but this latest news has knocked it further.

Needless to say, Atomos have refuted all of Estelle McGechie's allegations so it will be interesting to see how this pans out.
Full story here :
https://www.afr.com/rear-window/ex-ceo-alleges-rampant-illegality-at-ellerston-regal-backed-atomos-20220831-p5be2q