Blackmagic Design has posted the first footage with it's new 4.6K Sensor

I first saw this on RedShark News, but if you head over to BlackMagic Design's URSA page and scroll down you can see the video. It is mostly unlit, and only basicaly color corrected, but not only does it look impressive, but it also seems to solve the horrible black sun problem of the URSA 4K Sensor. This looks impressive!
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More on the site update

So yes I have done a major update to the site so it works on mobile devices from phones, to tablets and to desktop web browsers. It will even change on a tablet in landscape or portrait mode.

I do still plan to do more with the backgrounds and the like as I get some time.

I have also updated the The Misadventures of Bear page and the The Foam Hedz page, and they are unfortunately no longer working as podcasts on iTunes (I pretty much couldn't get it to work in Rapidweaver 6 like it did in 5) and you can subscribe via the RSS feeds in the sidebar for each page.
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Just updated the site

The site has a new look, and totally different feel, and I eventually plan on doing the same to Whale of a Tale as well.

Mostly this was because the new google search policy downplays sites that don't play well with mobile browsers, and this new look should do just that.

I don't have it as customized as I would like, and I had to lose my old banners, but overall I think it looks pretty nice.
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Problems Batch Relinking MXF files in After Effects that were sent from Premiere Pro using Adobe Dynamic Link

So I am working multiple projects right now, primarily on a single machine, but had to render out some 30 minute very complicated projects in Adobe Media Encorder, and I have found it is very unstable with the long complicated projects, so we copied the media to an alternate drive and I moved to another machine. Premiere Pro easily relinked my whole project in a few seconds, but with after effects it was not so easy.

I had quite a few After Effects compositions that I had sent from Premiere Pro, and the problem arose from the fact that the media are MXF files from a P2 card. Normally in after effects if you replace a single file with it's original file, it looks and relinks all the files it can in that same structure, but this does not work with MXF files.

MXF files that were imported using Adobe Dynamic Link from Premiere pro show up without their extension in After Effects, while the actual files have the .mxf extension. If you import the same files normally in After Effects they show up fine with extension, so this is a Dynamic Link issue. And the problem is that when you replace a file with it's correct original, it does not see the other files as the correct file because they don't have the correct extension in After Effects.

These are the MXF files after relinking.



This means that you have to manually relink the files in After Effects one at a time, which is a major time waster. I am pretty sure that this is an Adobe Dynamic Link issue, so I have reported this to adobe and hope that someday they fix this bug (you can report bugs and features requests to Adobe here).

Of course this wasn't my only issue, as when I brought the project back to the original system after using File Synchronization to bring the projects back to the original issue, the Premiere Pro project got messed up. The timeline is completely screwed up and doesn't show correctly.

Here is the messed up version, and zooming, scrolling or anything doesn't help.
Here is what the sequence should look like.

Now I was able to work around this, by opening the earlier project in Premiere and using the Media Browser to import the new sequence into Premiere Pro. The cool part is that it also imported all the new files that I had imported into the proper places within the project. They were offline, but it was easy enough to relink the files. Still not sure what happened here, but it is furstrating!






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Red Shark News on DSLR Revolution being over

Red Shark News has an interesting opinion piece on the DSLR revolution being over.

And I think they are right. With the URSA mini being able to up and running for $6000-$7000, only super low budget productions are going to keep using a DSLR. And really global shutters are going to be the new standard. The Canon C300 is an amazing camera, with great low light, but not having a global shutter for $15,000 seems like a huge mistake when the competition has it for so much less.
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Stu Maschwitz on what he saw at NAB 2015

Stu Maschwitz of ProLost and RedGiant has posted about what he saw and was impressed with at NAB. Worth checking out.

Here are his big hits, and then all of his twitter posts here.
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Macnn Feature Thief article on Final Cut Pro, iMovie and iDVD

William Gallagher and Charles Martin have an interesting article on Apple and it's changes to it's video lineup. It goes into iMovie, Final Cut Pro and iDVD, and how Apple upgraded the first 2 with less features, but slowly made better versions.

My biggest complaint with the article would be on who they polled as they say that most of the people who were angry over Apple's switch from Final Cut Pro 7 to Final Cut Pro X have moved back X (with a cursory mention of Premiere Pro as an alternative).

Personally being a professional editor, I did give the initial Final Cut Pro X a try, and hated it. And got a refund and have not gone back. There are some features that I do really like in X (especially it's handling of Meta Data), but since I edit complicated graphics heavy shows, it is the timeline that is the deal breaker for me, and it is the fundamental feature of X, so no matter how many updates they do, the timeline is too unorganized and broken for it to make sense for a 15 track highly organized video project.

And of all the editors that I know, I have only heard of one that has gone back to X and really likes it now. And while features are starting to make their move to Premiere Pro, there have only been a few instances I have heard of big houses moving to X. Most of the big houses I know that were basically all Final Cut Pro have moved to AVID at the studios insistence (kick backs?!??!), while most commercial houses have moved to Premiere Pro for it's fidelity with graphics.

I just don't see Final Cut Pro X as a viable solution, and with Apple's history of dropping software, I don't trust Apple to keep it going anyway!
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Adobe considering buying The Foundry

The telegraph is reporting that Adobe is considering buying The Foundry. It seems The Foundry's private equity owners have put it up for sale, and Adobe might be interested.

Now this will likely scare some of the high end users of the Foundry's software, but seems like a perfect fit for Adobe who would like to get into the high end of film compositing. as well as 3D. And the foundry has the high end node based compositor Nuke, Modo for 3D sculpting, Mari for 3D painting as well as powerful Plug Ins including a 3D Camera Tracker, Keylight for Green Screen keying, Kronos for CUDA accelerated After Effects retiming and Motion blur and Furnace for 2D problem solving in Nuke. Of course they also have Ocula for 3D imagery in Nuke, and Katana for relighting shots, as well as Flix for Visual Story Development, and Colorway for Design colaboration and Heiro for shot management, conform and review, which would likely just be rolled into Adobe Dyanmic Link.

And it would be just awesome to have all or most of this rolled into your Creative Cloud subscription, and hopefully Adobe would keep developing all these applications and not just do Dynamic Link enhancements (which they seem to have done with SpeedGrade, worrying more about putting the tech into Premiere than enhancing the original app when it really needs some upgrades).

Of course Linux users will likely be worried, as most Nuke users run on Linux, and Adobe has only ever released one version of Photoshop for Linux, and then killed it.

Still I would be much happier with this, than say Apple's purchase of Shake, which while it did drop the price, really just ended with them stealing some tech and killing the program.

And with Black Magic making Fusion so cheap or even free for most users, The Foundry really needs to compete with Nuke, so this would likely do it.
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JMR Lighting Tower for new Mac Pro

Just saw an ad for this in Post magazine, and I guess they showed it off at NAB this year. The new JMR Lightning Quad Tower for Mac Pro is a PCIE expansion tower via thunberbolt for the new MacPro, that includes four full sized PCIE expansion slots, a built in RAID controler wth 9.6TG capacity, and brings your USB, Ethernet and Audio ports to the front.

Very cool. I am sure it is not going to be cheap, but what a great idea! Make a real MacPro out of a new one, if only Thunderbolt was a little faster.
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Photos for Mac is broken, no way to delete photos that you have imported! FIGURED IT OUT iCLOUD PHOTOS IS BROKEN

I was just importing my photos off of my iPhone into the new Photos for Mac, Photos being the replacement to iPhoto that Apple recently released, and I noticed a major issue.

In iPhoto when you imported your photos you had the option to delete them on import. Well in Photos that option is completely gone. There is only the option to import your photos. Well I just imported 2 gigs of photos, and want to clear up the space off my iPhone. Now I have to what, delete them off my iPhone myself? Well the only way to do that is individually, and this is 300+ photos and videos!

And I thought maybe I missed something and imported the photos again, and it happily imported the same photos and put them into my Photo library right next to the previously imported photos! What is going on here?

I get that the new iCloud features are to keep all your photos forever and safe, but the idea is to keep your full sized photos in the cloud, so you can access them from anywhere, not to never be able to delete your photos from your iPhone. If that is the case people are going to run out of space really fast!

And besides who can afford the iCloud feature? Apple is charging way too much for online space, especially when Amazon lets you store your photos for free!

And the removal of a trash can isn't a good idea either? What if you accidentally delete a file? (I was wrong about this, there is a way to view Recently deleted photos, just now a menu item instead of a section on the sidebar)

Why has Apple changed to a company that doesn't give you a choice on how you use your Apple devices, you have to use them how they tell you to and there is no other way (exactly why I don't like Final Cut Pro X)?

••••

Well I think I figured this out, I had to turn off iCloud Photos on my iPhone, now when I import I get the option to Delete items after Import. So if I was to keep iCloud Photos on, my phone would fill with all my Photos.

So now I had to re-import all my photos again (making duplicates in Photos) with the checkbox checked and now I can have it remove the photos from my iPhone, though this doesn't seem to work well as it only did about half the photos the first time, and I am having to do the process multiple times to get the photos off my phone, creating duplicates in Photos every time. And now it seems frozen about half way through!



Is this seriously a feature? Being unable to remove photos from my phone? Seriously? This is a joke, if I want to store all my photos in iCloud I don't want to keep copies on my iPhone or it will completely fill up really fast! This is completely broken! FIX THIS APPLE!

Not only that, but Apple help doesn't work for me with Photos. So how am I supposed to figure out how this works?
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The Foundry announces a Non-Commercial version of Nuke for Free!

Creative cow has this exciting news, The Foundry will be releasing a non water-marked versions of Nuke with some light functionality restrictions for FREE! Wow!

You can get it here from the Foundry!

Here are the feature differences:


  • Output resolution up to HD (1920 x 1080).
  • Some nodes disabled including: the WriteGeo node, Ultimatte node, Primatte node, BlinkScript node, and GenerateLUT node.
  • 2D format support disabled for MPEG4 and h264.
  • Encrypted data storage and limited python scripting.


I am assuming this is in answer to Blackmagic Design basically releasing Fusion for free. Looks like it is time to learn some new compositing software my near future!
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Blackmagic Design announces Video Assist Video Recorder



Blackmagic Design has announced it's new $495 Video Assist video recorder. It records 10 Bit ProRES 4:2:2 and has a 1920x1080 Monitor with touch screen controls on it. Very cool.
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Blackmagic Design announces Fusion 8 for Mac and Linux

Blackmagic Design has announced Fusion 8 for Windows, Mac and Linux. It is currently windows only on Version 7, but version 8 which will be released in quarter 3 of 2015 for Windows, OS X and Linux, and is being shown at NAB.

There will be a free and $995 full version as there are now.

Looking forward to learning a new compositor at a reasonable price. I love what Black Magic is doing!
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Blackmagic Designs releases Davinci Resolve 12

Blackmagic Designs have released Davinci Resolve 12. It is still Free for the Lite version, $995 for the full version or $29,995 for the full version including the full control surface.

The new version has a new interface that is supposed to be easier on the eyes.

It has multi-cam editing, that allows real time editing.

It has also updated it's editing mode, with an improved Trim Mode and more.

And it now has a new audio engine for better realtime playback.

And of course grading improvements.
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Blackmagic Designs actually announced 3 new cameras and an upgrade for the existing URSA

Blackmagic Designs actually announced a thirds camera, the Blackmagic Micro Studio Camera 4K for remote control from a switcher fro $1295.

And the URSA now has 4.6K models for $6995 and $7495 and you will be able to upgrade the sensor in the 4K Models!
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AVID will once again be releasing a free version of Media Composer

It is called AVID Media Composer FIRST, and will be heavily feature limited. Including only being able to save a limited number of saves and those saves can only be made to the cloud, and you can pay for more space.

It is a good idea for AVID to do for sure, and I would like to see Adobe do it with Premiere Elements at least.
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BlackMagic Designs shows off 2 new cameras at NAB, the URSA Mini and the Micro Cinema Cameras

BlackMagic have announced two new impressive looking cameras at NAB.





The first is the URSA Mini which ranges from $2995 for the 4K EF Mount, to $5495 for 4.6K PL mount!

Most impressive is that it has a global shutter at 30 FPS, and rolling shutter at up to 60 frames per second, with 15 stops of dynamic range! (I didn't realize that the 4K sensor does Global Shutter at up 60 FPS, but only has 12 stops of dynamic range, or that the Mini loses it's upgradeability that it's big brother has) Wow!

Of course the shoulder kit is another $395 and the full viewfinder instead of the side screen is $1495!


The second is the $995 Micro Cinema Camera, which seems to be a souped up 1080 version of a GoPro for flying on drones or mounting, and it can be remote controlled with radio control airplane receivers, and with additional equipment can even transit NTSC or PAL, and also has 13 stops of dynamic range!

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Adobe teases Character Animator

Tod Kopriva at Adobe's AfterEffects blog has given a preview of the new Adobe Character Animator for After Effects.


This looks like fun, though obviously a work in progress for animating Photoshop or Illustrator characters. Not sure how much use I will have for this, but will likely learn it anyway!


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Adobe teases the next version of SpeedGrade and the new Project Candy

At it's Moving Colors blog, adobe has teased the next version of Adobe SpeedGrade. Unfortunately it doesn't really go into the program itself, just going into it's integration with Adobe Premiere Pro. I was really hoping for multi-monitor support, as I find it the biggest problem of SpeedGrade. I want to be able to put my scopes huge on a second monitor so I can see them!

Anyway, here are the features that they list, and the videos which I have already shown in the Premiere Pro post.

•The Lumetri Panel in Premiere Pro.



•Curves, Hue and Saturation in Premiere Pro



•Lumetri 3 Way Color Corrector in Premiere Pro



•Taking it SpeedGrade, your Lumetri color correct in Premiere Pro shows as a single Lumetri Color Layer in SpeedGrade.

•Introducting Project Candy. This is a new app for your phone that lets you take a photo and color match it in 3D color space and save it to your Creative Cloud library and apply it in Premiere, After Effects, Photoshop or SpeedGrade. To me it doesn't seem all new, but an update the existing iOS Adobe Color App that would let you take photos to make color swatches. The funny part is while I think it is a cool idea, I would rather have the tech built into After Effects or Premiere, so I could do this with a photo on the computer, as I am much more likely to find a reference image that I want to use instead of a photo I am going to take with my phone.
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Adobe teases next version of Media Encoder

Adobe has teased the next version of Adobe Media Encoder at the Adobe PremierePro blog.

Here is a quick breakdown of the new features.

•Time Tuner to retime your sequences 5% with predictable results or even 10% at times.



•Dolby Digital output.



•JPEG 2000 MXF Support.

•User interface refinements
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Adobe teases the next version of Adobe Audition

Adobe has teased the next version of Audition at it's Adobe Audition blog.

Here is a quick breakdown of the new features revealed.

•Dynamic Link Streaming to play back Premiere Pro sequences directly.



•Full Screen Mirror Video Display on a second monitor.

•Relink Media



•Automatic Session File Backup

•Copy Imported Assets to Session Folder

•Schedule Recording

•Custom Level Meters Crossover Values

•Import/Export Markers

•Brazilian Portuguese Language Support

•Audio Driver Performance and Stability Updates

This is a program I need to delve into more, but really I hope to pass my audio on to a real mixer, so it has never been as important to me.
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Adobe teases the next release of After Effects

Todd Kopriva at his AfterEffects blog has teased the next version of After Effects to be shown at NAB next week.

Here is a quick breakdown of the new features.

•Creative Cloud libraries to share graphics and looks between Premiere, Photoshop and Illustrator.

•Greater Interactive Performance thanks to a new architecture. Let's hope it doesn't break all current plug ins!

•Unified and Simplified previews.



•A preview of Adobe Character Animator.



•Face Tracker Effect.


Yes this all sounds pretty exciting, though the character animator seems pretty niche.
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Adobe Reveals the next release of Premiere Pro

Adobe has revealed some features from it's next version of Creative Cloud at it's PremierePro blog.

Here is a quick breakdown.

•Lumetri Color Panel. Adobe has integrated more of the color engine of SpeedGrade directly in Premiere Pro, but with simpler to use controls for editors, but all grades will easily pass over to SpeedGrade. Now you get SpeedGrades videoscopes, and controls simplified to work like Lightroom as well as a new Lumetri 3 Way Color Corrector.


 The Lumetri Control Panel



New Curve and Hue/Saturation Controls


New Lumetri 3 Way Color Corrector

•Morph Cut allows you to seamlessly morph between to edits in a talking head interview to make it look like a single cut (kind of scary, but also an incredible tool if it works as described).



•CC Libraries have been integrated into Premiere Pro and After Effects so you can save looks and graphics wherever you are logged into Creative Cloud.

•Premiere Clip, Adobe's portable editing solution has an upgraded workflow.



•Task Oriented Workspaces for editing, coloring, audio work or other needs (much like AVID's similar functions).



•New formats including ProRes 4444XQ Avid DNxHR, Canon XF-AVC and Panasonic 4K_HS.

•Closed Caption Support

•Composite Previews during trim

•Simpler Keyboard numerical import

•Source Settings as Master Clip Effects

•Improved AAF Exports

•Improved Audio Routing

•Improved Audition workflow, where audition will play the video directly from your media instead of rendering a video of your video.

•Improved Mercury Transmit Performance

•Time Tuner in Premiere and Media Encoder to allow you to retime a show up to 5% easily and possibly up to 10% in either direction without losing quality.

Sounds impressive. I am looking forward to getting my hands on it!
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Adobe has given us a peak at the new video features in Creative Cloud

Next Week at NAB Adobe will be showing off the next release of Adobe Creative Cloud's video suite with updates to apps. We knew this was coming as Adobe announced on March 18th that the next version of Creative Cloud will only work with Mac Os X 10.9 Yosemite and higher.

Check out this video that shows the most exciting new features!


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Definition Magazine has an interesting comparison of Fusion, Nuke & Smoke

Adam Garstone at Definition Magazine gives a quick overview of these 3 powerful 3D Compositing Programs. Work a read.

After learning Shake years back I would love to get into one of these, but can't afford either Nuke or Smoke, but once a free Mac version is released of Fusion by BlackMagic Designs I will probably spend the time to learn it, and hopefully they will have added a good 3D camera tracker by then.
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Used Premiere Pro's Capture for the first time yesterday

I was handed a DVCAM tape yesterday and work was going to rent a DVCAM deck to capture. I said I would do it myself since I have a Sony DS-20 in my office. I used to use it all the time, but it mostly gathers dust now, so it was good to give it a run, and I decided to try it out with Premiere Pro.

Now I knew that Premiere had a very simple capture engine that would work with HDV or DV, so I decided to give it a try. It has very few settings, just which capture setting, then you can set in's and outs, change clip and tape names and capture a clip or a tape. The problem is that the tape was old, and it kept failing on the capture, and it doesn't seem to have a setting to automatically break up clips when there is a break in timecode. After many many attempts that failed, I gave up and switched to Final Cut Pro 7.

Final Cut Pro 7 still has a much more powerful capture engine, and will in fact break up a capture if you set it to, so you get clips around the breaks, but surprisingly it managed to capture the whole 1 hour and 50 minutes in one go, not making any breaks.

So honestly I am glad Final Cut Pro 7 still runs on Yosemite, as it does still have some uses. Looks like I will need to keep a backup of this system state before the next OS which will likely break Final Cut Pro 7 completely so I can still capture DV easily if need be.
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An additional issue with Adobe Premiere Pro sequences in SpeedGrade CC 2014

So I have been working more with Speedgrade, finishing the grade on this twenty eight and a half minute long show, and I realized another issue.

Actually it is very like the issue with the multicam clips, where you can grade them, and the grade shows up in Premiere, but the Lumetri Effect does not on clips with an Alpha or that or Premiere Pro Text layers.

This is an issue when replacing graphics with textless versions and you can't just take the same grade from existing clips, because the while the grade shows up, it is does not show up as an effect that you can edit or copy or do anything with in Premiere Pro.

This gives me memories of precomputes and AVID! The horror!

I really hope Adobe fixes this and the the other issues I previously posted with a new update of Creative Cloud at NAB this year, as I really do love how the grade ends up on your original sequence (for the most part). I do really like the program, but some of the issues really do make DaVinci seem more viable for the moment.
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Pebble announced Kickstarter for new color Pebble Time

And I totally want one. I love my original pebble, and a color one that has a week battery life sounds amazing! And others seem to think so as when I looked this morning it had 2 Million and now it is up to 3.5 Million with 21 days to go!



Yes it is not an Apple watch, but they work great with great battery life and more features, and color, works in sun!
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Issues with Adobe SpeedGrade CC 2014

So I am a commercial editor and lately have really moved to Premiere Pro after the death of Final Cut Pro 7 (as you will know if you regularly read this blog). I do much of my work in Commercials and direct response and many of the houses I work at have moved over to Premiere Pro for it's speed and integration with After Effects.

We have been using DaVinci Resolve for color correction, but with the upgrades to Adobe SpeedGrade with CC 2014 I learned it and have been wanting to give it a try. Mainly because of it's integration with the adobe suite, and the fact that it puts the grade onto the clips as a plug in that can be easily removed, instead of having to render out a new sequence with clips with handles, which makes major changes to the sequence much harder. And with the addition of working with Black Magic Cards it was time to try it out.

So on the current 28:30 Direct Response show I have been editing I am doing the grade in SpeedGrade, and while some it has some very good features, it has some very glaring issues that adobe needs to fix immediately!


  • First and foremost if the fact that SpeedGrade is made to work on one monitor, with a second monitor being your view monitor. And if you use an AJA or Black Magic card, it still forces the whole interface into a single monitor. You can't peel off any of the segments and move them to a separate monitor. This is especially troublesome with a complicated timeline! I have 14 video tracks in my current show, so my timeline needs to be fairly large, but you still need the controls to be big enough to use, so what suffers are the scopes, which have shrunk to a minuscule size and are very hard to use! PLEASE ADOBE FIX THIS IMMEDIATELY! We need to be able to re-arrange the window and move things to a second monitor as we see fit. It really makes this program hard to use!

  • Number 2 is certainly the issues with Insufficient Resources dialogue which kicks out the video card, so you are only using the CPU to render. And sometimes it makes your images get a crazy clue cast. Now I am using an NVIDIA GTX 680 Mac Edition, which isn't the newest or greatest video card, but is pretty decent, but I don't think it is the cards issue, but instead is with effects and the Mercury Render Engine. The problem always happens on clips with effects on them, but it transitions other than dissolves or even Warp Stabilizer or speed effects on clips. SpeedGrade just can't handle them, and turns off your GPU and you have to at the least restart Speedgrade to get the GPU back on. The thing is that the problem will instantly occur if another filtered clips is hit when you restart. If the Mercury Playback Engine can't handle this in SpeedGrade, Adobe should figure out a way to turn off these FX when they come into SpeedGrade and turn them back on when you go back to Premiere. You can do it manually by turning them off or removing them in Premiere, but then you have to remember to put them all back when you return your grade to Premiere, but that is a workaround and may cause you to miss important FX or transitions.
  • Number 3 is issues with Multi-Cam clips in Premiere Pro. If you have multi-cam clips in your sequence you can grade them in SpeedGrade, but they do not show up as a plug in in Premiere, neither on the multi-cam clip or within it's sequence, though the grade does show up. To get around this I duplicate my multicam clips on another layer, and then flatten them. This creates another problem, which it makes each clip a separate instance instead of going back to the master clips, so for these clips you cannot do a single grade on a master clip. Now admittedly this is a Premiere Pro issue, but on that needs to be fixed to make SpeedGrade work better. As being able to user the Master Clip Grade is so much quicker and easier.
  • Number 4 for is the timeline. It needs to have better zoom controls instead on showing the whole timeline, 6 seconds or from your in to out. I want to be able to zoom in or out to where I desire.
  • Number 5 is a keyboard navigation issue. When I use the numerical controls for a grade and I type a number into a box, hitting the tab should move to the next box and activate the grade I have entered. Instead I have to click out of the box with the mouse, which is slow and not efficient. So Adobe, you need to let us navigate with the keyboard. This is faster and more efficient, especially for those of us without a dedicated color control board.
  • Number 6 is faster opening of Premiere Pro sequences. I am sure this has to do with converting the sequence to work, but it takes a long time, many minutes at times, and is especially painful if you keep getting hit with the insufficient resources bug from above.
That is it for now. The single monitor and Insufficient Resources could be deal breakers for many, but for now I love the conveniece, and love that it leaves my original sequence intact in Premiere Pro, but lets hope Adobe makes this program more adobe like in the near future (NAB please Adobe), so that the ease of going back and forth is complimented by a program that is easier to use and doesn't have some glaring issues.

Honestly if Adobe makes this better, I see no reason to use DaVinci Resolve with Premiere even if it is a superior program, just because of the ease of use of SpeedGrade.
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Kickstarter AllSteady-6Pro DSLR/RED 3 Axis Gimbal Stabilizer

The AllSteady-6Pro DSLR/RED 3 Axis Gimbal Stabilizer is a very impressive looking Gimbal that finishes funding on February 26th, and everything is supposed to ship by March 31st, 2015.

Of course no guarantee from Kickstarter, but would love to run to Orange and check one of these out at Turbo Ace, and the Kickstarter discount is huge! This looks like a really impressive and well manufactured piece of gear!
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