At only $1450 the new release from RED is clear to take the market by storm. On pre order from today even consumers can afford 4K playback if you can afford the $24,000 for the TV in the first place. I’m sure 4K TV prices will drop in the very near future and finally we will be able to watch back all the footage we have acquired over the years in its full glory!

The REDRAY PLAYER is the first plug-and-play friendly device capable of providing 4K content to 4K displays. REDRAY features the ability to play 4K files as well as upscale HD files to Ultra High-Definition resolution (4096×2160). REDRAY connects to 4K displays using 1x 1.4 HDMI output or 4x HDMI 1.3 outputs, with an additional HDMI output for 7.1 channel audio (for HD displays,REDRAY uses 1x HDMI 1.3 output).

REDRAY also supports 3D playback at high frame rates (48-60fps) — more than twice that of traditional HD plug-and-play 3D devices. Use your REDRAY iPad app or included IR remote to control your REDRAY and connect to your content like never before.

The impressive feature list that goes with the new camera includes the addition of 24p at the new 2.7k format they have created and 4k at a not so impressive 15fps.

With the new 2.8 pin sharp aspherical lens the footage that has been released looks very impressive. Sony’s recent release of their “GoPro Killer” seems to have been stopped in its tracks by the new camera.

Other very notable features are that it shoots 120fps at 720p and the integral WiFi with separate remote.

No doubt we will see lots of new footage springing up all over the place with this very neat looking camera.

Just now Apple have announced the new features and design of the eagerly awaited iPhone 5.

Apple hadn’t announced anything about the topic of the event, but the email invitation it sent to reporters contains a shadow in the shape of a “5”—a nod to the iPhone 5. It is being held in San Francisco at Yerba Buena Center for the Arts Theater, where Apple has held many product launches.

Along with many of the other features I’m glad to see the improvement of the camera, then new iSight camera, 8 megapixel sensor, 3264×2448 resolution w/backside illumination, hybrid IR filter, five-element lens, f2.4 aperture. 25 percent smaller.

 
Also they have added as standard a panoramic mode boasting 28 megapixel images, you hold your phone vertical and you sweep your scene.
 
Video as well: 1080p video, the stabilization has improved. Face detection for 10 people and now you can take photos while you’re shooting video.
 

 
And finally the screen is 16:9!
 

 
For more information on the latest news visit CNET

Packing an all-new black and white-only Mysterium-X sensor, the new cinema cam follows in the footsteps of the Leica M Monochrom still shooter, right down to a similar moniker. Red claims the dedicated CMOS sensor means no color debayering, yielding a one-to-one pixel count and 15-20 percent bump in effective resolution compared to its chromatic cousin.

It also touted a sensitivity gain as another advantage, asserting that the Monochrome will have a native ISO of 2,000 (while using the retro-sounding “ASA” term), more than double that of the Epic-M or X. The camera will have a new low pass filter to account for the higher resolution, and buyers who plop down $42,000 to get one on October 1st will be upgraded, gratis, to a new Dragon Monochrome Sensor next year. Like the Leica, if you have to ask why you’d pay such a sum for a camera that doesn’t speak color, it may not be for you — but it is for David Fincher, says Red, who’s already shooting his next feature on one.

Sony, Toshiba and LG all turned up to this year’s IFA convention with a new weapon in hand: 84-inch 4K TVs. The “4K” refers to the increased resolution, which, at 3840 x 2160, is four times that of 1080p. In Toshiba’s parlance, that makes these new TVs Quad Full HD, in LG’s language, they’re Ultra-Definition, and to Sony they’re just the XBR-84X900, but whatever you call them, they’re a reason to be excited for the future.

The simplest way to think of an 84-inch 4K TV is to imagine four 42-inch 1080P panels aligned in a square formation

Not the immediate future, perhaps, as 4K video content is still a rare commodity, but there’s certainly cause for optimism once the entertainment industry gets on board. 4K resolution allows people to finally consider truly large-screen TVs as a somewhat rational purchasing decision. Whereas previous efforts in the 60-inch-plus range have been attractive from a distance but pixelated up close, a nice 4K display will let you get right up next to the image without sacrificing its clarity.

The other big hurdle to widespread adoption, the scarcity of compatible content, looks sure to be resolved over time as well. Sony has long been a proponent of higher resolution with its 4K cameras and projectors, while Hollywood studios have also taken to mastering content in 4K over the past few years. Once the delivery mechanism has been figured out — and where there’s profit to be made, these things do get figured out — there will be material for people to enjoy.

It’s difficult to witness one of these 84-inch 4K TVs in person and not think that that’s where the next great leap in home entertainment will be happening. They may look outlandish and present logistical nightmares, but these large-panel displays are the closest thing to realizing the long-held dream of a home cinema I’ve yet seen. If this isn’t the future of TV, then TV has no future.

By Vlad Savov

http://www.theverge.com/2012/9/4/3289567/4k-tv-future

Brighton welcomed Chelsea to the Amex Stadium for a pre season friendly. I was there to capture all the action at 120fps on RED. Watch the video here: https://vimeo.com/47972596

A full-strength Chelsea side featuring John Terry, Fernando Torres and new signing Eden Hazard crashed to a pre-season defeat at Championship side Brighton on Saturday afternoon.

Frank Lampard gave Roberto Di Matteo’s European Champions the lead after 34 minutes but goals from Vicente, Ashley Barnes and Andrew Crofts secured a fine comeback.

Brighton, managed by former Chelsea fans’ favourite Gus Poyet, held on for the victory despite David Luiz, Ramires, Lampard and Hazard all going close in the second half.

Adobe’s Premiere Pro NLE already had some momentum, thanks to broad native format support on the timeline and a substantial performance boost through NVIDIA GPU acceleration, and the company enjoyed a surge of interest from editors who were suddenly examining their options in the marketplace.

“Tens of thousands of users” switched from Final Cut Pro or Avid Media Composer to Adobe Premiere Pro and its mates over the last 12 months, Bill Roberts, Adobe’s director of video product management, told us during a briefing to introduce the apps included in the CS6 Production Premium bundle. He indicated that Adobe would like Premiere Pro to become “the Photoshop of video editing.”

FCP X remains controversial, though Apple has taken steps to put some key missing features back in place. And that means Adobe will get more attention than usual at NAB, as editors try to figure out their next move, platform-wise. Compositors and VFX artists will already be scoping out Adobe’s booth to see what’s new in After Effects, and Adobe has given that program a serious overhaul under the hood that should translate into a substantial increase in speed on the desktop as the software uses a sophisticated new caching system to eliminate redundancy when it comes to rendering.

But attention has clearly been lavished on Premiere Pro — Adobe’s NLE has gotten a forward-looking redesign, broader native support for professional camera formats, and a smoother, speedier workflow inside the app itself. And, with the inclusion of SpeedGrade among the Creative Suite products, Premiere editors now have the option of manipulating clips with a high-end color correction tool rather than the simpler three-way color-corrector included in the application.

Premiere Pro Gets More than a Facelift

The first thing you’ll notice when opening Premiere Pro CS6 for the first time is the new default workspace. As Premiere Pro Product Manager Al Mooney explained it to us, the emphasis in this design iteration is “more video, less UI.”

The source and program windows get more generous real estate across the top portion of the screen. The project panel, tucked into the bottom left corner, has gotten a big usability boost — now, you can scrub and set I/O points using just the thumbnails of your clips, dragging them directly to the timeline. Alternately, you can scrub back and forth through the clips just by hovering your cursor over the thumbnails and mousing left and right to whip through the footage. (Don’t worry — if you hate this stuff, the CS5.5 workspace is easily accessible via drop-down from the top menu.)

The former multiplicity of buttons and analogue-style controls that cluttered the source and program panels are gone, replaced by a single line of icons. (A “button editor” lets you easily choose and rearrange the buttons according to your preference, or to suit the type of project you’re cutting.) But buttons are sort of beside the point — there’s an emphasis in CS6 on efficiency, and that means the kind of keyboard-driven command set that pro Final Cut Pro and Media Composer editors rely on. The three-way color corrector in CS6 has also been redesigned to mimic the ones found in FCP and Avid, making it more intuitive for pros.

If you’re serious about color-grading, the CS6 Production Premium package includes Adobe SpeedGrade CS6, which you can fire up with a handy Send To SpeedGrade command that kicks a 10-bit DPX sequence over to that application. (We expect to see tighter SpeedGrade integration via Adobe’s Dynamic Link workflow next year.) The Lumetri Deep Color Engine that drives SpeedGrade supports linear and log color space, and all color decisions are non-destructive, meaning you can’t compromise image quality by baking in a look.

Masks, filters, and color adjustments are applied in layers, a paradigm that should make sense to experienced After Effects and Photoshop users. Real-time performance is possible through GPU acceleration with Adobe certified graphics cards, including the NVIDIA Quadro 4000, 5000, and 6000. SpeedGrade will be a little much for some editors, but power users who relish the idea of primary and secondary correction layers, film-style filters, and libraries of preset looks will likely appreciate its inclusion here.

Along with SpeedGrade comes a potential offline/online workflow option — SpeedGrade can create lighter proxy versions of very large files for offline editing in Premiere Pro, then use EDLs from Premiere to conform the original footage. SpeedGrade supports file formats including DPX, QuickTime, Targa, TIFF, Open EXR, and raw ARRI, Red, Phantom, and Weisscam formats. XDCAM and AVCHD files will have to be opened in Premiere Pro, then sent to SpeedGrade as DPX sequences.

The Mercury Playback Engine has gotten some tweaks, too, notably support for the OpenCL-based AMD GPUs (the 6750M and 6770M) in 15- and 17-inch MacBook Pros. A new non-stop playback feature lets you work right in the program monitor, editing, trimming, color-correcting or adjusting other effects in real time without pausing playback. Speaking of effects, Adobe’s new Rolling Shutter Repair effect is built right into Premiere Pro, as is the wonderful Warp Stabilizer that turned up in After Effects CS 5.5.

And it wouldn’t be a Premiere Pro release without new native format support — CS6 adds new support for Red Scarlet-X, Red Epic, ARRI Alexa, and Canon C300 to its bag of camera tricks. It also supports any number of cameras in multicam editing mode, subject to the limitations of your hardware.

Source: StudioDaily.com

Coupled with the new SpeedGrade software it looks like now we have some really useful tools from Adobe for grading and composition outside of Color, Looks and After Effects. Watch the video here.

I wonder wether it will allow R3D editing natively within Photoshop? I guess I will find out next week…

We are pleased to report that the club has been given the green light to expand the American Express Community Stadium, following a Planning Committee meeting at Brighton & Hove City Council this afternoon.

Approval has been granted for an increase in the stadium capacity to 30,750 in two phases.

Phase one will include an additional 5,000 seats ready for the start of next season, with a further 500 ready in December.

Phase two will see the balance of the seats installed next year, 2013, taking capacity to 30,750.

Meanwhile permission has also been given to use the retained land at Falmer as matchday car parking (needed to facilitate the additional seats at the Amex).

Now that permission has been granted for the extra 5,000 seats, the club has already begun to contact fans on the waiting list, offering them the opportunity to purchase their season tickets for the 2012/13 season.