AGENDA
NEWS
Sony’s remastered workhorse zoom
contributes to smooth bokeh. In this 24- 70mm design, the lens delivers outstanding close-up performance, with a minimum focusing distance of 21cm/8.25in at 24mm and 30cm/12in at 70mm, and a maximum magnification of 0.32x. As a nod to filmmaking, the lens is built for extremely quiet AF operation, thanks to the XD Linear Motors. Focus breathing, focus shift and axial shift when zooming are minimised, for smooth video footage. The lens also supports the breathing compensation function in compatible Alpha series cameras. And Linear Response manual focus gives a cine-like feel. A zoom smoothness switch adjusts the zoom ring torque to either Tight or Smooth, and there are two customisable focus hold buttons. A lens hood has an opening to control circular polarising filters.
The mid-range zoom that’s so often the mainstay of many filmmakers’ Sony set- ups has had a revamp, making it smaller and lighter. The FE 24-70mm f2.8 GM II is the newest in the pro-level G Master range, and is the lightest f/2.8 standard zoom on the market – but still does not include image stabilisation. A fresh optical design features five aspherical elements, including two high-precision XA (extreme aspherical) elements, two ED (extra-low dispersion), plus two Super ED glass elements. Combined with a floating focus mechanism, the lens is built to minimise chromatic aberration, astigmatism, distortion and coma at all zoom and aperture settings. Sony’s Nano AR Coating II is used to produce a uniform anti-reflecting coating, while a newly developed 11-blade aperture
The moisture resistance has been improved and all buttons and switches are fitted with rubber gaskets, and a rubber ring seals the lens mount. The front lens element features a fluorine coating. The 24-70mm f/2.8 GM II weighs just 695g/1.53lb, which is approximately 20% less than the original and is 16mm/0.6in shorter. It costs £2099/$2300. sony.com
ALL ABOARD These screenshots show a typical workflow, where users can log in via the cloud to see real-time edits and collaborate on them. It’s part of a big Frame.io revamp
ADOBE FRAMES UP NEW CLOUD WORKFLOW
can collaborate on edits in the cloud, allowing fast final approval. During editing, it’s possible to share work with anyone via the cloud, to get frame- accurate annotations directly inside Premiere Pro and After Effects. Up to five projects can be viewed concurrently. The Premiere Pro update includes direct output to YouTube, Facebook and Twitter. A new Auto Colour feature uses AI to generate corrections as a guide to help inexperienced colourists and it’s a good starting point for secondary tasks, like skin tone or sky adjustments. frame.io adobe.com
Integration with Atomos brings pro video, mirrorless and DSLR cameras to the C2C workflow. Frame.io’s C2C workflow can be used with any camera outputting HDMI video to a suitable Atomos recorder. This upgrade comes on the back of Adobe’s announcement it is adding Frame.io to Creative Cloud subscribers for free. So, Premiere Pro and After Effects now include integrated review and approval systems. It also means After Effects offers native support for M1 Mac computers. With the introduction of Frame.io for Creative Cloud, video editors and clients
The Adobe-owned Frame.io cloud editing system benefits from a huge expansion, with new Camera-to- Cloud (C2C) integrations for Filmic Pro, Atomos, Teradek, Viviana Cloud and FilmDataBox. There’s also a new Frame.io app for Apple TV 4K, native integration with Filmlight’s Baselight grading system and improved security. The Teradek Serv 4K can now automatically send low-bandwidth, timecoded 10-bit 4K HEVC proxies of original files instantly to Frame.io – from many cameras. That means you can send 4K files to create colour-corrected dailies immediately.
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PRO MOVIEMAKER
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