IK Multimedia Syntronik

Syntronik

 

In The Technofile Awards 2016, we implied that there are two ways to recreate vintage synths in software – modelling and sampling. However, that was then but this is now and, as ABC asked, why make the past your sacred cow? IK Multimedia certainly hasn’t. Instead they’ve devised a third way, by hybridising the first two, to produce Syntronik.

 

In developing Syntronik, IK Multimedia took the view that step A was to use their sampling expertise to painstakingly multi sample single oscillators and oscillator combinations (including sync and FM sweeps) from ‘golden’ examples of their 38 favourite synths and string machines.

 

The list of machines they sampled is pretty comprehensive, including, as it does, the Alesis Andromeda, ARP 2600, ARP Solina, Elka Rhapsody 490, Hohner String Performer, Micromoog, Minimoog Model D, Modular Moog, Moog Opus 3, Moog Prodigy, Moog Rogue, Moog Taurus I, Moog Taurus II, Moog Taurus 3, Moog Voyager, Multimoog, Oberheim OB-X, Oberheim OB-Xa, Oberheim SEM, Polymoog, PPG Wave 2.3, Realistic Concertmate MG-1, Roland Juno-60, Roland Jupiter-4, Roland Jupiter-6, Roland Jupiter-8, Roland JX-10, Roland JX-3P, Roland JX-8P, Roland RS-09, Roland RS-505 Paraphonic, Roland TB-303, Sequential Circuits Prophet-10, Sequential Circuits Prophet-5, Yamaha CS-01II, Yamaha CS-80, Yamaha GX-1, and Yamaha SY99.

 

Step B saw IK Multimedia inventing and applying its brand new “DRIFT” technology to the resultant 50GB library of 70,00 samples, in order to vary the phase, timbre and pitch, temporally, as a means of emulating the way that analogue oscillators behave.

IK Multimedia Drift Technology

 

Step C involved IK Multimedia using its modelling expertise to create circuit-level models of the Moog transistor ladder (from the Minimoog and Modular Moog), Roland’s IR3109 chip (from the Jupiter-8 and Juno-60), the Curtis CEM3320 chip (from the Prophet-5 and Oberheim OB-Xa) and the Oberheim SEM state variable filter, through which these DRIFted samples are controllable.

 

And there you have it, easy as ABC; but not wanting to make the past their sacred cow, IK decided that instead of merely offering facsimiles of the 38 machines they sampled, they would instead mash things up a bit by distilling them into 17 machines, some of which (such as the ‘T-03’ & ‘Blau’) emulate one specific synth (the Roland TB-303 & PPG Wave 2.3 respectively), others of which (such as ‘Stringbox’) combine the characteristics and samples of several similar machines.

 

 

 

Each of these 17 virtual instruments, though visually representative of the instrument(s) it emulates, offers a common set of controls…including a filter section that sports all four of the aforementioned filter models, plus a phaser, a formant filter and the SampleTank filter. This means that you can essentially play a Jupiter 8’s DRIFTified oscillator samples through a modelled MiniMoog’s filter, and a Solina’s DRIFTizzled oscillator samples through a modelled PPG filter.

 

 

Notice we said ‘and’, not ‘or’, as Syntronik allows you to layer/split up to four machines, making for some complex sonic possibilities.

 

But it doesn’t end there, as Syntronik also includes 38 ‘lunchbox’ style effects, some of which are derived from IK Multimedia’s AmpliTube and T-RackS, others of which, such as ‘Ensemble Chorus’ are new and exclusive to Syntronik; and up to five of these can be applied to each machine.

 

There is also an (up to) 32 step note/chord arpeggiator with some fairly deep options.

 

As for how it sounds? Exquisite! The samples are pristine, the DRIFT is convincing, the filters are some of the best software modelled ones we’ve heard, and the effects are every bit as good as one would expect, given their provenance. We would have loved the ability to select initialised instruments, instead of being forced to choose from presets, but in mitigation the 2000 presets sound fantastic and are eminently editable.

Conclusion:

We think that Syntronik brings something genuinely new to the table by enabling the ‘DNA’ (as IK would have it) of 38 vintage instruments to be combined in new and novel ways. Programming is simple thanks to the common set of parameters, large friendly effects page, and easy to use layer/split/arpeggiator window; and the results sounds fantastic. It’s Driftification for D nation.

More info: http://www.ikmultimedia.com/products/syntronik/

© 2017, The Technofile. All rights reserved. Moral Rights Asserted.

Red Giant Trapcode Suite 14

Trapcode Suite 14

Red Giant Trapcode Suite has long been an industry standard package for creating motion graphics and visual effects in Adobe After Effects, but its latest incarnation – Trapcode Suite 14, takes things to the next level. Of the eleven products it includes, two – Trapcode Particular & Trapcode Form, see major updates (to v3.0), whilst a third – Trapcode Tao, sees a point upgrade (to v1.2), so we’ll concentrate on these.

Trapcode Particular 3

Particular 3

Particular is very much the go to third party particle generator for Adobe After Effects. Version 3 sees a raft of major new features.

Particular-GPU-Accelerated

Kicking things off is Open GL GPU acceleration. Red Giant say that depending upon your system this could result in a speed increase of 4X or more. Whilst we haven’t scientifically tested this claim, we can say that we saw a significant improvement on our Mac Pro, making this a godsend.

Particular Designer

Coming in a close second is the new ‘Designer’ interface, which owes much to Red Giant’s excellent Magic Bullet Looks. Clicking the ‘Designer’ button opens the ‘Designer’ window. On the right hand side of this is the pop up ‘blocks’ tab. Each block contains a preset behaviour/style for emitters, particles, shading, physics and aux particles. When a block is selected it appears in the scrollable ‘effects chain’ tab below, from which it can then be selected and adjusted in the ‘Master System’ tab. Alternatively, you can select one of over 300 complete particle effects from the pop up ‘Presets’ tab on the left. These include effects for creating fire, space flight, fireworks, muzzle flashes, explosions, & smoke, and all are customisable.

Particular Presets

As you select/tweak blocks/presets, the impressive results are previewed in Designer, in real time, thanks to the GPU acceleration. This level of immediacy is reminiscent of Apple Motion, making it easy for those who are new to or inexperienced with particles to create great results. In fact we’d go so far as to say that thanks to Designer, Particular 3 is to particles what Magic Bullet Looks is to grading. That said, Designer is optional and hardened pros can still use Particular the classic way, direct from the After Effects’ interface.

Particular Multiple Systems

Up third is the ability to combine multiple particle systems in the same 3D space. The interaction of these can results in some awesome effects. Adding multiple particle systems in Designer is as easy as clicking the plus button and adding blocks/a preset for each additional system; and we’re delighted to report that when you do this, the results remain viewable in real time, thanks to the GPU acceleration.

Particular OBJ Emitter

Up forth is something that will delight the 3D crowd, namely the ability to use 3D models and animated OBJ sequences as particle emitters. You can choose from Particular’s library of 60, or you can load your own, and particles can be emitted from the vertices, edges, faces or volume of your chosen OBJ.

Form Sprites

Fifth is the ability to use any image in your composition as a particle by assigning it to a 2D sprite or textured polygon. Particular 3 includes over 270 still and animated sprite images, which run the gamut from 2D shapes, to dust & debris, ‘light & magic’, organic matter, smoke & fire, water & snow, symbols, and 3D geometric shapes. There’s even a selection of ten festive baubles…for those needing particles for Jesus.

Particular Aux Systems

Sixth and finally, Particular 3’s updated aux system (which is great for creating effects like particle trails and traces, organic lines, and splashes) now allows you to add custom particles and has keyframable parameters, for more variation and control.

Trapcode Form 3

Form 3

Many of the cool new features in Particular 3 are shared with Form 3.

Form Designer

The most notable of these is Designer. Of course, the blocks and presets on offer differ between the two as they are different programs, with the blocks in Form 3 affecting base form, particle, disperse & twist, spherical field, kaleidoscope & world transform.

Meanwhile the 71 presets include fractals, landscapes, geometry, bokeh, lines, shape grids and spin dots.

Form 3 also shares Particular 3’s ability to use 3D models & animated OBJ sequences, and 2D sprites.

Finally, the updated graphing system allows you to temporally animate controls including colour, size, opacity, and particle dispersion. Best of all though, these can now be audio reactively animated, which is something we hope to see implemented in all of Trapcode suite’s components in a future release.

Tao 1.2

Tao

Rounding off the updates, is a new depth-of-field tool that makes it simple to create camera-realistic blurs for Tao objects, based on their distance from the After Effects 3D camera.

Conclusion

Mir

Trapcode EchospaceTrapcode Shine

Of course, that’s just part of the story, as Trapcode Suite 14 includes 8 other products – Trapcode Mir 2.1 for creating 3D Surfaces, Terrains and Wireframes; Trapcode Shine 2.0 for creating Ultra-fast 3D light ray effects for footage, motion graphics & text; Trapcode Lux 1.4 for creating 3D Volumetric point and spot lights; Trapcode 3D Stroke 2.6 for creating organic 3D Shapes and Lines from masks; Trapcode Starglow 1.7 for creating stylized glints and glows for motion graphics and text; Trapcode Soundkeys 1.4 for creating audio reactive motion graphics; Trapcode Horizon 1.1 for creating infinite 360 degree backgrounds; and Trapcode Echospace 1.1 for creating complex 3D shape animations. Together they make a compelling suite that is essential for After Effects based motion graphics and visual effects work. If you are doing either, we say get Trapcode 14, and if you are using an earlier version we highly recommend upgrading.

5 bagels

 

More info:  https://www.redgiant.com/products/trapcode-suite/

© 2017, The Technofile. All rights reserved. Moral Rights Asserted.

Korg Gadget For Mac

Korg Gadget For Mac

Korg Gadget has a rep for being one of the best iOS apps for making music. Recently it was ported to macOS, as the perhaps unsurprisingly named ‘Korg Gadget for Mac’. So what is it and do you need it?

What is it?

Korg describe Gadget for Mac as a “second DAW.” When you open it, you’re greeted with a unified single screen environment that’s divided into four quarters, comprising, from top left to bottom right, a ‘scene’ editor (which is akin to a simplified version of Ableton Live’s Session View), a MIDI editor, a mixer, and the Gadget window. Undoubtedly the lead vocalist in this 4 piece combo, is the latter, which displays your gadget of choice. Think of gadgets as virtual Volcas that Korg hasn’t made as hardware (yet). There are currently 31, that offer a dizzying array of everything from virtual analogues to classic digitals (and, of course, you can use a different gadget on each track). Some of the highlights include:

Darwin

Darwin – a virtual version of 90s classic, the Korg M1… with… and we can’t quite get over this…the sounds from every memory card that Korg ever released…not just for the M1, but for the T1 too.

 

Lexington – an emulation of the Lexingtonsecond most important mono synth in the history of electronic music, the ARP Odyssey, that features filters from all three of its hardware incarnations. Korg, you had us at preset 003 ‘Curried’ (NB for anyone under 35, google Ultravox).

 

MilpitasMilpitas – a virtual Korg Wavestation that, like Darwin, includes the patches and waveforms from every memory card that Korg released for this wave sequencing and vector synthesis giant.

 

Recife – a retro-futuristic MPC style RecifeDrum Module, whose 30 kits encompass pretty much every dance sub genre you can think of. Drum ‘n’ Bass, Trap, Tropical House, Dubstep, Glitch Hop, Grime, UK Garage, Techno, House, Electro, HipHop, Chillout, Nu Disco and even Indie Dance are all represented and all represent.

 

Chicago – a self confessed acid Chicagohouse ‘Tube Bass Machine’ that’s part 303, part Volca Bass, and part Electribe MX. However, switch on its arpeggiator and engage one of its multi effects, or choose and tweak one of its more curve ball presets, and it quickly becomes something greater than its sliver livery might suggest.

Brussels – a ravetastic Brussels‘Monophonic Anthem Synthesizer’. If its hoovers don’t inspire you to find the whistle and pacifier that you hid in your parents loft in 1993, nothing will.

 

KingstonKingston – a ‘Polyphonic Chip Synthesizer’ that offers an array of 8-bit chip tune style tones, chords & noises; with “Run” (arpeggiator) & “Jump” buttons and 12 effects to take things to the next level.

 

 

Kamata – a wave table synthesizer that uses 4 bit samples to emulate the NAMCO CUSTOM30 sound generator found in a some of the most famous arcade games of the 80s. Programmed by the sound design team at Bandai Namco Studios, it offers deeper programmability than Kingston, which it compliments.

 

MiamiMiami – a ‘Monophonic Wobble Synthesizer’ whose “X-MOD” oscillator and “CRUSH” filter have been created with the express purpose of delivering dancefloor destroying Dubstep basses.

 

PhoenixPhoenix – a virtual analogue poly synth whose lush pads and Oberheimesque good looks evoke the sound of the late 70s and early 80s.

 

Abu DabiAbu Dhabi – a ‘Dynamic Loop Slicer’ that lets you import samples, automagically slice, dice, and then manipulate them.

 

 

Other gadgets include Montreal – a vintage Fender Rhodes style piano, Alexandria – a Hammond style organ, Firenze – a Honer style Clavinet, Salzburg – an acoustic piano, and Gladstone – an acoustic drum module. All of the synth/keyboard gadgets include the ability to play notes and chords in an impressive 35 different scales, including every western mode and assorted ethnic ones. There are also two gadgets for recording audio – Zurich a general purpose audio recorder with 26 onboard FX, and Rosario – a guitar FX processor that features 19 modelled amps, 12 modelled cabinets, and 24 stomp boxes.

How do the gadgets sound?

In a word, fantastic! Running the gamut from retro cool, to cutting edge dance Korg’s Gadgets offer enough diversity to satisfy everyone from accomplished keyboardists to DJs and producers. Full details of all 31, together with soundclips can be found here

Why do you need a Second DAW?

Korg Gadget for Mac

Although Gadget for Mac offers more than enough to put together whole productions, it’s really intended as a musical scratchpad, on which to try out ideas. At this it excels, thanks to its combination of a single screen environment, and a DAW that embodies the Swedish concept of ‘Lagom’ i.e. just enough (functionality). Consequently you can concentrate on making music, instead of using software.

This in itself would be great news were it the full story, but it gets better because this release offers the option to export your work as an Ableton Live project; and because AU/VST/AAX versions of all of the gadgets are included, when you open your exported project in Live, it is a seamless and exact duplicate of your Gadget project. Naturally this also means that you can access all of Korg’s gadgets directly from within your DAW as stand alone plug-ins.

What do we and don’t we like?

Our one complaint about the otherwise perfect Korg M1 was that it lacked a resonance parameter, so we love the fact that Darwin has a resonance knob…or at least, we did, until we realised that it doesn’t actually appear to do anything? Also, our awe at Darwin’s inclusion of every M1 ROM card ever released is tempered by its lack of a full set of M1 parameters. That said, for many, Darwin and the other gadgets on offer will strike the perfect balance between simplicity and programmability. However we can’t help but think that if Korg were to add an advanced mode to at least some of these gadgets they would further enhance the appeal of this software, without compromising its usability.

The decision to name the gadgets (mostly) after places is somewhat confusing, as it provides no clue about what they do. To be fair though, when previewing and selecting gadgets, there is a helpful paragraph of text that clarifies this.

Whilst we like the fact that all of the synth gadgets include mini keyboards, because the black keys and white keys are all the same length, the former read visually as being parallel to the latter, instead of on top of them.

Those very minor points aside, we love everything about Gadget for Mac.

Conclusion

Korg Gadget for Mac sounds fantastic, is great fun to use, and provides a simple and elegant environment in which one can be highly productive. It’s a great adjunct to any DAW and for those making electronic music with Ableton Live, it’s practically mandatory.

More info: http://www.korg.com/uk/products/software/korg_gadget/for_mac.php

© 2017, The Technofile. All rights reserved. Moral Rights Asserted.

The New Apple Mac Pro 2018

Apple’s recent announcement that they would make a new Mac Pro is as heartening as it is disturbing. Heartening because it confirms Apple’s commitment to creative pros. Disturbing because it reveals that Apple has only just started thinking about making a next generation Mac Pro and consequently it will not materialise until at least a year from now, whilst Apple decides exactly what a next generation Mac Pro should look like. Here’s a suggestion…

Apple Mac Pro 2018

Think Tower

Steve Jobs may have been fond of Henry Ford’s adage “If I’d done what my customers wanted, I would have built a faster horse,” but sometimes a faster, horse is exactly what’s needed. There’s no need to reinvent the wheel…cylinder, cube, or dodecahedron. The tower is a tried and tested form factor that just works!

Apple’s previous take on the tower (aka the cheese grater) was typically elegant and innovative. Built like a tank, it included a 4 bay (software) RAID array and offered a cable free, screw free, tool free design, that ensured maximum air flow, easy accessibility, and consequently minimum fuss for hardware upgrades. In fact it roundly addressed almost every shortcoming of other towers. So successful was its design, that many creative are still using 2010 and 2012 Mac Pros on a daily basis, albeit in upgraded form.

Think Inside The Box

Arguably the one shortcoming of Apple’s tower designs was an insufficient number of PCIe slots (which left some users with no option but to invest in expensive third part external expansion chassis’). Admittedly ever more powerful CPU/GPUs have allowed industry standard software such as Pro Tools and Adobe Premier Pro to do more and more without the need for proprietary PCIe cards, and Apple’s timely championing of Thunderbolt has meant that hardware which once had to be located in the box because of the need for a fast internal interface, can now be relocated outside of the box. However, external boxes need cables and in some cases PSUs, which creates multiple points of failure, and clutter than is not in keeping with the elegance that is at the heart of everything that Apple does. Added to which, as VR, AR, 8K video, and who knows what else enter the mainstream, the need for proprietary internal cards that power content creation may expand. That’s why we say give creative pros the six PCIe slots they have always wanted…which, incidentally, is the same number that is found in some PC cases.

Think Nvidia

Nvidia currently make the GPUs of choice for many visual applications and have done so for some time, so it is important that Apple and Nvidia put aside any differences in the interests of the new Mac Pro shipping with either an Nvidia GPU as standard, or as a built to order option. Going forwards, Apple, Nvidia and AMD should commit to ensuring that all GPUs are fully supported by MacOS, and that driver updates are released in parallel with PCs, so that users can upgrade their new Mac Pros with confidence.

Think RAID Array

In the future, as SSDs become bigger and cheaper, hard disk drives will become as distant a memory as 5.25″ floppies and cassette storage. However, we’re not there yet. Some current estimates suggest that SSD/HDD price/size parity will not happen until 2020. In the meantime, creatives require big fast storage for editing, grading and archiving video, storing massive sample libraries, rendering out After Effects projects, animations and VFX, and this mostly requires big, fast RAID Arrays. Apple got it very right when they incorporated a 4 bay software RAID array into their old Mac towers. At the time 4 HDDs was sufficient to edit the then emerging HD video standard and more than fast enough for audio purposes. But nothing stands still. 4K video (which is 4 times larger than HD) is arguably more pervasive now than HD video was in 2010, and 8K video (which is 4 times larger than 4K) is here and likely to become a new industry standard by 2020. That’s why we say to Apple take things one step further and build an 8 bay hardware (not software) RAID array into the front of the new Mac Pro; one that will take hot swappable 3.5″ HDDs, 2.5″ SSDs, and M.2 NVMe SSDs…and add a further two internal M.2 connectors for separate NVMe system and cache drives (for which SSDs are an absolute essential). And if a built in Raid Array is not an option, then include Mini SAS & eSATA, as those are the interfaces found on most professional RAID arrays.

Think Memory

Think of the largest amount of memory anyone could possibly ever need…then double it…then double it again…and you still won’t have anywhere near enough for creative purposes…as the history of computing demonstrates…and that’s before you even start to factor in real-time AR 8K video, massively component modelled 64bit/196KHz audio plug-ins, truly photorealistic animation, gigapixel photo stitching, and all of the other memory hungry applications on the horizon. Give us terabytes of RAM & Petabytes of fast solid state storage and we’ll still complain that we need more…and we will…so give us the latest stable RAM technology and lots of slots…at least 16 (preferably more). They might not all be filled initially, but they will all be filled eventually.

Think USB & Thunderbolt

Creatives often have setups that involve multiple control surfaces and musical keyboards. Some of these will be plugged in permanently, for which rear facing sockets are ideal, some need to be plugged in occasionally, for which front facing sockets are best, so Apple should include a healthy amount of USB 3.1 and Thunderbolt 3 sockets on both the front and the rear.

Think Ethernet

Obviously…but now that video over IP and Ethernet audio are increasingly a thing in production circles, and a number of medium and high end control surfaces connect solely via Ethernet, more and faster Ethernet sockets/channels would be forward looking.

Think FireWire

Yes we know its retro, and we know that Apple, as a rule, like to eliminate old tech, but video editors frequently need access to archive material, a huge amount of which is on formats such as mini DV & HDV, the cameras and players for which communicate via FireWire. Furthermore, there’s a whole generation of musicians with perfectly good FireWire audio interfaces that they would be loath to dispose of for no good reason. So Apple should take it as a compliment that the adoption of the FireWire tech it played such a major part in driving forward is still in such widespread use today and ensure that the new Mac Pro contains at least two FireWire 800 ports – one on the front and one on the back…and NO, dongles are NOT the answer!

Think Optical Disc Drive

Many Millennials may think that CDs are really odd looking bits of vinyl, but creatives know better. DJs need to burn CDs as not all venues have Pioneer’s new USB stick based decks; filmmakers need to burn DVDs & Blu Ray discs as many film festivals cannot or will not accept digital files; and creatives need to master/author discs. The two optical drive bays of the 2010/2012 towers is overkill, but one is a necessity and it should be filled with a UHD Blu-ray BDXL Burner that supports 128GB Quadruple Layer (QL) and 100GB Triple Layer (TL) Blu-ray Disc authoring.

Think Card Reader

Not all filmmakers have access to a DIT to transfer card data to drives on set. Many will do so after the event, as will most photographers. A fast, built in, multi format card reader would be perfect for this.

Think Rack

Musicians love 19″ rack mountable gear. Offer a kit that allows the New Mac Pro to be mounted in a 19″ rack and they’ll buy two. Hell, add CV & Gate i/o and offer it in Eurorack format, and they’ll buy four (NB we’re not actually suggesting that it is offered in Eurorack format).

Think Silent

Anyone working with audio wants their gear to be as quiet as possible. If Apple can’t make the new Mac Pro silent (by which we mean silent, not quiet) without compromising its performance, perhaps they could include a very long monitor lead, or build in wireless video sending tech.

Think Headphone Socket

Don’t even think about removing it!

Think Touch

Apple has stated that it has experimented with touchscreen based desktop computing and feels it adds nothing to the user experience. If those experiments involved placing the screen at 90 degrees to the keyboard and running spreadsheets, we’d have to agree. However, running creative apps with a screen at 45 degrees or flat is an entirely different story. Any app that involves drawing, rotoscoping, mask creation, and retouching is ideally suited to a combination of stylus & touchscreen, whilst audio apps such as Pro Tools, Ableton Live and Apple’s own Logic Pro, are simply crying out for a multi touch interface. Microsoft’s Surface Studio is, at the very least, proof of concept…and, rather surprisingly, quite a lot more in this regard, whilst Slate Media Technology’s Raven absolutely nails multi touch audio for Macs. Offering creatives the option of a big, high resolution, colour accurate, multi touch monitor, that can be used horizontally, vertically, and at any angle, as a primary or secondary monitor, would be a giant leap for creative kind.

Think Upgradable

In a ‘fireside chat’, Apple reportedly told reporters that the new Mac Pro will be “modular.” That makes us nervous. We have Lego, we have modular synths, we don’t need either in computer form. What we need is a box, all of whose contents can be easily and readily upgraded…and by all, we mean all – not just memory, drives & GPU, but CPUs, motherboard and PSU. That means three things. Firstly, no soldered components. Secondly, a commitment from Apple to design future Mac Pro motherboards to a common form factor. Thirdly, a commitment from Apple to sell us these future motherboards (and other components) direct, at a reasonable price, and/or to make them available via third parties.

In an era of almost instant disposability, making a computer that will be as usable in a decade as it is now (albeit with upgraded components) will be true (and environmentally friendly) innovation, the sort of innovation of which Apple could deservedly be proud. And if using the same computer for a decade or more seems far fetched, it should be remembered that in mid 2017, lots of creative pros are still using (significantly upgraded) Mid 2010 Mac Pros.

One More Thing…

In the past, if you bought a base model of Apple tower, although it was upgradable to an extent, it could not be upgraded to the same spec as a top of the range model. We think that was a mistake. Not everyone who aspires to owning a Mac Pro is necessarily rich or professional. And some who are professionals, even if they are successful at what they do, may be freelancing and so have a sporadic income. Being able to buy a base model and upgrade it piecemeal, over time, to the spec of a top of the range model and beyond, would be a massive incentive for many to enter the Mac Pro sphere…especially if Apple can find a way to make that base model insanely affordable for struggling musicians, low budget filmmakers and starving artists.

© 2017, The Technofile. All rights reserved. Moral Rights Asserted.

The Canon C200 – It’s A Raw, Raw, Raw World.

Canon C200

Today was a watershed moment for filmmakers, courtesy of Canon’s announcement that its new, relatively affordable, relatively compact C200 camera will be able to capture 12 bit DCI 4K raw video internally. According to Canon, this will be ‘compressed raw’. Whether ‘compressed’ means lossless, visually lossless, or lossy, is currently anyone’s guess. Whatever the case though, it significantly ups the stakes.

Like many others, we have, for a long time, been arguing for internal raw recording. On the one hand we appreciate that this involves technical challenges including heat, transfer speeds, and storage. On the other hand, we note that Blackmagic managed it some time ago, as did Magic Lantern…so it was only a matter of time before a major camera manufacturer saw the light…and now that one has, we expect a sea change in the industry.

Of course, we’re not suggesting that the Canon 6D Mark II or iPhone 8 will offer 16-bit DCI 8K raw internal recording (frankly we’d be amazed if the iPhone 8 even offers raw stills…) but we do think that the announcement of the Canon C200 signals the start of an affordable raw future, which is great news for low budget filmmakers.

Whilst there are some excellent external raw recorders available, attaching them to a camera adds weight and bulk and introduces an extra link in the chain that can potentially fail. Internal raw recording avoids these and other pitfalls.

We are not saying that raw is a universal panacea. It does not necessarily suit every filmmaker or every situation. Even compressed raw requires significantly more and faster storage than CODEC based recordings and this can add significant expense to a production. However, all things being equal, raw offers better quality, greater flexibility in pre, principal, and post production, and potentially more cinematic results.

As more manufacturers come on board with internal raw recording (we’re looking at you Sony) you can expect to find raw internal recording in more and cheaper cameras, which, as they will not need to be coupled with external raw recorders, will mean an even lower total cost of ownership. So whilst you shouldn’t expect to see raw internal recording in a Canon 6D Mark II or iPhone 8, it is not entirely without the realms of possibility that at some point raw internal video recording will appear in stills cameras and smart phones… In fact, we’d say go so far as to say that it may be inevitable. So celebrate, the Canon C200 is the start of the next filmmaking revolution.

© 2017, The Technofile. All rights reserved. Moral Rights Asserted.