Africa has become a global fenominom and every jack out there wants a piece of Africa.
So what doe this means. This means that a lot of of companies overseas owned and run by non africans are
are already online and outthere claiming to represent the interests of Africa while infact they want to seize
the opportunity of gaining from our Africa.
Film Africa media is black owned and run by African creators. We represent the interests of our people.
We believe that Africa is a powerful continent and together we can work and uplift each other
The people from the western world have for many years stole from Africa, taking our resources and claiming to represent Africa
we are the new generation and we shall work for ourselves.
If you are an African creator and have talent ?. Film Africa can make your dream come true.
we are creators of FilM AND Music, we are passionate about the arts in Movies – Music – Lifestyle – Documentary
,Fashion, News, Beuty and more.
YouTube Music Service is here, but invite-only for now
The subscription service YouTube Music Key, will be invite-only for the time being, with six months free followed by a promotional price of $7.99 per month. The regular price on its broad release will be $9.99, the same as Spotify. Google Play Music subscribers will also have access to Music Key.
YouTube’s service will operate in two parts: a new desktop and mobile-friendly system to listen to music for free and a subscription version that removes ads and allow users to listen offline. The subscription service will enable various mobile features including the ability to play YouTube music while sending texts or doing other activities on a phone and listen to music offline.
The subscription service is not yet public. It is set to begin an invite-only six-month beta test in the next couple weeks, with broader availability coming in early 2015.
The ‘YouTube Space’ will open Nov. 6 at its offices in Chelsea Market. Online video artists who have at least 5,000 subscribers will be able to utilize the studio space and professional equipment free of charge.
When YouTube designed their new Manhattan office space, they aimed to dazzle with a multipurpose room that can serve as a conference room, posh restaurant or a funeral parlor.
And due to limited space they even made sure that every room of their Chelsea Market digs – including the bathrooms – can be used as a film studio.
Adam Relis, head of the location that will open at Chelsea Market in Manhattan on Nov. 6 told the Daily News it will also provide an area for the city’s video artists to meet, interact and collaborate with each other.
“We think of this as a community center,” he said.
YouTube opened similar sites in London and Los Angeles in 2012 and Tokyo in early 2013. About 30,000 people have attended over 450 workshops in the YouTube Spaces. Video creators have made 6,000 videos and generated more than 750 million views at the studios, the company reports.
The space and its services will be open free of charge to any YouTube creator which has at least 5,000 subscribers on its channel. The facility will also host workshops and social events to YouTube creators.
The 20,000 square foot facility is smaller than the other global locations, and so each room can be used for shooting video. The lobby that a visitor enters after departing the elevator has a standard large desk, but it’s on wheels so it can be moved out and the room can be used to create a new set. The bathrooms have metallic mats so that the lights will be less reflective when filming.
The space has three standard enclosed black box studios that can be used with green screens, but there are also physical sets such as two diner booths for a restaurant scene. The location’s hang out room can also double as a cozy studio apartment.
We think of this as a community center.
The studio is also made to look like a New York building with exposed brick and other characteristics for a grittier feel.
“New York has its own flavor and style,” Relis said. “We want to focus on the community and let them drive the style of the place.”
‘A godsend’ for artists
YouTube Space will officially open next month but presently has creators and production teams trying out the location. Above Average, a digital production team that serves as the digital arm of Lorne Michaels’ entertainment company “Broadway Video,” plans to produce six web shows in the next month.
Having worked in New York, just the practical element of not having to locate space and drive around the city in a rented vehicle to pick up equipment will be a major benefit, producer Brendan McMorrow told The News.
“To not have to drive a cargo van around New York is a godsend,” the Harlem resident said.
There are meet up events and email groups for online video creators in the city but Production Manager Kelly Harper told The News she is excited about all of the possible new colleagues she could meet at the studio.
“You are constantly saying ‘wow what a small world,'” the Williamsburg resident said.
M.B. ELIAN/M.B. ELIAN FOR NEW YORK DAILY NE
Relis said he does not know how many creators have 5,000 subscribers in the
M.B. ELIAN/M.B. ELIAN FOR NEW YORK DAILY NE
Relis said he does not know how many creators have 5,000 subscribers in the New York area, but the company will use the facility to connect with them. He added people from all over the region like Boston and Philadelphia have already asked about working there.
The addition is also a product of YouTube’s growth in the city. Relis was one of the first two YouTube employees Google put in the New York offices seven years ago, and there are now a few hundred YouTube employees in the city.
Learning to use a professional studio
Before shooting videos the creators can sign up for tutorials and learn how to use the equipment, which includes cameras, microphones, green screens and editing stations, Relis said.
“Not everyone is familiar with what to do in a black box studio,” he said. “We want everyone to feel comfortable with everything they are doing here.”
Relis said the studio is the company’s way of investing in the community.
Making YouTube videos has become quite profitable for many artists as there are currently more than 1 million channels earning revenue through YouTube. Thousands of channels are making six figures annually through selling advertising, and partnering with companies by making videos promoting their products. One billion unique users visit YouTube each month and watch 6 billion hours of video.
The space will also host a “Google BrandLab” that will host workshops for advertisers.
This makes you look very professional. It makes you look like hot stuff.
The 5,000 subscriber mark is also often surpassed by many Youtube channels. There are many local stars that have hundreds of thousands of subscribers, who have become famous enough to get recognized while on the subway or taking a shower at their gym.
But many of these creators have never had the luxury of working in a professional studio space before – often utilizing their apartments or shooting on the street with less than high-end equipment.
Alba Garcia makes the SunKissAlba channel, which has nearly 450,000 subscribers, that watch her give beauty and natural hair tips from her Brooklyn apartment.
Garcia told The News she plans to shoot her first video in the studio Wednesday, which will be the first time she has made one outside her home.
“I do think there’s an approachable factor (in her videos) and it’s relatable to see a girl giving tips from her home,” the Brooklyn resident said. “But doing something from a studio is not something I can do often. How can I not take advantage of it?”
When they want to film outside, Lewis said they previously had to use tactics such as guerilla filming on the street, or less legal methods such as walking into the bathroom at the Marriot Marquis hotel in Times Square while locking the door to film a stunt.
When asked if he was worried about publicly admitting their favorite bathroom location he replied “it doesn’t matter. I have a bathroom here.”
News If there were any lingering doubt about YouTube’s status as the biggest streaming music service on the planet, then this fact should dispel it: The Google-owned site has now paid out more than $1 billion in royalties to record labels (and other copyright owners, such as film studios and broadcast networks) for videos they didn’t even upload.
YouTube is able to do this thanks to its controversial Content ID technology, a digital fingerprinting system designed to assuage content owners concerns about piracy. Under this system, which remains contentious among people who use the site to promote themselves (particularly in the video game world) every single video that is uploaded to YouTube is scanned against a database of more than 25 million reference files provided by participating content owners ( the biggest film studios, record labels and broadcast networks).
If copyrighted content is identified (including, for example, mashups and lip synchs of songs) the rights holder has the ability to, among other things, block it, mute it, or monetize it by running ads against it and share a slice of the revenue generated with Google.
Given music videos are estimated to account for nearly 40% of all the views on YouTube, it’s reasonable to assume a large chunk of the $1 billion in payouts have gone to the recording industry. It’s taken a while to get there (Content ID was launched back in 2007), and the money is to be shared (no doubt in varying proportions) among some 5,000 content owners. Also, for comparison, Spotify paid out $500 million in royalties last year alone.
But being paid for the use of your content without actively promoting it is vastly superior to being a victim of piracy. A spokesman for YouTube said the majority of content owners “choose to monetize their claims” when their content is identified, and many have seen significant increases in their revenue as a result”.
Ad-supported streaming music services, of which YouTube is easily the biggest, accounted for about 8% of the recorded music industry in 2013, which was worth $15 billion. And unlike just about everything else in music (with the exception of the vinyl renaissance) they are growing rapidly. Content owners seem to recognize this reality.
has confirmed a big milestone to Billboard: $1 billion in payouts from its ContentID copyright earmarking system since its launch seven years ago.
The system is made available to select creators and rightsholders (generally companies that hold a large amount of rights, like labels and film studios) in order to control how content they hold the rights to is made available within YouTube.
“Content ID has empowered creators to remix, curate and celebrate their favorite songs and videos, resulting in videos that are both entertaining legions of fans and rewarding rights holders with revenue,” director of product management Matthew Glotzbach tells Billboard.
YouTube has 1 billion active users each month, watching 9 billion hours of video. YouTube’s Content ID is used by companies to monetize videos generally uploaded without their consent, and not videos uploaded by rightsholders. My (an admittedly apples and oranges) comparison, Spotify paid out $500 million to content owners in 2013, across 24 million users. The disparity should be heartening to rightsholders in at least one way, however, as YouTube’s subscription streaming service looms.
With an ever-widening choice of 4K cameras and displays interest in 4K acquisition is on the up. We talk to filmmakers about why it’s the next big thing
I think this year we’re in a similar position that we were with HD over a decade ago. We are on the brink of 4K becoming much more widely used.
Corporate filmmaker Matt Davis
It’s impossible these days to keep up to date with the latest developments in camera technology without coming across mention of 4K. That’s because a growing selection of new cameras enable images to be shot and stored at ultra high resolutions – four times the size of HD images.
What is really making filmmakers sit up and take note is that they are beginning to understand how 4K can work for them. They are realizing how ultra high resolution images can provide viewers with a more immersive and compelling viewing experience. 4K also gives them more flexibility. Single shooters in particular, delivering on HD or even SD, now have the ability to generate multiple shots from one camera position by cropping into their 4K images.
In addition, the development of 4K on set monitoring, the evolution of 4K workflows for post-production and the proliferation of higher-than-HD quality displays such as the latest consumer TVs and Retina display iPad are beginning to connect up the ultra-HD value chain.
Corporate filmmaker Matt Davis says: “I think this year we’re in a similar position that we were with HD over a decade ago. We are on the brink of 4K becoming much more widely used.”
Immediate impact of 4K
Robbie Williams Live at the O2 Arena shot in 4K
For Davis the benefits of shooting 4K are immediate. “The big advantage is that 4K future proofs your work. If you’re shooting for a market that could span 10 years or more, you have to consider 4K.”
“Documentary, historical coverage, one-off interviews, unique events – all these are immediately suited to 4K. Stock libraries will also need their portfolios refreshed with high quality 4K material.”
Director James Tonkin, who owns a Sony NEX-FS700E and frequently shoots in 4K, adds that part of the appeal is the aesthetic quality of the 4K image. “I’m personally interested in working with a medium that gives a higher degree of realism and fidelity. When I’ve watched 70mm film projected I’ve felt more lost in the image – due, in part, to the fidelity of the film stock I was watching. I see the biggest benefit of 4K being as a format which allows us to capture images closer to reality and help tell better stories.”
Austrian director of photography Nino Leitner, who has shot several short films and commercials on a range of 4K cameras, agrees that 4K is most immediately applicable to productions targeted at a non-broadcast audience. “In the future I plan to shoot more documentaries and short films targeted at cinema distribution in 4K, partly because it’s a future proof route for cinema.”
He adds: “Its importance will also be seen in stock footage production where there is fierce competition right now.”
Another really important use of 4K will be allowing filmmakers to crop into their images in post, while still maintaining a 1080p resolution, declares Leitner. “Plus it’s good for downscaling for 1080p or 2K delivery. 4K images turn out much sharper than images that were natively shot at 1080p or 2K.”
4K and the corporate sector
Matt Davis predicts that 4K is set to be really big outside the worlds of broadcast TV and film production. “The corporate and industrial sectors, which generally have more control over the final display technology, will probably get the ball rolling for 4K videography faster than high end broadcast,” he reasons.
Already corporate clients are looking at high quality video beyond HD which can stand up better to display on a range of high end displays such as video walls, 4K panels and projectors. Filmmakers can now shoot 4K and use the web for delivery via YouTube or via bespoke playout for corporate clients or projection at large events.
In fact, with filmmakers required to deliver content on an ever wider range of devices, 4K allows content to be reversioned for the best quality wherever it is needed, explains Davis.
Ultra HD images of Cisco Live corporate event
“Delivery to a wider range of mobiles and tablets can be a nightmare mix of 4:3 in HD, 16:9, 16:10, landscape and portrait. Here 4K has the advantage of allowing us to crop and scale to give the best experience on whatever platform it is required.”
For wedding videographer Zulqar Cheema, the ability to crop images but maintain HD resolution is a real benefit, allowing him to create multiple shots from a single camera position. “Instead of doing a wide shot and a close up, with 4K I can just shoot wide and decide on framing back in the edit suite,” explains Cheema.
“As a single cameraman, 4K would allow me to be more flexible with that one shot. If a couple are shot in 4K standing at the altar I can crop into the ring on her hand or to a close up of the bride smiling.”
Working with more data inevitably means there are some important technical and budgetary considerations. Nino Leitner warns: “Everything is four times as hungry in terms of processing and storage in 4K compared to 1080p. Whole new pipelines with hardware acceleration need to be build to be able to cope with the amount of data needed.”
James Tonkin adds: “I’m used to filming in a higher resolution than our final delivery medium as I’m interested in capturing the highest fidelity image at source. But costs have to be considered all the way down the line, from post production to archiving as you’re dealing with a lot more data.”
“That means more hard drives on set for production and more workflow questions. If the delivery is at 1080p you have to work out how to deal with a 4K workflow in post so editing, grading and vfx software can handle the 4K images. Storage speeds and capacity become very important here as 4K projects require more disk space than projects at 1080p.”
XAVC is a very exciting step forward – I hope these H.264 based codecs will achieve the ubiquity of AVCHD or MPEG2.
The good news is that technical developments such as the Sony XAVC codec make shooting 4K with cameras such as the PMW-F5 and PMW-F55 much more manageable. Nino Leitner comments: “It’s great to see Sony come up with XAVC because it really tackles the problem of affordable 4K at reasonable file sizes and in great broadcast quality.”
Matt Davis agrees: “XAVC is a very exciting step forward – I hope these H.264 based codecs will achieve the ubiquity of AVCHD or MPEG2.”
Advances in large format screens are driving acquisition at 4K and beyond
The range of 4K cameras now available to filmmakers is about to become wider still with the imminent firmware update for the NEX-FS700. This will unlock the 4K potential of a camera that has already impressed with features such as slow motion at up to 240fps at full HD resolution.
Says Davis: “Some see the FS700 as the B-cam to the F55 (in the same way FS100 was the F3’s B-cam), but it’s a pretty good A-cam for the corporate world.”
“It has an 11 stop range, can handle a wide range of glass, and can operate as a small ‘medium format’ handycam one moment and a fully rigged cinema camera the next – plus it can do amazing slow motion. Add a hardware and software upgrade, and it’s shooting 4K, 12 bit raw!” It’s one heck of a camera.”
Whatever camera you use, 4K is bound to become more prevalent throughout the industry. Already there are a wide range of displays capable of more than HD quality and, when 4K TVs, players and most importantly 4K content becomes more widely available, we will see the wider adoption of 4K production, states Davis.
“Right now even 1080p isn’t the norm for broadcast so 4K will take a little time to become the new standard in homes. But it’s certainly on the radar.”
So although 4K may be a little way off for traditional broadcast television, in industries such as corporate production, cinema, documentary, archive and stock footage production, the world has already begun to move beyond HD.
Now high definition content has become a standard for consumers , just imagine how demanding video resolution requirements are in the field of professional videography. Well, to some, video cameras that shoot in full HD may still suffice; however, with the advent of 4K professional video cameras, others may not think the same anymore.
If you are one of those looking for the best and the latest pro camcorders available today, then take a good look at our list of the top 10 video cameras 2014 in 4K.
The PXW-Z100 by Sony is their latest pro 4K camera to be priced at less than $6,000. This camcorder records at “true 4K” which is 4096×2160 and UltraHD 3840×2160 resolutions up to 60p. These are resolutions that far exceed even today’s best video cameras. What’s more is that this model uses the XAVC 4:2:2 10-bit codec and inMXF file format. Other impressive features with the Sony PXW-Z100 are its fixed 20x Sony G Lens and 4K Exmor R CMOS Sensor. Without a doubt, it is a model worth taking a closer look at.
The Blackmagic Production Camera 4K is built with a Super 35 size sensor that allows for full 3840 x 2160 Ultra HD 4K resolution images. The sensor – which is optimally sized – allows for minimal crop factor which means that you get really impressive shots from using your wide angle lenses. Not only that, you also achieve greater control over depth of field thanks to the size of the Super 35 sensor built into the camera. This camera is a must see for anyone looking for a hybrid solution.
Sony has recently released its first 4K handheld video camera. It provides full 4k resolution, weighs just 915g, and comes in around $2000. The camera is also a good choice for indie videographers who have not fully abandoned dSLR to take the plunge to UltraHD. Click the Read Review button to see some test footage and learn more.
The Sony FDRAX1 4K Video Camera comes with an 8.3MP Sony Exmor R CMOS image sensor essential for the capture of stunning videos at a quality far exceeding HD resolution. Because it has a backlit structure that features layers of photodiode wiring, it makes for the best shooting experience with amazing low-light sensitivity. It shoots raw 4k data at 60FPS but at extended recording times.
JVC’s GY-HMQ10U 4K Compact Camcorder is one that is most known for its Falconbrid high-speed processor that allows for advanced video applications. This camcorder is equipped with a CMOS 4K Sensor essential for capturing videos at 3840×2160 resolution. Because of its single sensor sensitivity, it works impressively over different lighting conditions. The GYHMQ10U also employs 4K progressive recording in MPEG 4/H.264 format at 144 Mbps. It simplifies optical design, thus captures accurate images with very minimal aberration
If you have the budget and you want the best in 4K then the Sony PMW-F55 is the production video camera for you. The image sensry captures true 4K at 4096 X 2180 and is more than capable of producing broadcast quality footage at either 4K or 2K. Filming at 2K you are able to shoot up to 240FPS ( with optional AXS-R5 Recorder) and 60FPS at 4K. Please take a look at the overview to see the full specification and some great movies produced by this camcorder.
The Panasonic Lumix DMC-GH4 4K Mirrorless Micro Four Thirds Digital Camera is a hybrid camera designed to be used for both professional photo and video use. The camera features a 16.05-megapixel Digital Live MOS sensor, as well as a 4-CPU Venus Engine which is capable of capturing JPEG and RAW stills at high resolution. This is a new entry to our top 10 4K Video Cameras. Take a look at this hybrid it may be what you are after.
The Ursa from Black Magic Design is the latest 4K camera to make its appearance in the market. It features a 10″ monitor and two 5″ monitors for ultimate control and detailed feedback. The wide dynamic range is way above much of the competition. This camera is guaranteed to deliver 4K footage that is up there with the best out today. With the release of the Ursa Broadcast camera model later this year, Blackmagic look set to push the 4K envelope.
This camcorder can support frame rate of up to 120 in both its 2k and 4k modes. It provides a greatly enhanced creative flexibility for both slow motion and high speed video capture. What’s more is that it includes a Canon Log Gamma which allows for the delivery of high quality video output and wide exposure latitude that a lot of professional cinematographers demand. This thing is the ultimate 4K camera and if we were to choose one from our list it would be this one.
The Sony NEX-FS700RH professional camcorder uses the 4k Exmor Super 35 CMOS sensor, which is a high-speed readout chip optimized primarily for shooting motion picture. Other than high sensitivity, it has minimal aliasing and gives out low noise. This camcorder captures 4K raw videos at a frame rate of 100 FPS. For 2k raw, however, it can capture at 100, 120, 200 or 240 FPS of continuous recording. Super slow motion capability of the Sony NEX-FS700RH is 10x for full HD and 40x for videos with lower resolutions.
RED ONE – The Original 4k Video Camera
Red One are the best in the field for 4K and the original pioneers of 4K video production. The 4k cameras made by Red are some of best available today. If you have a budget of $30,000+ then you will definitely want to take a look at Red One 4k cameras.
Top Ten Best 4k Video Cameras & Camcorders
These are some of the best 4K Cameras available today. Lets see how things progress over this year as new models are released.
‘A$APy birthday to you, A$APy birthday to you…’ The style prince of hip-hop turns 26 today, and he’s spent at least three of those years looking absolutely excellent at all times. He’s at home sporting challengingdesigner getups, while perched shoulder-to-shoulder with some fearsome fashion mag matriarch in the front row of fashion week shows. But he’s equally at ease rolling with his mates in swagnificent streetwear. Either way, he dresses cool and looks comfortable with it, which is good enough reason to celebrate A$AP Rocky’s big day with five big hits from his sartorial back catalogue.
When the man known to his mum as Rakim Meyers played Brixton Academy in 2013, he paid tribute to his host country by dressing in a hip-hop approximation of a 20s Oxbridge PE kit. Unsurprisingly, he looked on (chariots of) fire.
Persistently irate rapper Kanye West has had a busy few weeks. Not only has he wrapped up the Australian leg of his critic-crushing Yeezus tour, but he and wife Kim Kardashian have also completed a slam-bam gad about the world’s most influential fashion weeks in New York, London, Milan and Paris. Fancy.
Otter Media, a joint venture between AT&T and the Chernin Group, has purchased a majority stake inFullscreen, a MCN that represents channels that have more than 475 million subscribers collectively. This purchase gives one of the oldest U.S. media companies a straight line to the talent that younger audiences are obsessed with.
And that was entirely the point: “The trajectory [Fullscreen is] on is unbelievable, especially when you look at how 10- to 25-year-olds are consuming video,” Jesse Jacobs, president of the Chernin Groupsaid in an interview. This motivation is well founded, as YouTube has greater impact on the 18-to-24 demographic than any cable network.
There are currently two ways to invest directly in the talent coming out of YouTube: either throughdirect deals with creators like Smosh in an attempt to capitalize on their fame, or through the acquisition of multi-channel networks. Keep in mind that Smosh already belonged to a multi channel network — AwesomenessTV — which was recently acquired by Dreamworks for $117 million.
By investing in the MCNs, older media companies have a fast-track into new media, which doesn’t require building their own distribution channels. Since the motivation for buying MCNs is to invest in the already huge fan bases, there’s no need for heavy marketing. In fact, younger audiences are often more engaged with YouTube talent than with Hollywood celebrities.
As digital natives turn to their preferred channels for entertainment, everyone is throwing money at YouTube to foster and exploit the talent that grows there. And this is likely only the beginning of the trend. AT&T has a budget of $500 million that it’s interested in spending on digital media — and it’s only about half way there.