EVENT COVER AT: New York Business Expo & Conference A growth & education experience for small business November 10th 2016 | 9:00 am - 5:00 pm | Jacob Javits Center

The Regions #1 Business Conference, Trade Show and Networking Event

Learn | Network | Grow




There are many opportunities to meet your next business partner or customer at NY Expo.  Network with vendors on the show floor, meet our speakers or exchange business cards with other attendees.  Or you can attend the After-Hours Networking Event which is designed to casually promote networking while enjoying some appetizers and a cash bar.


Our conference sessions are 100% educational and designed to help you grow your business.  Attend seminars in categories such as Digital Marketing, Sales Growth, Social Media, Entrepreneurship, Business Growth, Sales & Marketing Strategy and much more!  We pride ourselves on working with some of the best speakers in the business who are there to educate not sell and we guarantee you will walk away with new knowledge.

Show Floor

Come walk our 175 booth show floor at the Javits Center in NYC.  Identify the latest products and services to help you grow your business now!  Whether you are looking for social media services, payroll, website design, graphics, insurance, etc. you will find companies to speak with at the NY Expo.  The show floor will also house features such as the Business Resource Pavilion, SCORE Counseling Sessions & the Social Media Lab.


We work with the top business experts in the industry to deliver high level education.  This year’s event will feature Bestselling Author, Greg Reid and YP’s Luke Edson.  We have been fortunate to work with past keynotes such as Jeffrey Hayzlett, Dave Kerpen, Russ Laraway of Twitter, Jonathan Jackson of LinkedIn, Gary Vaynerchuk, Robert Scoble, Chris Brogan, Bess Yount of Facebook, JJ Ramberg of MSNBC and many more!


—I’m a small business owner and I’ve attended the show three times. I can’t say enough about this show, super informative and amazing networking opportunity. The Speakers... Are was very helpful and was an absolute pleasure. Excited to be attending this again next year!!——

As well we was their with our Film-Crew from our Video Marketing Company and we did a small Video Samples at this SHOW, and we was give the opportunities to Business Owners to do Small interview at the show with PRODUCTION TEAM.
We Can Say exhibitor at the Small Business Expo is this is a EXCELLENT INVESTMENT TO SMALL BUSINESS. We find the events very well produced and a valuable resource for small business owners and professionals. we see the all exhibitor, get the chance to market their business to thousands of members of the small business community. As an attendee, it’s fun to meet other vendors and explore new technology or services that benefit small business owners. The free attendance is just PRICELESS to have more business owner come over and take some Tips, Tricks, advisers & networking (The Full Cake)
If you’re a small business owner or business professional, this event is highly recommended!
Congrats to Producer & Organizers of this Event in NYC - 2016
— (DP) Art Director: Video Marketing Specialist -

One of the biggers MISTAKES of small business, in today's market / YOUR BUSINESS WEBSITE - is like your business card - Lest work in your branding - We're here to help!

  By: Studios NY/NJ. (DP /video marketing - web design - online marketing)

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We might have the right solution for your business in terms of designs and logos.

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    Blackmagic Design Products Used on More Than 20 of Summer’s Most Anticipated Films

    | Jul 20, 2016 | 

    Fremont, CA – July 20, 2016 – Blackmagic Design today announced that more than 20 of this summer’s hottest films used its digital film cameras, VFX and motion graphics software Fusion Studio and DaVinci Resolve Studio on set, editing, color correction and finishing tools to shoot, composite and grade the films. 

    From capturing car crashes and action scenes in “The Infiltrator” and “Jason Bourne,” to VFX work, such as compositing “The Founder” and shooting VFX plates for “Independence Day: Resurgence,” and finessing color in “Alice Through the Looking Glass” and “X-Men: Apocalypse,” Blackmagic Design products were used to help deliver these films and more. The summer films that used Blackmagic Design products include:

    • “Ben-Hur” Second Unit DP Sergei Kozlov used several Blackmagic Micro Cinema Cameras to capture the opening action sequence of the film;
    • “Don’t Breathe” DP Pedro Luque used a Pocket Cinema Camera for the film’s action scenes; 
    • “The Infiltrator” DP Joshua Reis used three Production Camera 4Ks as crash cameras; and
    • “Jason Bourne” Second Unit DP Igor Meglic used several Micro Cinema Cameras and Pocket Cinema Cameras to shoot action scenes for the film.

    Visual Effects:

    • “The Founder” was composited by Jeremy Nelson at Moving Target using Fusion Studio;
    • “Independence Day: Resurgence” had VFX plates shot by Additional VFX Supervisor Douglas Hans Smith and the team at Uncharted Territory using URSA Mini 4.6K; and
    • “The Shallows” Cody Cuellar at Digital Sandbox used DaVinci Resolve Studio to grade their shots for VFX Supervisor Scott Anderson.

    Color Grading using DaVinci Resolve Studio:

    • “Alice Through the Looking Glass” was graded by Stefan Sonnenfeld of Deluxe’s Company 3;
    • “Central Intelligence” was graded by Kostas Theodosiou of FotoKem;
    • “The Conjuring 2” was graded by Mark Griffith of FotoKem;
    • “Don’t Breathe” was graded by Siggy Ferstl of Deluxe’s Company 3;
    • “Don’t Think Twice” was graded by Sam Daley of Technicolor PostWorks;
    • “Equity” was graded by Roman Hankewycz of Harbor Picture Company;
    • “The Fits” was graded by Sam Daley of Technicolor PostWorks
    • “Florence Foster Jenkins” was graded by Adam Glasman of Goldcrest Post;
    • “The Founder” was graded by Stefan Sonnenfeld of Deluxe’s Company 3;
    • “Independence Day: Resurgence” was graded by Walter Volpatto of FotoKem;
    • “Jason Bourne” was graded by Rob Pizzey of Goldcrest Post;
    • “Me Before You” was graded by Rob Pizzey of Goldcrest Post;
    • “Now You See Me 2” was graded by Stephen Nakamura of Deluxe’s Company 3;
    • “Popstar: Never Stop Never Stopping” was graded by Siggy Ferstl of Deluxe’s Company 3;
    • “Swiss Army Man” was graded by Sofie Borup of Deluxe’s Company 3;
    • “Teenage Mutant Ninja Turtles: Out of the Shadows” was graded by Stefan Sonnenfeld of Deluxe’s Company 3;
    • “Warcraft” was graded by Siggy Ferstl of Deluxe’s Company 3;
    • “Wiener-Dog” was graded by Sam Daley of Technicolor PostWorks;
    • “X-Men: Apocalypse” was graded by Stephen Nakamura of Deluxe’s Company 3; and
    • “Yoga Hosers” was graded by Mark Todd Osborne at Runway.

    About Blackmagic Design
    Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to


    AMAZING !!! Spend a Day - New York with Blackmagic Design 2016

    ANOTHER AMAZING DAY !!! The day with Blackmagic Design held on July 20- 2016 in New York City from 10am to 5pm at the Wyndham New Yorker Hotel. The event include live stage demonstrations for Blackmagic’s newest products, as well as the chance to talk one on one with the Blackmagic Design team and hands on time with the products. For those in the New York area on the 20 this is the perfect chance for you to get your hands on the NEW 4.6 BLACKMAGIC MINI-URSA, Micro Studio Camera and Micro Cinema Camera, MINI URSA, The NEW 4K Assist Monitor and the if you weren't able to attend NAB, CineGear or the like these past few months.

    As Well You can register for the day for FREE at  blackmagic website NEXT YEAR IN THE SAME PLACE - CK  in SUMMER 2017

    New professional lens for photo & cinematographers on you mobile iPhone

    ck this 

    ZEISS and Fellowes Brands Launch Mobile Phone Accessory Photography – Setting a New Quality Standard

    Fellowes Brands, manufacturers of premium mobile photography accessories and ZEISS, international optics enterprise, present three new high-performance accessory lenses for mobile phones at the 2016 Consumer Electronics Show in Las Vegas



    The will be nice to make for iPads  

    what do you think? 

    What Cine Lenses to use Using crop factor blackmagic 4k (Respond to your comment, eMails and Questions)

    The Blackmagic Production Camera 4K
    Guide (Part One) & (Part Two)
    Lenses, Filters, Matte Boxes and Follow Focus Systems

    Do you want to see a PART 3 About:

    Please Let Us Know 

    Name *



    Disclaimer: Since the Blackmagic Production Camera 4K isn’t out yet at the time of this writing most of this guide is conjecture – the result of relying on information provided by Blackmagic Design, educated guesses and my personal experience and analysis. It is only a starting point, from which you will hopefully continue to research and find what best suits your workflow. The information provided here might not be accurate or relevant. You are solely responsible for your decisions and actions.

    Search & Experance to share By DP / wolf crow and Sareesh Sudhakaran


    In Part One we looked at ergonomics and specifications of the Blackmagic Production Camera 4K. In this part we’ll look at lens options, filters, matteboxes and follow focus systems for the camera.

    About the Sensor and Super 35mm

    I won’t be going into details about how I choose lenses, because I’ve already covered a lot of ground here:

    The Blackmagic Production Camera 4K has a Super 35mm-sized sensor. What does that mean? Here’s the actual size of Super 35mm film:


    The traditional 3-perf Super 35mm size is 24.89 mm x 14 mm with an aspect ratio of 16:9. It has a crop factor of 1.45. How does the Blackmagic 4K Camera compare? Here’s a diagram comparing it (dark pink) to full frame 35mm (blue border) and Super 35mm 3-perf (grey with orange border):


    The Blackmagic Production Camera 4K sensor measures 21.12 mm x 11.88 mm. Slightly smaller than traditional Super35mm, but it’s nothing to bicker about. The resolution is 3840 x 2160 (or 8 MP). This size to resolution ratio will reduce artifacts caused by line-skipping and incorrect interpolation (downsampling) that you find inDSLRs.

    The sensor demands a lens that can deliver a resolution of 182 lines per mm, or 91 line pairs per mm. In plain speak, you need a really good lens. No, let me make that clearer – you need a top-of-the-line class lens to extract the full resolution this sensor is capable of.


    As you can see, the crop factor of the Blackmagic 4K camera in comparison to full frame 35mm is 1.7. Here’s a table showing you what focal lengths you’ll need to obtain the equivalents for full-frame 35mm:


    Focal Length (mm)35mm FF equivalent (mm)


    The Blackmagic Production Camera 4K comes in an active Canon EF mount (also accepts EF-S lenses for APS-C sensors). The advantages of the Canon EF mount and Canon lenses are:

    • The lenses are designed to cover a larger full frame area, so any aberrations like vignetting, resolution drop off, etc., at the corners will be cropped by the smaller sensor of the Blackmagic 4K Camera.
    • They are primarily designed for highly demanding still-camera sensors (FF demands 160 lines/mm, while APS-C demands 232 lines/mm), so they should be able to resolve 182 lines/mm.
    • They come in both cheap and expensive versions and are widely available, with apertures from f/1.2.
    • You can adapt Sony A, Nikon F, Leica R, Pentax K and Arri PL-mount lenses to the EF mount (see table below).

    Here’s information on each mount, in increasing order of the focal flange distance:

    Unlike the other two Blackmagic cameras, this one is easier to lens in terms of focal length. However, in terms of f-number, it’s tough to focus at an aperture like f/2 and lower – especially with 4K. Any slight focusing errors are ‘magnified’ thereby more distracting. Therefore, unless you know precisely what you’re doing, it is better to stick to f/2.8 and higher. This does not mean you can’t get a T1.5 or T1.3 lens, it just means you might want to stop down for practicality’s sake.

    Lenses for the Blackmagic Production Camera 4K

    I have already explained (in the links provided above) why I think a professional lens should have an f-number of f/2.8 or lower. The lower the f-number the better. As a general rule of thumb, a lens reaches its maximum potential two stops down. E.g., if you buy an f/1.4 or T1.3 lens, its best performance is likely at f/2.8 – until f/5.6 (for Super 35mm sized frames). Beyond f/5.6, you will start to see the effects of diffraction (f/8 is just about okay, but f/11 will definitely appear soft).

    For lower resolution video, like 1080p, these considerations are hard to see. However, on 4K, they are quite visible. There’s nothing worse than having a blurred image when you absolutely don’t want it. Therefore, I suggest you follow this strategy:

    • Get a lens that covers full frame 35mm if possible.
    • Get a lens that will allow you to use a follow focus system easily (more later).
    • Get a lens that has an f-number of f/2 or lower.
    • Use your lens at f/2.8 to f/5.6 as much as possible. If your lens starts at f/2.8, test it against f/4 to see if the image quality is good enough or not. Don’t forget to test at 1:1 crop on a good monitor, at 4K.
    • Get an EF mount lens. Adapters not machined correctly will increase the chances of blur. Therefore, it is a wise strategy to avoid adapters if you can.

    The following table lists my lens suggestions for the Blackmagic Production Camera 4K. Some notes:

    • I’m not including top-of-the-line cinema lenses, which for me, are the Arri Ultra and Master Primes, Cooke S4/i and S5/i primes, the Leica Summilux-C primes, and the Angenieux zooms – all in the PL mount.
    • The numbers in brackets signify the approximate 35mm full-frame equivalents.
    • Unless stated, all lenses are in the EF mount.
    • Cinema lenses are usually manual focus. Between Zeiss and Canon cine lenses, I prefer Zeiss.





    Ultra-wide <24mm*

    Cheap and Good = 

    Vivitar 7mm f/3.5 Series 1 Fisheye Manual Focus (K-mount, F-mount) (12mm)
    Rokinon 8mm Ultra Wide Angle f/3.5 Fisheye Manual Focus
    Sigma 10mm f/2.8 EX DC HSM Fisheye (17mm)

    Weather-sealed = Not available

    Cinema-lens = 

    Rokinon 8mm T/3.8 Fisheye Cine (14mm)

    Wide 24-35mm

    Cheap and Good= 

    Rokinon 14mm f/2.8 IF ED UMC (24mm) Manual Focus
    Rokinon 16mm f/2.0 ED AS UMC CS (28mm) Manual Focus
    Canon EF 20mm f/2.8 USM (34mm)


    Canon EF 14mm f/2.8L II USM (24mm)
    Zeiss Distagon T* 15mm f/2.8 ZE Manual Focus (25mm)
    Zeiss Distagon T* 21mm f/2.8 ZE Manual Focus (35mm)

    Cinema-lens Canon CN-E 14mm T3.1 L F (24mm)
    Zeiss Compact Prime CP.2 15mm/T2.9 (25mm)
    Rokinon 16mm T2.2 Cine Manual Focus (28mm)
    Zeiss Compact Prime CP.2 18mm/T3.6 T Manual Focus (31mm)
    Zeiss Compact Prime CP.2 21mm/T2.9 Cine Manual Focus (35mm)

    Medium 40-85mm

    Cheap and Good =

    Rokinon 24mm f/1.4 ED AS UMC (41mm)
    Canon EF 28mm f/1.8 USM (48mm)
    Sigma 30mm f/1.4 DC HSM (51mm)
    Sigma 35mm f/1.4 DG HSM Art (60mm)
    Sigma 50mm f/1.4 DG HSM Art (85mm)
    Canon EF 50mm f/1.4 USM (85mm)

    Weather-sealed =

    Canon EF 24mm f/1.4L II USM (41mm)
    Canon EF 35mm f/1.4L USM (60mm)
    Canon EF 50mm f/1.2L USM (85mm)


    Canon CN-E 24mm T1.5 L F Cine (41mm)
    Zeiss CP.2 25mm T2.1 Compact Prime (43mm)
    Zeiss Compact Prime CP.2 28mm/T2.1 Cine Manual Focus (48mm)
    Zeiss Compact Prime CP.2 35mm/T1.5 (60mm)
    Canon CN-E 50mm T1.3 L F Cine (85mm)

    Short Telephoto 90-150mm

    Cheap and Good= 

    Pentax 55mm f/1.4 DA* SDM K-mount (94mm)
    Tamron SP AF 60mm f/2.0 Di II LD 1:1 Macro (102mm)
    Canon EF-S 60mm f/2.8 Macro USM (102mm)
    Sigma 70mm f/2.8 EX DG Macro (119mm)
    Rokinon 85mm f/1.4 Aspherical (145mm)
    Zeiss 85mm f/1.4 ZE Planar T* Manual Focus (145mm) – not exactly cheap!
    Tamron 90mm f/2.8 SP Di MACRO 1:1 VC USD (153mm)


    Canon EF 85mm f/1.2L II USM


    Zeiss 55mm f/1.4 Otus Distagon T* – not cinema or weather proof, but does deliver quality! (94mm)
    Schneider CINE-XENAR III 75mm T2 – not cheap (128mm)
    Zeiss Compact Prime CP.2 85mm/T1.5 (145mm)

    Long Telephoto 150-300mm

    Cheap (not really) and Good=

    Canon EF 100mm f/2 USM (170mm)
    Sony 135mm f/1.8 Carl Zeiss T* (A-mount) – not cheap! (230mm)
    Sigma 150mm f/2.8 EX DG OS HSM APO Macro (255mm)
    Sigma 180mm f/2.8 APO Macro EX DG OS HSM (306mm)


    Canon EF 100mm f/2.8L Macro IS USM (170mm)
    Canon EF 135mm f/2L USM (230mm)


    Zeiss Compact Prime CP.2 100mm/T2.1 (170mm)
    Zeiss Compact Prime CP.2 135mm/T2.1 (230mm)

    Super Telephoto >300mm

    Cheap and Good

    Canon EF 200mm f/2.8L II USM (340mm)
    Canon EF 300mm f/4L IS USM (510mm)


    Canon L series primes

    Cinema-lens Not available


    Wide Range 16-35mm

    Cheap and Good=

    Sigma 8-16mm f/4.5-5.6 DC HSM (14-28mm)
    Canon EF-S 10-22mm f/3.5-4.5 USM (17-38mm)
    Tokina 11-16mm f/2.8 AT-X 116 Pro DX (19-28mm)
    Tokina AT-X 16-28mm f/2.8 Pro FX (28-48mm)
    Canon EF 17-40mm f/4L USM (29-68mm)
    Sigma 18-35mm f/1.8 DC HSM (31-60mm)


    Canon EF 16-35mm f/2.8L II USM (28-60mm)


    Zeiss Compact Zoom CZ.2 15-30/T2.9 (26-51mm)
    Canon CN-E 14.5-60mm T2.6 L S (25-102mm)
    Both are way too expensive!

    Medium Range 40-135mm

    Cheap and Good=

    Tamron AF 28-75mm f/2.8 XR Di LD Aspherical (IF) (48-128mm)
    Canon EF 24-105mm f/4L IS USM (41-179mm)

    Weather-sealedCanon EF 24-70mm f/2.8L II USM (41-119mm)

    Cinema-lensZeiss 28-80mm T2.9 Compact Zoom CZ.2 (48-136mm)
    Canon CN-E 30-105mm T2.8 L S (51-179mm)
    Both are way too expensive!

    Telephoto Range >150mm

    Cheap and Good=

    Canon EF 70-200mm f/4L IS USM (or the one without IS) (119-340mm)
    Canon EF 70-300mm f/4.5-5.6 DO IS USM (119-510mm)


    Canon EF 70-300mm f/4-5.6L IS USM (119-510mm)
    Canon EF 100-400mm f/4.5-5.6L IS USM (170-680mm)
    Canon EF 70-200mm f/2.8L IS II USM (119-340mm)
    Canon EF 200-400mm f/4L IS USM (340-680mm)
    Sigma 200-500mm f/2.8 EX DG APO IF (340-850mm)
    The last two are super expensive!


    Zeiss 70-200mm T2.9 Compact Zoom CZ.2 – way too expensive! (119-340mm)

    *I don’t recommend the use of fisheye lenses. Correction is an additional post processing step, and you also lose some of the ‘wide-ness’. E.g., an 8mm fisheye after correction will almost become a 12mm or thereabouts, so why not use a 14mm instead and save yourself the trouble of correction? Also, correction reduces resolution. All in all a bad idea.

    Wow. With all these options, it is somewhat hard to pick the right lenses. Nobody can test all of them! I’ll give you my personal picks, but before that, let’s quickly look at adapters.


    Lens Adapters


    I don’t recommend using adapters for the Blackmagic Production Camera 4K, unless they are top-class and guarantee perfect shimming.

    Still, if you find the need, here are some options:


    What would I get?

    If you are confused by the lens options available, here is a list of lenses I would get to form the ultimate kit for the Blackmagic Production Camera 4K (Note: If I had the choice, I’d always pick cinema lenses, but let’s assume that option is not available for whatever reason):

    Five lens kit – three primes and two zooms

    This would be like a full kit, ready to tackle most situations. However, we’re not breaking the bank here.



    Four lenses – two options

    Four Primes:

    If I were a purist for primes that are cheap but don’t compromise on quality, I’d look at these:

    Four Zooms:

    Three lenses – two options

    Two primes and a zoom:

    Three Zooms:

    If you wanted three primes: From the 4-primes kit, I’d drop the 14mm f/2.8L.

    Two lenses – three options

    One prime and one zoom:

    Two Primes:

    Two Zooms:



    One lens – OPTION


    If I had the choice of one and only one lens, I’d pick the Sigma 18-35mm f/1.8 DC HSM(31-60mm). At f/2.8 there are few lenses better than this one. However, if you want image stabilization and weather protection, the Canon 16-35mm f/2.8L might be better.

    Now You Want The BEST OF THE BEST Sure! 
     CN7x17 KAS S Cine-Servo 17-120mm T2.95 (EF Mount)  

    Important: Regarding IRIS control, we don’t know which lenses will work and which won’t, so if that’s a factor, wait till the official reviews are out.

    Filters & Matte boxes

    I’ve covered filters in great detail in the Guide to Lens Filters so I won’t be going into them in detail. However, one kind of filter that will definitely come handy is the ND or variable ND filter. You must find an ND filter that fits the filter thread of your lens. For filters, I recommend Singh-Ray and Heliopan.

    A matte box does provide some ‘oomph’ to any camera setup:


    To learn about matte boxes, and whether you need one, read the Guide to Matte Boxes.

    Matteboxes will make your rig seriously front-heavy so you must pay attention to your rig. Don’t forget to match them against the front diameter of your lens.

    Follow Focus Systems

    This is one camera that would greatly benefit from a follow focus system. It does have a 1:1 crop zoom mode for focusing, as well as focus peaking – but neither is very useful outdoors because the screen is bad (assuming it’s the same screen from the BMCC), even with the hood. Also, neither the zoom mode nor the focus peaking is available via SDI. A good focus pulling system, along with a good focus puller, will save you blushes in post.

    For cheap but reliable, try the Genus G-SFOC Superior Follow Focus System.

    An ever better option is the Letus Follow Focus system:



    The ultimate follow focus system for this camera is the Arri MFF-2 Follow focus system.

    In Part Three we’ll look at monitors, viewfinders, audio and power supplies.

    Please support and Recommend US to a potential Client. It won't cost you extra. and we give you a 10% commission Just for Recommend Us /  1If this post helped you, please LIKE

    Tesla Model 3: Inside look like a "spaceship"

    Tesla Model 3: Inside look like a "spaceship"

    Back on the controversial dashboard of the Tesla Model 3, which raises many questions. Three days after the presentation of the car "mainstream" the specialist in electrical, it nevertheless has some answers.

    Tastes and colors, we do not argue, they say. However, if the exterior design of the Tesla Model 3 is not unanimous, it is far agreed and consensual than inside, that some even described as unacceptable.

    From Friday morning conference and the publication of the first photos in the process, we emphasized that the official communication evaded the question of the driver and infotainment on board, yet central on previous models. All we know of the dashboard, it draws from what we saw in the very briefly at the revelation of the new model, and the limited information that a representative of Tesla has delivered to journalists during a brief trial.

     350,000 Reservations In First Week&nbsp;

    350,000 Reservations In First Week 

    Although the engineering director had then claimed that they showed "really what they intend to produce," we remember when the CEO had announced the day before the event was the first two parts of the launch, and the cockpit was probably not final. The CEO warned that important elements are added to the Model 3 and others evolve by its circulation end of 2017.

    Meanwhile Elon Musk has just revealed on Twitter that the wheel was not in its final form, in response to a user that called him a similar driving that of a Ferrari, with commands such as turn signals, headlights or the wipers. The CEO invited him to "wait to see the real steering wheel and the system of the Model 3," adding that "it looks like a spaceship."

    In the same way as rims contribute much alone in the aesthetics of a car, strapped steering wheel controls could dress the dashboard.

    Finally, it is likely that minimalism is symbolic. Just as amazing grille devoid of distinctive grille serves as highlighting the lack of engine, so uncluttered dashboard could focus on autopilot capabilities of the Model 3, which will be to set a reminder. The front almost symmetrical reduce the distinction between the driver and passenger, both front seats are basically two passenger seats.

    And if the steering wheel was retractable and could retract?


    We hear this a lot… “We have a Facebook Page with quite a few followers… we don’t need a website. Do we?!” [Insert odd, puzzled look on someone’s face as they look at us for a reaction].

    Do you really want to know the answer to that question, or do you already know it? While Facebook is great to drive conversation and let your customers know about the new product that FedEx just dropped off, it’s not the most professional way to present your business.




    How do most of your customers find you? Is it word of mouth? Is it social media? Or is it that they did a web search on Google or Bing before ever setting foot in your store or picking up the phone to place a call to you? While Facebook pages do come up when you perform a web search, do you really want to rely on a third party website to present your business? We didn’t think so!



    1. Image. It’s as simple as one word. How do you want your business to be perceived? Looking professional and working on your brand image is as important as the actual product and/or service that you provide.
    2. Customization on Facebook is nearly impossible. Yes, you can add pictures, edit descriptions and even set up a Facebook-style store (with some programming and a limited interface), but you can’t customize it for pages, contact forms, etc.
    3. SEO is an issue. Oh boy! That dreaded phrase – “Search Engine Optimization.”  You can’t create separate pages on your Facebook page to highlight specific products or services – how will your customers know that you offer a certain specialty and how will they will gather information to become excited about your product or service before they contact you?
    4. Updates are only seen by a select few “followers.” That’s right! Ever noticed that you need to pay for ads to get more people to actually see your updates? It’s a revenue tactic for Facebook, but it’s a major expense to business owners – an expense that isn’t necessary if you have another avenue to educate your customers.
    5. Facebook can shut down your page or the whole business could go away at any time, taking your “followers” or “likes” with them as quickly as it took you to create the page.



    The Next Opportunity -THE US. LATINO MARKET By - Video Marketing Specialist & Web Developer

    NEXT ... The US. Latino Market

    by a Associated Business Partner :
    Denise Caiazzo
    (Strategy Marketing Business Consulting in NY)

    Mentioned in her website:

    More than 50 million U.S. Latinos. Purchasing power expected to reach $1.7 trillion. With stats like these, it soon may cost brands more to neglect this market than to invest in it. But “Latino” isn’t one generic community. It’s a multi-faceted audience, and reaching it means bridging language and lifestyle differences.

    At Market to Riches-Latino, we understand this audience. Our network of seasoned bilingual, multi-cultural experts develop strategic marketing programs that speak to the needs and values of Latino communities.
    How can we help you reach your target Latino audience? 

    Chat By



    As Well I Find a Very Interesting Data for better Understand about This US. LATINO MARKET
    from A Marketing & Written by Lisa Gevelber Published July 2014 SUPER INTERESTING DATA
    SIMPLE... GUYS Is too Big and the can less pass this Opportunity. 

    “U.S. Hispanics are ahead of the curve when it comes to digital. They lead in adoption of new devices. They are power users of mobile and over-index in video consumption. But despite the facts, these consumers are vastly underserved, and the opportunities to reach them through digital remain largely untapped. But what, exactly, should marketers be doing? To see what’s working (and what’€™s not), our Vice President of Americas Marketing, Lisa Gevelber, looked at the strategies of leading brands and forward-thinking marketers. Here are the top lessons she learned.

    Consumer Electronics
    Stay on top of the latest and greatest

    You’€™ve likely heard the numbers: a 163% increase in population between 2010 and 2050, making up 30% of the population by July 1, 2050. One trillion dollars in buying power in 2010, rising to $1.5 trillion next year (an increase of 50% in just five years). I’m talking about U.S. Hispanics, of course, €”a consumer segment that’€™s on the radar of every Fortune 500 CMO.

    At Google, we’€™ve taken notice of this audience too, but for a different reason: technology. U.S. Hispanics are ahead of the curve when it comes to digital. They lead in adoption of new devices. They are power users of mobile and over-index in video consumption. “Many marketers may think they trail the so-called general market in adoption of new tech, when in fact they are far ahead and should be among the first prospects for marketers seeking to grow their consumer base,” says Marla Skiko, senior vice president and director of digital innovation at SMG Multicultural. Despite the facts, U.S. Hispanics are a vastly underserved market, and the opportunities to reach them through digital remain largely untapped.

    Recently, we surveyed a select panel of senior-level marketers to see if the U.S. Hispanic audience was on their roadmaps. They clearly recognized the opportunity: Most saw 11—€“25% of their company’s growth coming from this demographic in the next three to five years. Still, most brands didn’€™t have a marketing strategy for this audience, and most agencies were advising clients to invest in reaching them either “somewhat” or “not at all.”

    It’€™s clear that brands need to go from taking notice to taking action and that digital is a huge opportunity. But what, exactly, should we be doing? To see what’€™s working (and what’€™s not), we looked at the strategies of leading brands and forward-thinking marketers. Here are the top lessons we learned.”

    — Written by Lisa Gevelber Published July 2014
    Video Marketing Specialist
    Web Developer and Strategy Marketing
    We Are...
    Strategic Marketing, That Inspire Consumer to Buy.
    -High-End Quality-
    -Affordable Pricing-
    -NO Surprises-

    URGENT Warning- To NOT accept a video called the dance of the Pope. is a "VIRUS"

    Hello All, i received this URGENT warning- To NOT accept a video called the dance of the Pope. It is a virus that formats your mobile. Beware is very dangerous. You have fun with your list already, people open it thinking that it is a joke. They are spreading it today on the radio. Pass it on to those who can

    URGENT: Tell all contacts from your list not to accept a video called the dance of the Pope. It is a virus that formats your mobile. Beware it is very dangerous. They announced it today on the radio. Pass on to as many as you can. It was announced on the radio in USA.

    Copy n paste
    Hello All, i received this URGENT warning- To NOT accept a video called the dance of the Pope. It is a virus that formats your mobile. Beware is very dangerous. You have fun with your list already, people open it thinking that it is a joke. They are spreading it today on the radio. Pass it on to those who can


    Origins:   In early April 2015, several rumors warning mobile phone users of a malware attachment known as the Dance of the Pope began to circulate. Many versions claimed the Dance of the Pope was an infected attachment (often a GIF or video), and that users who opened the file using services such as BlackBerry Messenger or WhatsApp risked the loss of all their cell phone data. 

    A common thread in the rumors was its source: most claimed the Dance of the Pope virus was reported on the radio. Although most mentioned that the virus was discussed on the radio, none said that the posters themselves had heard it. Folks spreading the rumor believed others had heard about the virus on the radio; but none of the major versions involved the person spreading the rumor having personally listened to a news report. 

    Ultimately, we were unable to locate any information that suggested the Dance of the Pope virus warning was anything but a rumor. No radio stations are linked to the purported announcement; no news outlets have reported the story; none of the antivirus companies have heard of it; and, most tellingly, no one appeared to have experienced the virus on his own device. If the virus was real, many users would have encountered and unwittingly opened the attachment despite the circulating warning. 

    please Read About This online / GOOGLE THAT

    Original Source:

    The Wealthiest Zip Codes In America, In One Simple Map -

    Wealthiest ZIP Codes in America

    Ever wonder where the wealthiest people in America live? Thanks to a new map from data company Experian, you can catch a glimpse.

    The map marks the top three zip codes with the highest income in each state. Then it breaks things down further. Highlighted in dark grey is the highest average income in each state. In red is the highest average income in each region of the United States. No surprise, the highest average income in the country -- a whopping $2,976,929 -- comes from a zip code in midtown Manhattan. According to Google maps, the zip code covers one city block.

    Three of top five zip codes with the highest average income are in New York. The other two are in Miami Beach and Wilmington, Delaware.

    And that's not all. Underneath the map, there's a chart labeling the 100 highest tax-paying zip codes in the country. As Experian notes, it's interesting "to see how widely reported incomes vary" and also how few people live in certain zip codes.

    All data for the map comes from the IRS and the US Census, via reports compiled by and Click on the map for a closer look. "These are the cities on the hilltop, so to speak."

    Please make a Comment


    Original Source:

    Credit to:

    Is video marketing effective? Do I need it? And how can I make it go viral?

    These are probably questions you have asked yourself as a business owner and/or brand manager. (That is, unless you work at a video marketing agency yourself.) Either way, the answers to the above questions are simple: Yes, yes, and let’s address that in a another blog post.

    By adding a video marketing strategy in 2015, you can potentially drive consideration, purchase, and loyalty for your brand. But let’s make one clarification. By video marketing, we really mean brand storytelling. Because at the end of the day, those videos are the ones that are truly effective, valued, and (quite frankly) worth watching. Here are three reasons why telling stories through video is essential for your business:

    1. Video marketing will increase time visitors spend on your website.

    This statement my seem inherent. Even if someone only watches the first 10 seconds (which is actually how long you have to capture their attention according to a study by Visible Measures) of course it will give a small bump to the time spent on-site. However according to acom Score study, visitors who view video content on a website will stay on average 2 minutes longer than those who do not. Even if your video is viewed outside of your homepage, a whopping 75% of people who view a video will visit the brand website afterwards and 26% will look for more information around the topic. Now that was a lot of fancy numbers and statistics, so here is the baseline: By beginning to tell your story through video, you invite the viewer in to learn more and the interested consumers will take you up on it.

    2. Video marketing will increase the chances someone will purchase your product or service.

    Another study by comScore found people are 64% more likely to buy a product or service from a retail site after watching a video. Feeling skeptical as to why that is? Consider this: When given an option, 80% of people will watch a video, while only 20% will read written content in its entirety. Which is actually pretty believable. Back in school, did you ever watch a movie for book report instead of actually reading the book? You did it (or at least considered it) because it was easier, right? It’s the same idea with video marketing. Human beings process visuals 60,000 times faster than text, so the quicker we can gather all the purchasing information we need, the quicker we can make a decision. Videos help aid in this process.

    3. Video marketing will allow you to connect with your customers on a human level.

    The catch to our third statement, is that the video execution has to be done correctly. What’s your brand or product’s background? Why are you in business? How does your product or service impact customer’s lives? These are the types of nuggets to look for in order to tell a great story. Aim to tell, not sell. Whether that story is heartfelt, humorous, or educational— find connections in your brand values and beliefs that consumers can relate to. It is fundamental shift in our society. Consumers today want to know where their goods come from. They want to support more local businesses. They value authenticity and transparency. And all these factors should be considered to produce great content—along with video best practices, of course.

    To watch examples of how we have helped brands create powerful video content, visit our Website

    4. Video marketing FACTS for 2015

    CALL FOR "FREE" QUOTE  917.503.5847

    LAST RUMBA IN HAVANA - FILM = Ultima Rumba en La Havana - La Pelicula (Director of Cinematography) DP Associated With The Novel Writer Fernando Velazquez Medina

    It is Approved On:

    LAST RUMBA IN HAVANA - FILM = Ultima Rumba en La Havana - La Pelicula (Director of Cinematography) DP Associated With The Novel Writer Fernando Velazquez Medina.

    CAMERAS The We Use in 4K

    and you will see that you can be part of this film




    Do you have a marketing plan to guide you this year? Many times small business owners try different marketing activities but fail to develop a consistent marketing strategy to get the results they want. If you don’t have a plan, you need one!

    Today, having a marketing plan to help you align your business goals and your marketing goals is essential. Having a series of steps to follow will help you get the results you need and make sure you are always executing consistently to get where you want to be.




    SUPER guide to the best wide angle lenses for the Blackmagic Cinema Camera

    It is significantly larger than the Blackmagic Cinema Camera's 15.8mm x 8.9mm sensor with a 2.3 crop factor. For example, a 100mm lens on the Blackmagic Production Camera 4K will give you a 170mm field of view whereas the same lens on the Blackmagic Cinema Camera would yield 230mm.

    This article is really helpful to understand the camera crop 2.3 Factor and what Lens Feel Right to use 
    A French rental house tries lenses on the Blackmagic Cinema Camera (La Blackmagic Camera passe chezPhotoCineRent)

    Here I have rounded up all the lenses I have in mind for achieving a wide angle on the 2.3x crop sensor of the Blackmagic camera.

    What is out?

    The Canon EF mount rather restricts this choice to lenses designed for photography. Most Super 16mm PL mount lenses are out (as well as being extremely expensive) as the diameter of the mount isn’t wide enough to accommodate their fat rear ends. Several lovely primes which can be had for around $800 are out – the Zeiss Distagon 8mm T2.1 S16 PL, Voigtlander 17.5mm F0.95 and Olympus 12mm F2 would have been lovely lenses on the Blackmagic Cinema Camera. C-mount (the Computer 12mm F1.3 would have been puuurrfect on this camera) is not to be, as is anything for Micro Four Thirds and Sony E-mount.

    What is wide?

    Here is how to think of the field of view at various focal lengths on the Blackmagic Cinema Camera using full frame as our guide. Wide angle on full frame starts around 35mm or 28mm. By 21mm it begins to get extremely wide. By 16/14mm you are looking at an ultra-wide standard lens or a fisheye. On APS-C 18mm is a normal wide angle. On the Blackmagic Cinema Camera you don’t begin to get a wide field of view until about 12mm!

    Full frame equivalent focal lengths on the Blackmagic Cinema Camera

    * Denotes wide angle lens

    • 8mm = 18mm *
    • 10mm = 23mm *
    • 11mm = 25mm *
    • 12mm = 28mm *
    • 14mm = 32mm
    • 15mm = 35mm
    • 16mm = 37mm
    • 18mm = 41mm
    • 20mm = 46mm
    • 25mm = 57mm
    • 35mm = 80mm
    • 50mm = 115mm
    • 85mm = 195mm


    These lenses are nearly all designed for APS-C DSLRs. There are no Super 35mm PL or Super 16 movie lenses in this list. Hardly any PL mount lenses fit the Canon mount, and hardly any Super 16mm lenses cover the sensor as it is larger than Super 16mm.

    The Canon 15-85mm will of course give you the longest zoom range – 35-195mm in full frame terms. But it lacks at the wide end compared to the superb Tokina 11-16mm F2.8 which is the equivilent of 25-35mm on full frame. That covers almost all the common wide angle focal lengths apart from the lesser used ‘ultra wide angle’. That is where the rather fantastic Sigma 8-16mm comes in – if you don’t mind the slower aperture this is well worth a look for that 8mm wide end. That remains truly wide on the Blackmagic Cinema Camera at 18mm equivalent on full frame! The only lens this wide on the market for the Canon mount and well worth a look even for owners of the 11-16mm F2.8. Of course at 8mm it isn’t 100% distortion free but it distorts far less than the very expensive 8-15mm Canon L fisheye lens which is designed for full frame.

    The Nikon 14-24mm F2.8 stands out as desirable but only if you want the longer end of the zoom relative to the Tokina 11-16mm whilst maintaining the relatively fast aperture of F2.8. That it is also a constant aperture helps if zooming during a take. It does however come with a hefty price tag, double the Tokina lens. The Tokina’s long end goes to just 37mm equivilent, whist this will take you to nearly 60mm on the Blackmagic Cinema Camera. The Nikon 10-24mm F3.5-4.5 is also highly rated. It is a sharp lens and can be had for close to the price of the Tokina 11-16mm. However the aperture is less attractive.


    There’s a real lack of good, fast wide angle primes for APS-C but the Blackmagic’s smaller sensor makes the situation even tougher here.

    These are the widest and fastest primes for APS-C that aren’t fisheyes.

    Pretty small list isn’t it? 14mm gives you a field of view of effectively 32mm on the Blackmagic’s crop sensor, so not that wide. For 28mm you need a 12mm lens. I couldn’t find any APS-C Canon mount primes in this focal length. The Samyang is distortion central on full frame and APS-C but it will be interesting to see how the centre of the lens holds up on the 2.3x crop sensor, i.e. better – but still not great. It is however very cheap and has solid build, good focussing and a constant aperture. The Sigma equivalent on this list I have not yet tried, but it is more expensive.

    The Pentax 14mm F2.8 DA is the best of the 3 optically but it is double what the Sigma 14mm F2.8 costs! The Tokina 11-16mm F2.8 is a better option than every one of these lenses so I cannot recommend a prime.


    Interestingly Tokina have a fisheye zoom lens so Canon is no longer unique in this regard. This is a lot cheaper as well and actually has a slightly faster aperture at the wide end. It is not designed for full frame like the Canon but it will give you a 23mm fisheye at the wide end on the Blackmagic Cinema Camera. Could be an interesting look. Here’s how this lens looks on an APS-C 1.6x crop sensor. I’ve boxed out the Blackmagic’s 2.3x crop field of view in the centre. Remember crop factors are always measured over full frame which is 1.0x.


    Anamorphic lenses compact more field of view into the sensor, squeezing more in horizontally from the lens. The field of view vertically remains unchanged. Of course anamorphic lenses also produce a more cinematic aspect ratio, more cinematic lens flare and a classic hollywood style stretched bokeh. The lenses also allow you to get a wider field of view without the slow aperture that usually goes with a wider focal length, and the Iscorama lenses avoid breathing when racking focus as they transfer the focussing mechanics to the anamorphic away from the photographic prime. In short they are stunning, but rare and good ones can be expensive.

    I’ve done a comprehensive book on these lenses, purely for the fact I love the look so much. Check out the EOSHD Anamorphic Shooter’s Guide here

    Unlike for DSLRs, until I have tried my collection on the Blackmagic Cinema Camera, the following advice is onlyprovisional so please don’t act on it yet…

    My instincts tell me that the maximum wide angle you will be able to get way safely without vignetting on the Iscorama 36 1.5x or a Kowa 2x is around 25mm. I’m yet to verify if a 20mm lens will work. It may do with the Iscorama 36.

    Unfortunately the OCT 18 and OCT 19 LOMOs, even when converted to PL, won’t work with the Blackmagic Cinema Camera. Only a handful of PL and OCT 19 mount lenses fit a Canon mount.

    So what field of view would a Kowa 2x get you at 25mm?

    This would be 12.5mm horizontally and still 25mm vertically.

    That amounts to effectively 28mm wide angle from side to side but a standard 50mm portrait field of view from top to bottom.

    This should be really attractive.

    As for aspect ratios, unfortunately Blackmagic didn’t implement the full 4:3 active area of the sensor in the final product, only a 16:9 crop.

    With the Iscorama you will get the wide aspect ratio below…

    I have grown to love the wider 3.55:1 look even if it is a bit extreme and when you view it on a standard 1080p 16:9 display you do have rather large black bars.

    If the Iscorama 36 goes on a 20mm lens without vignetting this will also be interesting as it will yield approximately 14mm across – roughly 35mm standard wide by full frame standards.

    Your aperture is unaffected so find the fastest 20/25mm lens you can get that fits the Canon mount. Micro Four Thirds offerings like the superb Voigtlander Nokton 25mm F0.95 would have been beautiful but again thanks to the Canon mount they are out!

    The Samyang 24mm F1.4 springs to mind as a particularly strong candidate for anamorphic lenses on the Blackmagic Cinema Camera but I’m hesitant in recommending it before I’ve actually tried it on the camera with my anamorphic collection. There’s also the Sigma 20 / 24 and 28 F1.8 which are all good value for money.

    The Panasonic LA7200 anamorphic is an even better choice for wide angle as it won’t vignette until around 10-11mm on the Blackmagic’s sensor. So it will likely work even at the widest end of the Tokina 11-16mm F2.8. That will give you a seriously wide field of view both vertically and horizontally. It has a 1.33x squeeze yielding an 8mm field of view from an 11mm lens across (18mm in full frame terms) and 11mm from top to bottom, with an F2.8 aperture. 8mm F2.8 is as wide and as fast as it is possible to get on the Blackmagic Cinema Camera right now.


    The most appealing lenses for me are the Tokina 11-16mm F2.8, Sigma 8-16mm and of course the anamorphics.

    For those who can afford it, the LA7200 and Tokina 11-16mm F2.8 will give you the most cinematic, widest and fastest image available on the Blackmagic Cinema Camera. For around $1800 though, this combo sets you back more than half of what the camera costs. Is it worth it? I’d say yes but to maintain an anamorphic look through other more standard focal lengths you really need an Iscorama and these are $3000+. You can crop to the right aspect ratio but the shots won’t have the same consistency or same appeal throughout the timeline if you mix standard aspherical shots with real anamorphic. Real anamorphic is real anamorphic. It has a certain look that can’t be mimicked.

    If you need the widest possible field of view on a budget then the Sigma 8-16mm looks very appealing. With a maximum aperture of F4.5 it is not going to be good in low light though. The price  is around $800.

    If you can only buy one lens get the Tokina 11-16mm F2.8 for approximately $750. The constant aperture is essential if zooming in the middle. It also helps greatly in low light.

    I hope This help you to understand the Real Thing Happen Betting:
    The Censor - the lent - the object and you view


    5 Powerful New Ways to Make Video Attract Customers Video really helps sales, but with millions of videos on YouTube, it's hard to get noticed. New tool and these 5 tips help others help you grab more

    Video really helps sales, but with millions of videos on YouTube, it's hard to get noticed. A new tool and these 5 tips help others help you grab more views.

    Video usage continues to grow, as evidenced by recent YouTube stats showing millions of new subscriptions happening each day. In fact, the number of daily subscriptions is up more than 4x since last year. Over 6 billion hours of video are watched each month on YouTube. That's almost an hour for every person on Earth, and 50% more than last year.  But with 100+ hours of video uploaded every minute, it's hard for your marketing video or channel to get noticed despite a focused marketing effort.

    But there is a new approach allowing you to enlist the true YouTube mavens who have figured out how to get to the right audience. The fan-building experts at FanBridge recently created a super cool, free platform called Channel Pages designed to let you search other channels and leverage collaborative efforts to grow audiences together. Below are 5 tips from co-founders Spencer Richardson and Noah Dinkin on how to use the tool to more efficiently attract and convert new clients.

    1. Forget Ads, Let Native YouTubers Build Engaging Stories

    While you may believe you have a winning video concept, enlisting an established YouTube channel to create a video for you is a smarter (and faster) play. There is likely at least one YouTube channel that effectively connects with your target customer audience, and that channel already knows how to make content your target audience loves. Their viewers see it as engaging video content, not an ad. Plus, these channels are used to produce great video quickly, enabling you to get a video to market much faster and distributed directly into a place your audience is already primed to engage. Channel Pages enables you to see all kinds of statistics and demographics on an existing channel and their audience so you can find a worthy partner.

    2. Build a Rapid Response Peer Review Army

    Nothing gets people noticing new products, and sharing them around, better than peer reviews. However, nothing is more inauthentic than companies talking about their own products/services as if they were anonymous customers. You can use Channel Pages to find key influencers of your target audience to offer them free products in exchange for doing an authentic video review. You can use these everywhere and they will usually rank well in search results, too.

    3. Channel-Source Your Content Testing

    Think you know exactly what your target audience wants to watch? Guess what, you're probably wrong. Instead of spending enormous sums of money on focus groups, surveys, and other old school methods for informing your content strategy, identify 3-5 channels that are already attracting your target audiences. Collaborate with them to test drive some fresh video marketing ideas.

    4. Share Distribution


    6 Colors That Boost Creativity, Happiness, and Productivity in the Office

    7 Mindsets That Will Radically Improve Your Life Right Now

    6 Polarizing Differences Between Managers and Leaders

    4 Tools to Help Maximize Your Sales Leads

    6 Colors That Boost Creativity, Happiness, and Productivity in the Office

    Have an awesome video on your channel, but can't get traffic? Since a rising tide raises all boats, entice target consistent channels found on Channel Pages to distribute your videos into their playlists or even swap playlist integrations.  It's a great way to instantly expand the reach of your videos. Having other channels promote your videos is also a great way to increase the credibility and recall of your brand.

    5. Think Beyond Video

    The reach of video marketing isn't limited to YouTube, and neither should your strategy be. Many channels and creators were influencers on the web and social media before adopting YouTube, and even more that started on YouTube are quickly expanding their audiences everywhere--which means the potential opportunity for distribution of your videos is exponential. When you secure partners from Channel Pages for growth, discuss other ways to share and leverage resources.

    Like this post? If so, sign up here and never miss out on LUIS's thoughts and humor.

    Blackmagic DaVinci Resolve 12 is Finally Here. Download the Public Beta Now

    Professional non-linear editing with
    Hollywoods most powerful color corrector!

    DaVinci Resolve 12 combines professional non-linear video editing with the world’s most advanced color corrector so now you can edit, color correct, finish and deliver all from one system! DaVinci Resolve is completely scalable and resolution independent so it can be used on set, in a small studio or integrated into the largest Hollywood production pipeline! From creative editing and multi camera television production to high end finishing and color correction, only DaVinci Resolve features the creative tools, compatibility, speed and legendary image quality you need to manage your entire workflow, which is why it is the number one solution used on Hollywood feature films.

    The world’s most advanced color grading tools.

    DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci Resolve features unlimited grading with the creative tools colorists need and incredible multi GPU real time performance. That’s why DaVinci is the name behind more feature films, commercials, television productions, documentaries and music videos than any other grading system!

    Professional editing from
    rough cut to finished edit!

    DaVinci Resolve 12 includes sophisticated professional editing tools designed to handle a wide range of projects from scripted prime time dramas to fast paced stylized commercials and even multi camera productions. Editing tools are context sensitive, which means that DaVinci Resolve automatically knows how you want to trim based on the position of the mouse so you don’t have to waste time switching tools! You also get customizable keyboard shortcuts so you can edit quickly and move between applications with ease. DaVinci Resolve 12 has the most advanced collaborative tools that let multiple people work together on the same timeline at the same time so you can finish faster and focus on your edit!

    Scalable power and
    real time performance.

    DaVinci Resolve is scalable and supports multiple GPUs all working together as found in the new MacPro, as well as the latest Windows and Linux computers. You get support for up to 8 GPUs so that you can build dedicated systems that are super fast and deliver blazing real time performance. You can even offload output and rendering tasks to other Resolve systems on your network using the remote rendering tools. That’s important when you are working on high pressure projects that you need to deliver fast! Whether you are working in your own post production suite or grading the next Hollywood blockbuster, workstations running DaVinci Resolve can be super charged to keep up with you and your clients!

    Work faster with absolute control!

    When you have a client looking over your shoulder you need to work fast. The DaVinci Resolve control surface lets you adjust multiple parameters simultaneously, making grading faster. The control surface features dedicated buttons, knobs and perfectly weighted trackballs that give you the subtle control you need for creating the most amazing looks! You get 32 soft knobs with automatic LCD labels so you’ll never have to page through multiple menus to find common adjustments. Save and recall grades to memory, load gallery stills and more at the push of a button while you keep grading at full speed!

    Ensure complex jobs
    are well organized.

    Saving and managing media is a critical part of every project! DaVinci Resolve features powerful media management tools specifically designed for editorial and color workflows. You can easily move, copy, consolidate, relink, and archive media, timelines or entire projects. DaVinci Resolve’s clone tool will back up your valuable camera files on location so you can copy camera files to multiple destinations with checksum validation for safekeeping while you’re still on set! DaVinci Resolve can also edit metadata, sync sound and prep footage for editing, color grading or visual effects. DaVinci Resolve helps you on local drives or over your network and, because it works with virtually every camera and video format, you don’t need to convert files to begin editing or grading!

    Finish and deliver to
    virtually any format!

    Whether you’re creating a master for TV release, a digital cinema package for theatrical distribution or finishing for delivery over the internet, DaVinci Resolve includes powerful delivery options for versioning, finishing and delivery at any resolution. You can export your media in a variety of formats with optional burn-ins, output EXR or DPX files for visual effects work and uncompressed 10 bit or ProRes files for editing in applications like Final Cut Pro X. Exporting can take advantage of remote rendering, using another Resolve on the network to render the job. DaVinci Resolve works from your camera originals so you always get the highest quality output. That means your finished master is a first generation graded copy of the original camera RAW files!

    Unique YRGB 32 bit
    float processing.

    DaVinci’s high quality image processing is so revolutionary it won an Emmy™ award for contributions to the television industry! All image processing is at the deepest 32 bit floating point and DaVinci Resolve uses a unique YRGB color space for grading. This allows you to adjust the luminance gain of your video without rebalancing the color of your whites, mids, or blacks. That means you won’t have to chase the correction you’re aiming for! 32 bit processing combined with YRGB color science gives you a dramatically wider color correction range, so you can generate looks that other systems simply cannot match!

    End to End Color Management

    DaVinci Resolve 12 simplifies the color management of multiple clips with different color spaces, allowing you to define individual source, timeline and output color spaces with incredible speed and accuracy. Now you have a complete end to end color managed pipeline that can use DaVinci Resolve’s color managed timelines and ACES 1.0 (Academy Color Encoding Specification) color for high end digital cinema workflows.

    The world’s most compatible post production solution!

    Exchange projects with your favorite NLE software, send clips to VFX and motion graphics, and export projects directly to ProTools for professional mixing and sound design! DaVinci Resolve can share sequences and round trip projects with Final Cut Pro X, Media Composer, Premiere Pro and more! That means you can edit your project on any system, then using XML, AAF or EDL’s, you can link back to your full quality camera RAW files and finish in greater bit depth with DaVinci Resolve. You can also use AAF export to send a project to ProTools with discreet audio clips and a single layer video mix down for audio finishing. DaVinci Resolve lets you work with and integrates with dozens of other software tools so you can focus on getting your job done.


    Monday, July 27-2015

    AMAZING !!! Spend a Day - New York with Blackmagic Design 2015

    AMAZING DAY !!! The day with Blackmagic Design will be held on July 22nd 2015 in New York City from 10am to 5pm at the Wyndham New Yorker Hotel. This day seems quite similar to (if not a continuation of) the Blackmagic Days held in Los Angeles and New York last year. The event will include live stage demonstrations for Blackmagic’s newest products, as well as the chance to talk one on one with the Blackmagic Design team and hands on time with the products. For those in the New York area on the 22nd, this is the perfect chance for you to get your hands on the Micro Studio Camera and Micro Cinema Camera, MINI URSA, The Assist Monitor and the URSA 4K & New 4.6K if you weren't able to attend NAB, CineGear or the like these past few months.

    As Well You can register for the day for FREE at NEXT YEAR IN THE SAME PLACE - CK  in SUMMER 2016


    The New Yorker Hotel in NYC

    of the Blackmagic Design Company


    by A Sensacional Youtube Celebrity  FAYMUS
    (Ck His Channel On Youtube For This Exclusive Interview) 
    Prod Camera  By: Johann Pichardo / Photography By: (DP)