This is a texture pack for Minecraft PE that contains green screen. Green screen is very useful for effects and for more. People who like editing videos know that if someone use green screen then he / she can fill it with an image, a video, a background, or with anything else.
I used the glowstone’s texture to create a light green block. You also can use it in dark place because it’s light.
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Installation
1. Click the link ( Green Screen.mcpack ).
2. A Mediafire site will show up. Download the pack from there.
DJI definitely seems to be keeping busy – less than a month ago the Chinese manufacturer debuted the lightweight Ronin-SC gimbal for mirrorless cameras, which was followed closely by the release of its new FPV Goggles.
According to a 15-second video posted on its official YouTube channel, DJI is gearing up to announce something new on August 13.
The teaser itself doesn’t seem to hold any clues as to what might be making its debut next week, but based on some other evidence, it could well be the next generation Osmo Mobile smartphone gimbal.
DroneDJ was the first to unearth details about the Osmo Mobile 3, thanks to a public FCC filing made on July 31.
Amongst the paperwork filed is the user manual for the upcoming gimbal, giving us a clear idea as to what to expect. The Osmo Mobile 3 will be larger than its predecessor, with dimensions of 286 x 126 x 98mm and weighing in at 405g. However, the phone grip will fold down to rest alongside the handle for easy storage.
It also looks like the new gimbal will be able to fit bigger and wider phones (perhaps even the newly announced Samsung Galaxy Note 10 series). It will be armed with Bluetooth Low Energy 5 to optimize power consumption and, unlike the Osmo Mobile 2, will charge via USB-C.
Droning on and on
If you’re expecting DJI to announce new drones, you may need to wait a while. An eagle-eyed Norwegain reader pointed out to DroneDJ that a special section on the DJI website lists the paperwork for the European Union Declaration of Conformity – including those for the DJI Mavic 2 Pro+ and the DJI Mavic 2 Zoom+.
We’re not expecting the possible new drones to make an appearance until 2020 as DJI recently announced it will be implementing aircraft sensors in its consumer drones starting January 2020. These ADS-B sensors will allow the drone pilot to detect and avoid low-flying helicopters and airplanes nearby.
DJI has also filed a patent for an interchangeable lens camera that looks very similar to the Hasselblad X1D-50c. A deep dive into the patent application by Gizmodo Japan has unearthed design images and 3D models of the camera from various angles, giving us a complete look at what could be DJI’s first mirrorless camera, including the markings on the rear controls.green
Stabilised Remote Head family, the brand new ARRI DEH-1. This system will allow professional operators to remote control the ARRI SRH-3. The DEH-1 is based on Cartoni technology and will work in conjunction with flat base supports or tripods with Mitchell base, produced by the Australian manufacturer for camera support equipment Miller.
ARRI DEH-1: An addition to the stabilised remote head family
The DEH-1 is also a world-first in terms of its way of information transfer and interoperability since it makes use of the LBUS protocol as the first digital encoder head ever. LBUS has been introduced by cmotion at IBC 2012 and it has ever since spread widely among ARRI products.
The idea is to send various control information from a single port to several devices (such as cforce mini RF, WCU-4, cinefade, AMC-1, and others). At the same time, these devices are daisy-chained and still only react to a distinct signal, that reflects their particular function and meanwhile discard/bypass information, that is useless for them. These could be engines designated for zoom, focus or other functionalities or properties of attached devices. In this case, it is for example intended to use them with a flexible drag system within the head to perform tilt and pan with the SRH-3 stabilised remote head. The latter usually comes with a joystick control board.
The DEH-1 system makes use of a Cartoni patented fluid drag system for tilt and pan directions, which incorporates seven steps to adjust the smoothness of its functions. This system has been redesigned to fit specs by ARRI. It will thereby help operators to use the product in multiple environments such as for broadcast, high-end commercials, tv or feature film productions and documentary projects alike. The ARRI DEH-1 will come in both configurations for left- or right-handed operators.
ARRI made sure to offer an easy way to set up the encoder head in conjunction with their Master Grips (for focus and zoom functionality) as well as the OCU-1 (released last year at IBC 2018 in Amsterdam). Connected to the OCU-1 with just a convenient single LBUS cable solution, it helps camera operators to seize adequate control over focus, zoom, and iris (return/override). This control functionality is ensured with a simple button solution on the OCU-1 while offering tilt and pan movement directly with the DEH-1.
ARRI ARH-3 + AMIRA: Stabilised remote head setup
In addition to that, the DEH-1 also works interconnected with the SRH-3 yet via only one LBUS cable. This connectivity possibly means that all options, motors and parameter values from OCU-1, the DEH-1 and the Master Grips will be entirely compliant with and controllable from the SRH-3 remote control touch panel. The DEH-1 will thus trouble-freely and reliably integrate into the ARRI eco-system, enabling the user to control everything with just a single tool centrally.
ARRI SRH-3 Control Panel with Touchscreen Interface
The first sales and dispatch of the ARRI DEH-1have just started on the 1st of August and will probably reach customers soon.
What are your initial thoughts about the new ARRI DEH-1? Let us know in the comments underneath the article.
Adobe’s Premiere Rush app, a piece of software focused on editing shorter length, social media focused videos, has just received a major update to version 1.2. This update brings a major feature, requested by many users.
The app is cross platform compatible, available for iOS, Android, and desktop. It features simple but powerful tools for creating online content without the need for a complicated workflow. The included motion graphics templates make it easy to tailor the content to your brand, adding a professional polish with ease.
One of my favorite things about the app is the ability to shoot, edit, export, and share all from one app. Using a mobile device means the workflow has to be simple, since multitasking on mobile isn’t a good experience. The Premiere Rush app keeps all the necessary tools at your fingertips.
One thing that has been missing, however, is the ability to retime clips. Making speed adjustments, like ramping up or slowing down footage for dramatic effect, has become very popular, particularly within Premiere Rush’s target market. Until now, Rush hasn’t natively supported the ability to speed up or slow down clips.
With version 1.2, that has all changed. Adobe has launched full support for speed adjustments. With the ability to slow down or speed up footage, audio can become a challenge — but Premiere Rush also provides support for maintaining proper audio pitch. Lastly, the ramping is adjustable, allowing you to tailor the look of your footage.
Lastly, Premiere Rush’s new speed adjustments, like every other feature, syncs perfectly with Premiere Pro. This makes it easy to work with your projects on a bigger scale, when you’re back on your computer.
The app is available for download now at: iOS, Android, and desktop.
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