Sony held its press conference this morning at IBC, and announced two new cameras: the PXW-X200 and the PXW-FS7. While the X200 looks interesting, the big buzz was around the FS7, a 4K XDCAM camera with a Super35 CMOS sensor.
September 12, 2014
September 11, 2014
The new Atomos Power Station is designed to solve the problem of running out of power in the middle of a shoot and having to change batteries on cameras, lights and other equipment. It can also be used for anything that can be powered using a USB port (it has two), such as iPhones or even iPads.
It can deliver up to 48W of power, which limits the size of lights or complex camera rigs that it can be used with, but for 80-90% users this should be more than enough.
September 08, 2014
Canon is introducing several firmware upgrades for its EOS C500 and EOS C300 cameras, DP-V3010 4K reference display and its Cinema Raw Development software, mainly aimed at improved 4K performance, particularly support for the new BT.2020 colour space, although the C300 (and C500) will also get simpler colour temperature setting.
All will be on show at IBC in Amsterdam (12-16 September), where Canon will also have lots of presentations by filmmakers - read the full story on our Canon XF Notebook site.
September 07, 2014
Panasonic’s new HC-X1000 Ultra HD 4K camcorder is its first prosumer model that can record 4K 60p/50p video on an SD card.
It can record both UHD (3840x2160) at 50/60p and Cinema 4K (4096x2160) at 24p in MP4 at up to 150Mbps (50/60p) or 100Mbps (24p), plus .mov or MP4 in HD, which can use all-Intra compression for a maximum bit rate of 200Mbps, as well as AVCHD (1080p) at up to 28Mbps. Even if you are shooting for HD, recording in Ultra HD can be useful during editing, as you can then zoom in to a one-quarter crop without losing any HD resolution, or pan across the picture to follow movement.
Users of Arri’s Alexa and Amira cameras will be able to deliver Ultra HD and 4K despite the cameras not having UHD sensors, thanks to up-sampling.
The documentary-style Amira will be upgraded to recording Ultra HD at up to 60 frames per second, in real time, via a paid firmware update due later this year, while ProRes 3.2K, a new recording format that allows easy up sampling in post to Ultra HD, will be available for the Alexa in a software update early next year. The Arriraw Open Gate format already allows this up sampling for 4K cinema.
April 10, 2014
April 09, 2014
XF200 and XF205. The single-sensor cameras are designed for people shooting for multiple outlets, including the web, and come with WiFi and LAN connections - for the full story see Christina’s report on the Canon XF Notebook blog.
Blackmagic Ursa, but has some nice features.
The AJA Cion has a Super 35mm-sized sensor, with global shutter and 12-stops of dynamic range, and records using various Apple ProRes codecs, including 12-bit 444. It builds on AJA’s excellent reputation for external recorders, such as the Ki Pro, Ki Pro Mini and, most recently, the 4K Ki Pro Quad, so it had already built the back-end of the camcorder.
The world’s first 4K 25p/30p wearable camcorder has been launched by Panasonic, as part of a growing Ultra HD ecosystem that encompasses home cinema, professional monitors, a new prosumer 4K DSLR (the GH4), and its 4K VariCam 35broadcast camera launched at NAB.
The new, lightweight HX-A500 UHD action cam can also record HD at 50p, and is waterproof (to 3m for 30 minutes) and dustproof.
April 08, 2014
Blackmagic Design must terrify the big broadcast camera manufacturers. Although its first cameras had their limitations, they were very good value. However, its third-generation cameras launched this week at NAB, look like proper broadcast and digital cinema cameras - but at budget prices.
The new Blackmagic Studio Camera, in particular, goes to the heart of the broadcast business for Sony, Grass Valley, Panasonic, Ikegami, JVC and Hitachi, and overtakes them all. At just $1,995/£1,250/€1,500 for the HD model (which is available now), and only $2,995/£1,800/€2,200 for an Ultra HD (4K) version (shipping in June), they are incredible value for anyone putting together a TV studio.
Blackmagic Design has announced a new high-end digital film camera with a user-upgradable sensor and lens mount, larger-than-normal 10-inch fold-out monitor, and a multi-screen design that should make it simpler to use. Its feature set and upgradability cover many of the most common requests on user’s wish lists.
April 07, 2014
Atomos has announced a new 4K Apple￼ProRes and RAW capable recorder, the Shogun, which uses new 12G-SDI and 4K HDMI connections.
The Shogun is the first 12G-SDI and 4K HDMI I/O monitor recorder, and features a 1920x1200 SuperAtom IPS 7-inch touchscreen (with 325 pixels per inch), 179º viewing angle and 400nit brightness. The monitor can also automatically switch frequency (48/50/60Hz) depending on video input, to give smoother monitoring and playback. [UPDATE: It also won an award from the IABM at NAB as one of five Game Changers - see end for details].
Panasonic has launched two new VariCam models: the VariCam 35 (shooting 4K Raw) and the high-speed (HD) VariCam HS.
The PL-mount VariCam 35 (AU-V35C1) uses a newly-developed super 35mm MOS image sensor (4096x2160 - 17:9) and can shoot 4K, UHD, 2K and HD, making it suitable for high-end filmmaking, commercials and episodic production as well as live 4K events.
Ninja Star, at NAB that should be ideal for use on remote-control helicopters or with point-of-view cameras.
“Our customers screamed for a tiny, flash-based Apple ProRes recorder and player for extreme applications, their second location cameras or simply when they already had a monitor,” explained Jeromy Young, CEO and Founder of Atomos. “At $295 with low-cost Gen 1 CFast [solid state memory cards], weighing a mere 100 grams (3.5oz), its price, durability and portability is unmatched – this is one of our best creations yet.”
March 12, 2014
Optical discs already offer dust and water resistance, and can withstand changes in temperature and humidity when stored. They also allow inter-generational compatibility between different formats, ensuring that data can continue to be read as formats evolve. This, the companies say, makes them a suitably robust medium for long-term storage of content.