January 27, 2011

Cel-Soft 3D depth chart generator

A new addition to the Cel-Scope3D stereoscopic analyser will be introduced by Cel-Soft at BVE 2011 in London (15-17 February).

The automatic logging option will generate a printable report of depth budget and depth plot for easy reference by cameramen during a shoot or by editors during 3D post-production.

"A depth chart is essential for all but the shortest 3D productions," explains Cel-Soft Managing Director, Robin Palmer. "Creating such charts manually is tedious and time-consuming as the stereographer needs to go through each scene and measure the disparity range used for the principal foreground and background objects and points of attention. These must then be marked as coloured lines on a paper chart against timecode. The reason is to prevent jump cuts that are visually objectionable even if within the actual depth budget.

"An example would be three short scenes where the front-most object in shot one is not present at all in shot two, followed by shot three in which the most front-most object is a lot further back than in shot one. Viewers' eye muscles must be allowed time to shift attention from one shot to the next. It is also advisable to give viewers opportunities to relax their eyes during the course of a 3D programme. For these and artistic reasons, a depth script needs to be prepared as part of the storyboarding for a big production."

The new logging option for Cel-Soft's Cel-Scope3D stereoscopic analyser generates a depth chart automatically. It logs against timecode the maximum and minimum depth values employed, together with the range in use. These measurements can be shown either in percentage of screen width or in horizontal pixels. A cursor can be placed on any object of interest or point of attention for a instant measurement of that spot's disparity and hence depth."

Cel-Scope3D is designed for use on set with live inputs as well as for reviewing and playing back 3D media files during post-production. Available as a complete system or as Microsoft Windows-compatible software, it allows stereoscopic camera alignment to be performed quickly; ensuring 3D is accurate from the moment of capture. Footage and edits in a wide range of file formats can be viewed and assessed in real time. Disparities are analysed and displayed as intelligible graphics on 2D or 3D monitors. Anaglyph display, touch-screen control and auto-alarm are all supported.

Cel-Scope3D displays can be scaled and arranged as six or eight windows on one or two PC monitors and on a 3D monitor. Left and right channels can be viewed simultaneously together with actual depth dynamics. Each display window can be set to show waveform, vectorscope and histogram graphics as well as differences in video parameters between each channel. Geometry issues can be identified easily using built-in real-time image manipulation. Quality-control tests can be performed on live stereoscopic video sources in any SD, HD or 2K format from industry standard capture cards or FireWire inputs, or alternatively from file playback.

Related post: Cel-Soft limits the scope of bad 3D

By David Fox

January 26, 2011

Sky endorses Technicolor Certifi3D

Technicolor's new 3D certification programme, Certifi3D, has been endorsed by content owners and network operators, including BSkyB. The certification programme is geared towards broadcasters, network service providers and content owners, with the goal of delivering quality and comfortable 3D experiences to viewers.

Sky 3D - setting the standards from UrbanFox.TV.

“As the first operator in Europe to launch a 3D channel, Sky is at the forefront of both capturing and commissioning 3D content for broadcast on its platform. Sky aims to provide our customers with the very best quality and value 3D content across movies, sports, drama and the arts,” said Chris Johns, Chief Engineer, Broadcast Strategy at BSkyB (video above). “We therefore see a clear need for innovations like Technicolor’s Certifi3D service that will help the creative community to deliver consistently high quality and safe 3D content, which will in turn maximize the comfort and enjoyment of the 3D experience for our customers.”

Certifi3D was demonstrated at the recent Consumer Electronics Show in Las Vegas, Nevada, and was created to ensure that 3D material meets minimum comfort requirements before it is delivered to consumers. As part of the service, Technicolor evaluates each shot against a set of objective criteria for stereographic reproduction, including a 15-point quality checklist to identify common errors in production that result in suboptimal 3D content. The company will also offer training to broadcasters and content creators to help them migrate their production and post-production techniques from traditional television to the three-dimensional medium.

“We are very excited that BSkyB is endorsing our 3D certification program,” said Pierre Routhier, Technicolor’s VP for 3D product strategy and business development. “Together with our customers, we will take a proactive approach in support of the industry to ensure a consistent and quality end-consumer 3D experience in the home.”

By David Fox

3ality Digital + Arri Media join forces

Arri Media is to supply 3ality Digital's active stereoscopic 3D shooting systems to the UK’s TV and film market.

The new partnership will expand equipment availability, as 3ality Digital’s systems will be available to rent direct from Arri Media’s London and Manchester bases.

Content producers will also be able to demo or test the systems in one of the six Arri Media test rooms, at its offices in Uxbridge. There they can gain familiarity with 3ality Digital’s technology and ensure that it meets their requirements.

The agreement will also see Arri Media becoming the UK service centre for 3ality Digital’s products.

“Arri Media has over 20 years’ experience working closely with some of the biggest names in the UK’s film and TV industry, so they provide the perfect platform to expand the availability of 3ality Digital’s products. They fully understand advanced digital technologies, have industry-recognised technicians and support and are the perfect partner for us on this side of the world. Arri Media has a stellar reputation and we look forward to working closely with them," said Steve Schklair, CEO of 3ality Digital.

The systems are already in regular use in the UK. BSkyB uses 3ality Digital equipment for acquisition for its 3D HD satellite channel, since using it on its first S3D broadcast, the Manchester United v Arsenal football game in January 2010.

“3ality Digital’s reputation for being the best in the 3D industry has been built on the quality of their products, which are at the heart of S3D. The company is capable of equipping at the highest level in the S3D world and together with Arri Media’s camera and grip range, we will be able to provide customers with complete S3D production solutions," said Bill Lovell, Head of Arri Media's Digital Department.

Arri Media recently supplied 3ality rigs to SK Telecom, Korea, to shoot Mozart l’opéra rock (Mozart – the rock opera) in Paris, using six 3D rigs (and an OB truck from Euromedia) at the Palais des Sports to capture the event, initially for cinemas across Europe then for global release. It also supplied 3ality rigs and Alexa cameras for a shoot in London, featuring the dance group Diversity, for Sky 3D.

Steve Schklair on the HD to 3D transition from UrbanFox.TV.

By David Fox

3D specialist Pointy Stick launched

A new creative-driven 3D production company has been established by 3D production services and tech company Inition and director/creative technologist Michael Lindsay.

Pointy Stick is representing a roster of emerging talent and brings together original, creative minds from around the world, all of whom are already successful in 2D but are forging new paths in stereoscopic 3D work.

Pointy Stick’s commercials director roster includes Fredrik Callinggard whose Ikea commercial, Kitchen Dreams, won a Gold Lion at Cannes in 2006; Gaute Hesthagen who has a track record in high-end film and commercials; founder Michael Lindsay whose 3D work includes live event content for Unilever brand TIGI and a series of 3D films for De Beers; Mike Brady, who works across music, commercial and corporate video and recently directed a 3D ad for Royal Mail; and award-winning wildlife duo Deeble & Stone who recently collaborated with Inition to produce a 3D pilot for their feature film Distant Thunder.

“Pointy Stick stands out in the field for having both creative credibility and fantastic 3D technical credentials under one roof," claimed Inition director, Andy Millns. "We have the crucial technological lineage and support built up in Inition, which is a major defining asset. The most exciting thing about this new venture however, is that we now have the framework in place to focus on expanding the creative parameters of what is possible in 3D.”

“Creatively, this is an exciting time to be working in 3D as most of the defining pieces of the medium are yet to be made," added Michael Lindsay. "There is very little creative precedent to lean on which makes 3D a challenging medium to work with but one with huge potential. Bold, innovative and creative S3D films are our primary interest.”

Lindsay and Millns first worked together on series of 3D films for a global launch event in Las Vegas in 2006. Since then the pair have collaborated on a number projects. Pointy Stick has already completed work for DeBeers (for a no glasses display at its London and New York stores - pictured), LG and Unilever and shot pilots for music and documentary projects.

By David Fox

3D One upgrades CP31 3D camcorder

3D One has upgraded its CP31 3D HD camcorder with native QuickTime, has started deliveries in the US, and has had the CP31 used for filming rockets in French-Guyana.

Its latest, free software update allows the CP31 3D HD camcorder to directly write .mov files. The recordings are stored in two photo-JPEG encoded QuickTime files, which are natively supported by any Mac application, such as Final Cut Pro. It can also directly write AVI files, which are more commonly used on Windows computers.

The 3D One cameras are already available in Europe, at Alphatron, more2cam, or Visual Impact, and are now being delivered to US rental companies such as t-stop in LA.

The European Space Agency has recently been filming with the CP31 in the tropical heat of French Guyana, recording the integration of its Advanced Transfer Vehicle into the Ariane 5 rocket. This is part of the production of a 3D film to be projected for large audiences across Europe.

By David Fox

Panasonic adds 1080/24p to HC1800

Panasonic has upgraded its multipurpose 2/3-inch 3CCD AK-HC1800 camera to make it more suitable for 3D and episodic production.

At CES, Panasonic demonstrated two HC1800 cameras delivering 1080/24p in a Bexel 3D rig.

The compact 1.5kg HC1800 has been deployed for a wide variety of uses in studios, sports and entertainment venues, and can now shoot 24p (where previously it was 50i or 60i only).

It incorporates an advanced single-channel transfer system and spatial offset processing to reduce aliasing and provide finer resolution, has a useful signal-to-noise ratio of 60dB and sensitivity of F10 (at 2000 lux).

Other features include: 14-bit A/D converter with a 38-bit digital signal processor; 12-axis colour correction; CineGamma; Dynamic Range Stretch; HD-SDI output; genlock; mini 15-pin connector for power and control, tally function, iris and zoom/focus controls; motor driven optical filters (Clear, 1/4ND, 1/16ND, 1/64ND); DC 12v operation; and power consumption of 17W.

The AK-HC1800 with 24p output will be available soon at a list price of $29,900.

By David Fox

January 25, 2011

Century goes wide for XF300/XF305

Century, part of Schneider Optics, has released a new HD Wide Angle lens attachment for the popular Canon XF300 and XF305 camcorders.

The new WA-8XLC-XF Wide Angle Converter attaches directly to the front of the camcorder's built-in 18x zoom lens to increase viewing coverage by 20%. Recent approval from the BBC for HD broadcast production has increased demand for the XF300/XF305, but at 29.3mm (35mm lens equivalent) at its widest, it doesn't have a particularly wide-angle lens.

In operation the Century .8x Wide Angle Converter will allow full zoom functionality, providing a 20% increase in coverage through the entire zoom range.  The WA-8XLC-XF is claimed to offer: "superior edge-to-edge contrast with low distortion and chromatic aberration." The adapter has a bayonet mount that fits directly to the front of the lens with a twist and lock mechanism, and should take just a few seconds to attach.

Further lens accessories for the XF300/XF305 are being developed by Century and should be available shortly, including a .6x HD Wide Angle Adaptor, Fisheye HD Adaptor and 1.6 HD Tele-Converter. Its UK and Ireland distributor is IDX Technology, and the WA-8XLC-XF is available for about £750.

By David Fox

Mighty Atom ready for 3D Epic

Atom 3D RED Epic Rig - Tour by Stephen Pizzo from Tonaci Tran.

Element Technica has developed a new 3D rig especially for Red's latest Epic digital cinema camera. The Atom will cost from $64,000.

Because it has been designed for a specific camera, ET could make it lighter and more streamlined. It will initially be available in aluminium (weighing about 8kg in handheld configuration), but a $84,000 magnesium version will be available soon that weighs less than 6kg – meaning that a complete 5K 3D beamsplitter rig would weigh about 16kg for a handheld system - as little as some 35mm camera systems.

The Atom can have integrated lens control, interocular and convergence control, genlock synch, a 3D multiplexer, and an Epic-specific IO module. It can integrate with the same $12,500 cine-style lens control available for ET's Quasar, Pulsar and Neutron 3D rigs – the Pulsar has just started full production.

The multiplexing, sync and power conditioning electronics come as part of the $20,000 Atom Pro Kit (which is made of magnesium in a shark's fin-style housing), meaning it has three fewer external components. The Pro Kit also includes two 3D IO modules designed for use with Epic to replace up to four cables per camera, and 12 or more cables from the rig.

Although it is relatively compact, Atom can still accommodate full-sized PL and PV primes as well as smaller zooms like the Angenieux Optimo 16-42mm or 30-80mm.

For Steadicam use, it allows almost 120º of pan rotation (thanks to a very low profile bottom camera plate), which is more than other rigs available; if using primes and a shorter dovetail, full 360º rotation is possible (as on the Neutron rig).

Specifications: IO travel (beamsplitter mode) is 0-90mm, or 95-190mm in side-by-side mode; convergence is 1.2m at 90mm; beamsplitter field of view is 65° (with an 85mm lens front). Height (studio mode) is 520mm, or 445mm in handheld mode; length is 480mm (beamsplitter mode); width ranges from 216mm to 430mm.

By David Fox

Live view for GoPro + Contour

Both GoPro and Contour are upgrading their go-anywhere helmet cameras so that users can finally see what they are filming as they shoot.

The GoPro is probably the most widely-used miniature, waterproof, point-of-view action camera for broadcast work, despite the fact that you have to just point it in the general direction of what you are shooting and hope it gets it – as it is normally fixed to a helmet, or bike handlebars, or some other form of transport, there isn't usually much you could do to frame it anyway.

However, next month GoPro is introducing a removable LCD BacPac (costing less than $70) for live viewing and camera control to its 1080p HD Hero camera. This takes advantage of the bus connection that is being used for its new 3D Hero rig. It includes a built-in speaker and will allow users to see what shots they are framing and to playback their videos without transferring them to a computer - best photos I've seen of the LCD BacPac so far are on Engadget.

There will also be a Battery BacPac (costing under $40) that doubles the battery life and can also be used as a standalone battery charger. Both BacPacs require the fitting of a new back to the HD Hero's waterproof housing. GoPro is also likely to release other BacPac units in future – probably ones that duplicate the functions of Contour's latest development….

For aiming a camera that is fixed to somewhere that isn't easily viewable, the LCD BacPac might not make framing a shot any easier - although it will be useful for handheld use. However, it's rival, Contour, is adding remote live viewing to its range via a Bluetooth connection that will send the video to an iPhone/iPad or Android mobile – the apps to view it aren't available yet, but should be soon, with the iOS version appearing first. The Bluetooth connection can also be used for remote control.

It comes as part of the new $350 ContourGPS, which, as the name suggests, also includes a GPS chip. It can capture 1920x080 video at 25p or 30p and 1280x720 50p or 60p, using the H.264 .mov format.

"We're excited about turning a phone into a live screen for the ContourGPS and delivering the single feature nearly all of our customers have been asking for," said Marc Barros, Contour's CEO. "ContourGPS was already the first hands-free camera to introduce real-time GPS, bringing a whole new level of video storytelling to our customers around the world. But with the enabling of Bluetooth, ContourGPS becomes the only hands-free video camera with a wireless viewfinder."

Related post: GoPro acquires CineForm - Goes 3D

By David Fox

January 22, 2011

Polecam GoalCam + StadiumCam

Polecam has announced a three-camera package for sports to cover action in either goalmouth and give a wide view of the stadium.

The new GoalCam and StadiumCam are designed for efficient outside broadcast coverage of stadium sports such as rugby, soccer and hockey. The lightweight systems are claimed to be easier to install and dismantle than traditional heavyweight kit.

The package consists of two GoalCams and one StadiumCam. Each camera uses a 1/3-inch CMOS HD-SDI imager allowing the use of ultra-wide-angle lenses with high corner resolution. Both GoalCams are fitted with 125º low-distortion lenses giving images of the entire goalmouth without the barrel distortion commonly experienced at such wide angles.

The StadiumCam is equipped with a 170º fisheye lens and, like the GoalCams, can deliver 1080i line resolution at 50/59.94Hz. An optional downconverter is available to provide SD-SDI output where required.

All three cameras plus two auxiliary cameras can be controlled from a single Polecam RCP remote control panel. The GoalCams and StadiumCam have individual data receivers allowing full control of camera functions, including motorised iris adjustment. The data signal can be sent along standard audio cable, over optical fibre or via a radio microphone link. Control data can also be embedded into, or extracted from, an HD-SDI stream.

Each GoalCam is supplied with a fully adjustable bracket and a weather housing, available in white or carbon fibre effect. The bracket allows the camera to be positioned in the corner of a goal and will re-stabilise quickly if the net is struck by a ball. Suspended from a single point, the mount is also designed to prevent injury by flexing if a player collides with it. The 125º lens allows the entire goalmouth to be seen even when the output video is cropped from 16:9 to 4:3. This gives commentators the ability to report accurately that a ball has indeed crossed the line.

Weighing less than 500g, StadiumCam can be positioned overhead, at a halfway line or at a corner of the pitch. With five megapixels equivalent optical resolution, its 170º lens allows the entire crowd and stadium to be encompassed in a single view. The size and weight of this system should make it easier to pass health and safety requirements than traditional cameras.

Polecam's three-camera system will be introduced at BVE 2011 in London, 15-17 February (stand B10).

By David Fox

January 17, 2011

Camera hire costs cut by contract

UK camera dealer, Top Teks, has started a contract hire business offering cameras at about a quarter of normal hire costs.

Users have to commit to a camera for terms of six or 12 months, although it is possible to swap cameras during the 12-month hire period. It means that someone requiring a camera for a month-long shoot would only need to get a couple of weeks more work for the camera before gaining on the deal.

"We've noticed over the last few years, freelancers not wanting to commit to buying cameras, due to format changes or technology changes, or clients wanting different cameras used. But, if you're hiring a camera, then you can't retain your settings, you don't know how that camera has been treated and you've no guarantee a particular model will be available," said Mike Thomas, Top Teks' sales director (pictured).

Users can also buy the camera outright for a guaranteed price at the end of the hire period (or give it back and get something else). The percentage of discount varies depending on the model, but after 12 months using a new Canon XF305, which would cost £275 per month including two high-capacity batteries and a wide-angle adapter, the buyout price would be £4,900 (compared to a new price of £6,200, so the user would be getting £1,300 off the rental).

Other advantages for users include: no capital outlay (no deposit); all of the hire costs can be put against tax (compared to a percentage of the depreciation normally); and if hiring for 12 months users can swap to another camera, although that would move them to the slightly more expensive six month rate.

Top Teks is currently offering eight camera models (Panasonic HPX-3100, HPX371 and AG-3DA1, Sony PMW-500, PDW-F800 and PMW-F3 with CP2 Primes, and the Canon XF305), but will add more as people request them. It also offers lenses, and hire of P2 or SxS cards and drives.

By David Fox

Ianiro Minima on-camera LED light

The new Minima from Ianiro, is a small, lightweight, bright LED light with switchable colour temperatures and full dimming control.

It weighs just 190 grams, measures 12.5.x11x4cm, and outputs at 100 lumens per Watt, equivalent to a 50W tungsten lamp. Instead of using gels, users can switch between six colour temperature settings from 2800K to 6500K.

To achieve this, it uses red, white and yellow LED lights to form a continuous spectrum with full-range frequency. Low-cost and inaccurate analogue circuitry has been replaced by a digital signal microprocessor and a 25k frequency PWM controller. This allows for the colour ratio of different LEDs to be adjusted precisely according to different colour temperatures. Minima's Colour Rendering Index is claimed to be above 90% at any colour temperature: 2800K, 3200K, 4000K, 4800K, 5600K and 6500K.  Minimum colour shift is guaranteed to be within the range of 3-step dimming.

"It does away with the need for colour gels to control image temperature," said Nick Allen-Miles, managing director, Ianiro UK, who claimed that "the quality of the output is excellent, marrying outstanding brightness with amazing colour accuracy."

The Minima, which is manufactured by Taiwan-based Visio Light, uses 144 individual LED light bulbs, and is claimed to produce "a pleasant, uniformly soft light that delivers natural skin tones with an excellent 3D effect."  It uses a low energy design with a run time of 1.5 hours off six AA batteries (it also takes 12-18v DC input or a D tap cable). This should allow news crews, for example, to "shoot interview after interview without reaching for spare batteries, gels or reflectors," said Allen-Miles.

List price is €199 or £169 (with street prices below £150), and it will be on show at BVE 2011, 15-17 February, in Earls Court 2, London - where UrbanFox will again be doing seminars....

By David Fox

Chrosziel supports AF101 + AG-3DA1

Chrosziel has designed three new accessory kits for Panasonic's new AG-AF100/AF101, and a new kit for the Panasonic AG-3DA1 3D camcorder.

Two of the AF101 kits are based on its recently introduced LightWeight Suppport 401-427 with 15 mm rods together with MatteBox 450R2 with two rotating filter stages. The front stage takes 4x4-inch or 4x5.65-inch filters, the rear stage 4x4-inch.

The kits are distinguished by their light-prevention rings. Chrosziel assumes that the camera will typically be used with only one type of lens – cine or photo. Hence the 450R2AF1KIT with flexible light-prevention rings is intended for typical Micro Four Thirds Lenses with 50mm to 85 mm outside diameter; while the 450R2AF2KIT is designed for compact PL-mounted lenses with diameters from 75mm to 95 mm.

For all larger lens diameters up to 130 mm, there is the 456-20AF1KIT with LightWeight Support 401-427, MatteBox 456 Academy Double with Flexi-Insertring (411-68) for diameters from 95 to 125 mm.

The Kits with MatteBox 450R2 cost €1,317, the MB 456 Academy Double version costs €1,794.

Also new is Chrosziel's 3DA1Kit (456-203DA1KIT - pictured top) for the AG-3DA1. It consists of a LightWeight Support (401-415) with 15mm rods, the MatteBox 456 Academy Double and the Retaining Ring (410-65) shaped to tightly fit the camera’s twin lens.

Those who already have the LightWeight Support for Panasonic's HVX200 can continue using it. It also fits on the Sony PMW-F3 and the Canon XF300/305.

The MatteBox 456 Academy is equipped with two rotating filter stages with multiformat filter holders (510-01) for 5x5-inch and 4x5.560inch. When using the 5x5-inch filters, both stages rotate without restriction. All 2/3-inch TV and Cine MatteBoxes with a142.5mm connection can be used on the AG-3DA1 with the retaining ring 410-24 also shaped to fit the twin lens.

The Kit costs €1,863.

Related post: Chrosziel adapts to 3D and DSLRs

By David Fox

January 16, 2011

Lexar offers first fast 128GB SD card

Lexar has introduced the world's first 128GB SDXC memory card rated at 133x (offering a minimum guaranteed transfer speed of 160Mbps). It should be available soon, costing $700. There will also be a 64GB version ($400). However, buying four 32GB SD cards, which are now widely available from various manufacturers, could cost about a third of the price of the 128GB card – and you won't lose as much of your shoot if you lose one of the lower capacity cards.

January 15, 2011

Image flipping Samsung HMX-Q10

A novel feature on Samsung's new $299 HMX-Q10 camcorder would be a useful addition for video journalists (or possibly left-handed shooters). As it has an magnetic sensor, it knows when it is turned upside down, so can automatically flip the picture (and menu controls) over. This means you can have the LCD screen on the other side – most camcorders, especially small ones, have the screen fixed to the left-hand side of the camera. This makes life difficult for any video journalist that wants their interviewee looking right in the picture if they have to stand on the left of the camera.

The Switch Grip technology could also be useful for very low shots, where, for example, you carry it upside down on a monopod, which would otherwise have to be flipped in post. The only physical controls are a record button, zoom ring and single home button beside the 2.7-inch touchscreen, where everything else is controlled. The inexpensive, 1080i or 720p HD consumer camcorder, which will also take 4.9MP stills, is otherwise unremarkable, but the technology could find itself in other camcorders in future.

January 12, 2011

Tiny new Canon XA10 pro camcorder

Canon has developed its smallest-ever pro camcorder, the XA10, based on its new XF100/XF105 models, but without the 50Mbps recording.

The XA10 weighs just 820g, and the combined handle, XLR audio block, and built-in infra-red LED light, can be removed to make it even smaller and as unobtrusive as any consumer handycam if it is needed for undercover filming.

It uses the same lens, sensor, digital processor and focusing system as the XF100, in a smaller unit (the XF100 is already pretty small but almost twice the size of the XA10). It has a built-in 64GB solid-state drive (recording almost six hours at its highest 24Mbps bit rate) and has three seconds of cache recording. There are also two SD card slots, which can be used in relay or back-up modes where the XF100 uses larger CF cards and has no built-in drive.

The XA10 was launched at last week's Consumer Electronics Show in Las Vegas and should cost less than $2,000. It is attracting interest from professional users, such as UK rental house, Hireacamera.com, which sees it as the perfect replacement for the venerable Sony HVR-A1. "Our Sony A1s have been incredibly popular but we have for a while been waiting for something with which to replace them and here it is," it posted on its website. "We will definitely be stocking it from launch."

It uses a 1/3-inch CMOS sensor, records 1080p HD video in AVCHD or H.264 at 24 or 25p, 50i (or 30p/60i), and boasts good low light performance, down to 1.5 lux, as well as shooting infrared (like the XF100), helped by a diffuse LED IR emitter in the handle and a flip-up IR filter in front of the sensor. The 10x f1.8 30.4mm zoom lens has an 8-blade iris for an attractive bokeh (background blurring) effect. It can be used with Canon's new WD-H58W wide-angle adaptor, or other 58mm adaptors.

There is a 3.5-inch, 920K dot resolution, touch screen LCD, which can be used to select a subject for focus tracking and subject-specific auto exposure (which should mean that a white car crossing the background won't cause the exposure to change).

Advantages of XA10 compared to XF100/XF105:

  • Price - Under $2,000 (probably about £1,600) whereas the XF100 costs about $3,300 (or about £2,500) while the XF105 costs about $4,000 (or £3,200).
  • Size - The XF100 is hardly large, but the XA10 is barely bigger than a consumer camcorder, especially when the handle/audio block is taken off.
  • Internal memory - 64GB flash memory gives almost 6 hours of recording.
  • SDHC card slots (2) - adds flexibility of second media type, widely available at reasonable prices.
  • AVCHD - 24Mbps can give excellent pictures, especially if you aren't shooting fast-moving highly-detailed images, and takes up less than half the space of the XF's 50Mbps codec.
  • Easy to use - Those consumer camera features, such as touch auto focus and exposure, can be very useful. It is a pity that more professional cameras don't use a touch-screen interface.

Disadvantages of XA10 compared to XF100/XF105

  • Size - If you want to look professional and be taken seriously, the XF100 is about the minimum you should aim at. Also, a slightly heavier camera can be easier to keep steady - we've been using an XF105 for a few weeks and it sits very nicely in the hand if you need to go handheld.
  • SDHC - SD cards are tiny, and therefore even easier to lose than a Compact Flash card (which the XF range can take two of).
  • AVCHD - If you are shooting for broadcast, 24Mbps H.264 is just too compressed to hold up after being subjected to further compression for transmission - so you are more likely to see artefacts in detailed and/or fast-moving shots. The XF's 50Mbps codec has been accepted as HD quality by the BBC (although we don't know yet if the new single-sensor  XF100/XF105 will be too...). ALSO, AVCHD doesn't always play nicely with broadcast non-linear editing systems, such as Final Cut Pro, so will need to be transcoded.
  • 4:2:0 - The XA10 codec holds less colour detail than the 4:2:2 available to the XFs, which makes it a lot less suitable if you ever want to do green screen chromakey work.
  • Audio - The Dolby Digital two-channel (AC-3 2ch), 48kHz sampling used by the XA10 will probably be pretty good in reality, but the uncompressed PCM audio in the XF cameras will be even better.
  • Pro features - Although the XA10 is easier to use, the XF range has additional features that will prove very useful for many users, such as the variable frame rates (between 12 - 50 frames per second), or more assignable buttons (10 compared to 2).
  • 3D - The XF105 has a couple of 3D assist functions that make it very well suited for use in a 3D rig.
  • HD-SDI + Genlock - The XF105 also has these connections, allowing it to record at higher bitrates to an external recorder and to work well in a multi-camera shoot.

HF G10 costs even less...

Also new is Canon's high-end consumer camcorder, the $1,500 HF G10, which uses the same newly designed HD CMOS Pro image sensor as the XA10 to improve resolution, enhance low-light performance and expand dynamic range, thanks to using larger, more sensitive pixels – it is a native 1/3-inch 1920x1080 sensor rather than trying to cram more pixels into the sensor for higher-resolution stills images, as many camcorders now do. The sensor is also used in the three-chip XF300/XF305 models and is claimed to improve dynamic range by 280% compared to similar, more densely packed sensors.

The sensor is also used in the three models in Canon's compact new Vixia HF M-series camcorders (costing $650-$800 - the Canon HF M41 is pictured right). These will be able to be used with a $600 case waterproof to about 40m, for a reasonably priced underwater rig.

The HF G10 has 32GB internal storage plus two SD slots, 3.5-inch touchscreen, a built-in microphone that can zoom to match the lens (as on the XA10), and the same lens as the XA10. Useful pro features include: manual colour temperature adjustment (2,000K-15,000K in 100K increments), colour bars with test tone, manual shutter speed and aperture control, waveform monitor, a built-in Remote Control Terminal (which supports LANC protocol), and native 24p recording.

The XA10 and the other models mentioned should be available in March. The XF100/XF105 should start shipping before the end of January in Europe and in February for the US.

Also new from Canon is the Bluetooth-based WM-V1 Wireless Microphone usable at up to about 50m. The small microphone and receiver will be available in May for about $250.

By David Fox

January 11, 2011

Full 50p + 60p AVCHD at 28Mbps

Panasonic is replacing its 700-series cameras (the first camcorders to record 1080/50p - or 60p for NTSC countries - using AVCHD at 28Mbps) with the 900 series. These upgraded models have larger LCDs and can be fitted with a 3D conversion lens (allowing 3D recording – using the lower-resolution side-by-side format at 960x1080 per side - similar to the existing SDT750).

The images from the three CMOS sensors used by the 700 series delivered nice looking pictures (we've used one for some of our videos - such as this Panasonic AF100/AF101 interview) and the new models should be equally useful. However, editing the 50/60p video isn't particularly simple with most broadcast editing systems such as Final Cut Pro, as 28Mbps is not yet part of the AVCHD standard.

Panasonic's new TM900 and HS900 1080/50p camcorders have three CMOS sensors, record AVCHD at 28Mbps, have 3.5-inch touch screens, a manual control ring, 20x f1.5 zoom lens, and can record 3D with the addition of a 3D conversion lens.

Panasonic is also extending 50/60p recording to single sensor camcorders, the TM90 and SD90, with 28mm 21x zoom lenses that can also be converted to 3D. Other manufacturers have also announced their own 50/60p models, which hopefully should hasten its introduction in any NLE upgrades.

Sony extends to 28Mbps

Sony has adopted 50p and 60p 28Mbps HD recording with its $1,300 HDR-CX700VE, which will be available in March, and should lend more impetus to the AVCHD standard being extended to include 28Mbps recording (both Sony and Panasonic are part of the AVCHD consortium) - although it is currently unclear if the both manufacturers are using exactly the same codec.

The CX700 might be a useful small camera to have, as it can also do 24p or 25p (recording at 24Mbps compared to the 17Mbps on the Panasonic cameras). It comes with some professional features, such as Expanded Focus, Zebra and Peaking, as well as CinemaTone Gamma and CinemaTone Color presets. It also delivers a reasonably wide-angle image (26.3mm as a 35mm equivalent) and has 96GB flash memory and a GPS receiver built in. Sony built a more professional version of the CX700's predecessor, the CX550 (the HXR-MC50E), so perhaps there will be a version of the CX700 with, at least, improved audio.

Sony is also bringing out three lower-cost cameras shooting 1080 at 50/60p: the $450 HDR-CX130, $600 XR160 and $800 CX360.

All of its HD Handycam camcorders will also come with a new Tracking Focus feature, which maintains focus on moving objects. It is similar to Face Touch, where you can select a person in the frame to be prioritized, so you can now touch any subject in the shot, such as a dog or vehicle, to keep in focus. Just as face detection is now creeping in to professional camcorders, focus tracking will probably become widespread once it is proven.

Sony will also have new Handycam camcorders with projectors built into the front of the 3-inch LCD panel, allowing video to be projected at up to 60-inches (diagonally) when projected from 6m away, which could be useful when doing presentations.

Cyber-shot at 50p with 3D too

The Sony Cyber-shot TX100V is the world’s first compact digital stills camera to offer 1920x1080 video at 50p or 60p. It is also one of five new cameras that can shoot 3D stills with a single lens and sensor (the DSC-TX10 - pictured in use below right, DSC-HX7V, DSC-WX10 and DSC-WX7 record interlaced HD at 50i or 60i).

In the 3D Still Image mode, the camera takes two consecutive shots in different focus positions to calculate the depths, creating left-eye and right-eye images to produce a 3D effect. 3D images can also be captured using 3D Sweep Panorama mode, which takes panoramic pictures in one press-and-sweep motion – stitching the images together automatically to create 3D panoramas.

Related post: Sony's weather-proof HXR-NX70

By David Fox

GoPro sports 3D Hero HD

GoPro has developed a small, waterproof 3D rig for shooting full 1080p 3D video with its tiny Hero HD cameras. These are already widely used for TV production to get shots in wet, dusty or difficult conditions (such as fixed to a ski helmet).

The upcoming 3D Hero Expansion Kit will allow users to fit two of the 1080p cameras in the one housing, with a synchronization cable that connects the camera's bus outputs (it says that this synchronises "video capture and settings", hopefully including the auto exposure). The kit should cost less than $100, and each HD Hero costs $260 (although many production companies and cameramen will already have one or two of them).

The interaxial distance between the lenses can be adjusted, by simply turning one of the cameras upside down (going from about 60mm apart to about 25-30mm - my estimate) – although rolling shutter effects with verticals skewing in opposite directions may make this unusable for some shots. The normal GoPro housing is waterproof to 60m, so presumably the 3D rig will be too. The whole rig should weigh less than 400g, including cameras. The kit should be available soon, and will probably lead to lots of 3D base-jumping, skydiving, snowboarding and climbing videos on YouTube.

GoPro also supplies 3D conversion software to import video from one camera and have the other camera's video automatically imported and aligned to create a 3D file.

Related post: GoPro acquires CineForm - Goes 3D

By David Fox

January 10, 2011

Sony + JVC low-cost 3D camcorders

3D was probably the key theme at the Consumer Electronics Show in Las Vegas last week (even more so than would be iPad rivals), with 3D displays, 3D games consoles, 3D-equipped laptops, and cheap and simple consumer cameras on many stands – some of which could find themselves used for professional applications.

Sony's first foray into the world of consumer 3D camcorders includes one that should be of interest to professional users.
The Sony HDR-TD10E was claimed to be "the world’s first Double Full HD 3D consumer camcorder" – JVC made similar claims (see below). It uses an integrated dual lens system with two Sony G Lenses, two Exmor R CMOS sensors, and two BIONZ image processors, recording 1920x1080 on both channels. It can also output full HD 2D video, and recordings can be played back in 3D without glasses on the camcorder’s 3.5-inch autostereoscopic LCD touch screen.

Other features include: 10x optical zoom with Optical SteadyShot (Active Mode) and iAUTO in 3D mode; 64GB of built-in flash memory.

The HDR-TD10E will be available in April for about $1,499.

Sony also has one of the simplest, cheapest and smallest 3D camcorders on offer in its new Bloggie HD range.

The Sony MHS-FS3 Bloggie 3D records 1920x1080 MP4 video and 5-megapixel still photos. It has two lenses (very close together), two image sensors, stereo microphone and built-in LED light. Recordings can be viewed in 3D without glasses on the camera’s 2.4-inch LCD or via a 3D screen using HDMI. It has 8GB of internal memory and will be available in April for less than $250.

JVC goes full on

JVC's GS-TD1 full HD 3D consumer camcorder (pictured top) can also record 1920x1080 (50i or 60i) on both left and right channels simultaneously (as well as supporting side-by-side format AVCHD 3D plus AVCHD 2D).
It features two 3D HD GT 5x lenses (10x in 2D mode), two 3.32 megapixel CMOS sensors, 64GB of built-in flash memory plus an SD card slot, the new Falconbrid LSI chip, and a 3.5-inch glasses-free 3D touch panel LCD. It should cost less than $1,700 and ship in March, a month before the HDR-TD10 – which might indeed mean it lives up to JVC's claim that "the newly developed LR Independent Format makes the GS-TD1 the world's first consumer-oriented camcorder capable of 3D shooting in Full HD."

It has an Optical Axis Automatic Stabilization System for disparity control to give depth to 3D images, Biphonic technology for dynamic 3D sound, and Automatic Parallax Adjustment to optimize the 3D-video comfort zone. The f1.2 lenses have round iris diaphragms to give a pleasing bokeh effect (background blurring) for both video and stills alike – although the small, back-illuminated CMOS sensors may not always give the shallow depth of field needed to make that useful - although shallow depth of field isn't really applicable to 3D as it makes the 3D effect look less natural.

The GS-TD1 will be able to do 3D time-lapse recording, which could make it very useful as a set and forget camcorder for long-term projects. It also records 3D still images. [UPDATE: The first reviews are coming in - see GS-TD1 review at Digital Trends].

JVC also showed a new compact HD Everio camcorder with 3D capabilities. The $950 GZ-HM960 has 2D-to-3D conversion built in, to turn any 2D footage into 3D. Output can be viewed without glasses on the camera's 3.5-inch 3D LCD monitor, or by connecting the camcorder to a 3D TV.  It will be available in February.

By David Fox

JVC HD LSI offers cost + speed gains

[UPDATED] JVC has developed "the world’s first LSI for high-speed processing of Full High-Definition video and stills on one chip for HD camcorders" and shown the first models using the chip at CES2011 in Las Vegas.

The large scale integrated chip will enable shooting and recording Full HD, including 3D images, and also higher resolution 4Kx2K images. High-speed photography with high-speed processing will also be possible. The LSI boasts low power consumption and should enable lower system costs by incorporating all image-processing technologies for HD shooting, including camera-signal processing and video/still image codecs.

JVC showed a concept "high speed multi-purpose camera" that uses this LSI at CES: the GC-PX1. Looking very like Sony's F707 stills camera, it offered 1920x1080 HD video at 60p (at 36Mbps), amongst other video and stills settings.

The Falconbrid LSI is also being used in JVC's new 3D camcorder, the GS-TD1. The LSI should be 2.7 times faster than JVC's previous CPU. It also: improves signal processing speeds by 70% (enabling 8.3-megapixel video at 60fps); doubles the speed of processing H.264 video (enabling compression of 2.07MP images at 60fps); speeds JPEG still-image processing by 5.5 times compared to its previous technology (enabling compression of images as large as 8.3MP in JPEG at 60fps).

It supports higher resolution video images, which it calls 4K2K (3840x2160 – that 8.3MP – at 60p) which is four times the data of HD.

Falconbrid should also deliver a 40% reduction in power consumption and 50% reduction of system costs compared to previous LSIs, making it suitable for use in a wide range of both consumer and professional products.

As all hardware and software is integrated into one platform, products that use it can be developed much more rapidly.

It will be particularly suitable for 3D, as it can do real-time 3D compression of separate Full HD images (1920 x 1080/60p) from right and left cameras using MPEG-4 MVC. The amount of data is double the conventional side-by-side 3D recording format, enabling high-resolution Full HD 3D images with one chip.

It could even do high-speed video capture in 3D, recording at 300fps (but at VGA resolution).

By David Fox

Red Scarlet prototype shown working

Although not an exhibitor, Red spokesman, Ted Schilowitz was at the Consumer Electronics Show in Las Vegas, last week, showing off a working prototype of Red's much-delayed Scarlet digital cinema camcorder.

Scarlet can shoot at 120 frames per second (or up to 180fps in short bursts – perhaps even more in the final version), using the "visually lossless" Red Raw codec. It has a 2/3-inch 5-megapixel sensor rated at 3K (more than double the resolution of full HD – probably about 3072 x 1620). It is claimed to offer clean high ISO performance (even as high as 12000ISO) and should come with Red's new HDRx Extended Dynamic Range technology.

The camera should weigh about 3kg, depending on which modules are fitted, and it should work with all the accessories for Red's 5K Epic.

[UPDATED] The 28mm, f2.4 (T2.5) constant aperture, 8x zoom lens shown on the prototype is built in [Ted from Red initially got the f stop wrong (he said 4.0) - He's since corrected himself - thanks to Matt Davis for this update]. Otherwise, the camera is largely modular, so you can add an audio interface with XLR connections (it comes with dual mini jacks) or additional storage. It can record to either Compact Flash memory cards or a solid-state drive (either of which – or even both - will bolt on the side). It can shoot stills or video and comes with HDMI output and synch ports for 3D (the right-hand side handgrip, which also contains a battery, can come off so two Scarlets can be mounted close together). It should be well suited to 3D production, where a larger sensor, such as the APS-C size one on Epic or a mainstream HD DSLR, would give much shallower depth of field when wide open - something that isn't desirable for 3D which looks most realistic when everything is in focus.

It was shown with a touchscreen monitor (allowing touch focus in autofocus mode and touch control of exposure and other settings), but it can be used without one as there are about three or four ways of accessing every control, such as by using the Redmote wireless remote controller (which can click onto its back when not needed and can be used to control multiple cameras).

Exactly when it will ship or at what price, or even the final specification is, like everything Red related, liable to change. However, Red has talked about wanting to be in the $6,000 price range and aiming for introduction before Summer 2011. There should also be a version of Scarlet with interchangeable lenses and one with the 5K Super 35mm-sized sensor from Epic.

[UPDATE: Scarlet-X has finally been launched, costing under $10,000 - you get more but you pay more]

By David Fox

January 05, 2011

DSLR v Video: Why not both?

A matter of choice: Gollner and Davis (and Canon 550D DSLR)

HD DSLRs are now widely used for video production, even for prominent TV series and movie making. Users love the shallow depth of field and low cost of entry. But just how useful are they for professional production, how do they compare to low-end video cameras, and can they withstand the introduction of large sensor video cameras that give the same look but without the operational problems?

"The tones of the images, the look, the range of lenses, the animation capability – they make these cameras a dream for independent filmmakers, but they're not good for everything. For the videographer who gets paid to shoot, run around, be quick, gather audio, videos, interviews. Quick turnaround. Guaranteed results, meaning its not going to screw up; the DSLRs have proved far from ideal," said Rick Young, editor/director/cameraman, MacVideo.TV.

For him it's not a matter of choosing one over the other, "they're both fantastic," but of choosing the right one for a particular shoot.

Producer/director, Matt Davis, MDMA, has a Sony EX1, and wanted to do wider shots. So, he bought expensive wide-angle adapters, but then worked out that a Canon 550D costs less than the adapter, even including the wide angle lens (he bought a Tokina 11-17mm zoom, which he praises for its sharpness). "The wide angle experience has been absolutely monumental. It does everything that an EX1 can't. There is no droop at the sides. It's got this wonderful panoramic feel. It is a smaller camera that can get into smaller places." He is only now investing in longer lenses.

"It had to work with an EX1. It couldn't just stand on its own looking beautiful and arty. It had to play fair with the rest of the video family." He makes sure that both the DSLR and the EX1 are shooting within similar contrast ranges "It's close, but it's not exact. It still needs a little bit of finishing off in Final Cut," to match the two pictures, but that is now quick and straightforward.

When he cuts the two together, it is difficult to spot the difference. The blacks can give the DSLR footage away. The EX1 can use Cine Gamma to give soft ramping in the blacks, and the DSLRs don't necessarily have that exposure range. "They're pretty and they're good, but they have limits, and you really can't push beyond those limits like you can with a decent broadcast camera," said Davis.

"If you look at DSLRs in isolation they look fantastic," said Young. "But when you put it together [with video], that's when you can really see the difference."

Young has augmented his two Sony EX1Rs and two JVC HM100s with two Canon 5D Mark IIs with Canon 16-35mm and Sigma 12-24mm lenses, "and it's staggering what you can get out of it. And even if I only use the DSLR for nothing but those wide shots, it would suit a fantastic purpose. The cost of buying a serious wide-angle lens for conventional video technology would be more than probably buying the whole DSLR package," he told the recent MacVideo Expo in London.

"We need this technology. It doesn't mean that it is everything; it complements what we've got, but it doesn't necessarily take over," although it has become "an integral part" of the kit he needs.

RAW deal: Young in a still from a demo sequence

Overcoming limitations

"It's just another tool, and it's a very exciting tool," said Den Lennie, founder, F.Stop Academy, who shoots with a wide range of cameras from Digital Betacam to XDCAM EX and DSLRs. He has produced four training DVDs dealing with HD DSLRs, but they have not all been shot using DSLRs. The 5D Mark II training videos were shot on a Sony XDCAM 350, while the Canon 7D DVD was shot on an EX1 and 5D Mark II.

"The limitations of DSLRs particularly lie in the audio," and when he was shooting in Malaysia with Dan Chung it was essentially a two hour documentary, which would have been much more difficult to do if he had to use a separate audio recorder (see some clips from it at www.dslrvideoonassignment.com). However, the training video uses both EX1 and DSLR footage cut together, which works very well. "You really don't have to do a lot of work [in post] if you match your cameras up beforehand," he added.

He tends to roll the sharpness, contrast and saturation down on the 5D Mark II, and bring a little back in post if necessary, and also roll down the detail settings on the EX1. The fundamentals of the craft of filmmaking remain the same whichever you use.

Alex Gollner, producer/director/editor, Alex4D.com (who has created a wide range of free Final Cut plug ins), now uses a Canon EOS 7D and 5D Mark II as his primary cameras, only occasionally using video cameras.

He likes to use a DSLR because he so often has to interview people in small rooms where the background would be distracting if he didn't have shallow depth of field. It also allows him use a very small lighting kit, enabling him to set up more quickly. He doesn't do news style material with it, where he would choose his HDV camcorders.

DSLRs give "blurred backgrounds behind my interviewee" and a "touch of class" to the result, he feels.

He uses a Zoom H4n recorder for audio and gets his subject to clap. "Synching only takes a few moments, as long as I don't stop and start the camera too often, and make sure they answer in less than 12 minutes," due to the file length restrictions.

He generally uses the camera locked off and just zooms in in post for close ups, as 720p is what most clients want the video delivered in.

When shooting on the EX1, Lennie uses a Tiffen low contrast filter to help smooth out some of the contrast so it matches better with the DSLR. "It is much easier to shoot on video where it's necessary to shoot in difficult conditions or where you are working as a one man band rather than using the Zoom recorder." If he has to synch DSLR audio in post, he uses PluralEyes (www.singularsoftware.com).

He filmed a concert recently for The Skids on five 7Ds, where the 12 minute recording limit was an issue (similar to shooting on film), so they staggered the recording on each camera by about 30 seconds and stopped/started recording one by one at the end of each track, for a two hour shoot. "You make a decision on what's right for the project," he said.

Davis feels that there is space for both proper video cameras and DSLRs at the moment, until the large sensor video cameras establish themselves. "I definitely do need both because there is no such thing as a single perfect camera." He finds that people react differently to stills and video cameras. Sometimes, if they see a DSLR, they may pose as if for stills, so you can get less posed reaction shots with a video camera.

Lennie doesn't worry about rolling shutter effects, as it's not an issue for most of what he shoots, while problems with moiré can be countered by using filters or defocusing. "It's just a limitation of the technology." He feels that DSLRs are particularly good for shooting in the back of a cab or other confined space.

Even with the Panasonic AF101 and Sony F3 coming along, Young feels that DSLRs still have some advantages, such as their compact size. He finds all of his cameras equally useful and they are used for different things.

Reflecting on glass

One problem, said Davis, is that a 50mm lens is not really a 50mm lens on cameras that use APS-C (which has a 1.5x or 1.6x crop factor) or Micro Four Thirds (2x) sensors. "The standard lens on a full frame camera is quite a long telephoto on a Four Thirds camera."

However, he feels that investing in glass will hold its value. "Glass can be a long term investment. The back end doesn't matter. Think about the front end."

"My clients are not going to see too much of a distinction in between video quality" on these cameras, said Gollner. It's more his own pride that makes the difference.

"If the client's images look better and they are paying less or the same for a higher quality product, that makes you look good," added Lennie.

Gollner believes that he could possibly achieve the same with DV or HDV, but it would take some extra work. "I'm just getting better quality pictures for a little less work than I used to a few years ago."

"It's all about the pictures […] who cares about what the camera is," added Lennie, "It doesn't really matter what you shoot on if you know how to shoot well."

"For extreme wides and extreme beauty shots," DSLRs "can't be beat," concluded Young, but for most other things, especially long record times and having all the right controls in the right place, he turns to his video cameras.

This article first appeared in the December issue of TVB Europe magazine - the full issue is available to view online and download any pages as pdf files.

By David Fox

January 04, 2011

One camera, three dimensions...

Generally, a 3D camera is a pair of 2D cameras combined in a 3D rig. However, the first integrated twin-lens 3D cameras have emerged, making 3D more practical and offering the prospect of 3D production without the need for a stereographer, convergence operator and 3D engineer. 

The rest of my article about integrated 3D cameras, such as those from Panasonic, 3D One, Frontniche (pictured above) and Sony, was in the December issue of TVB Europe.

By David Fox

January 01, 2011

AF100 - AF101 - while you're waiting

Ordered your Panasonic AG-AF100/AF101 and still waiting for it to be delivered?  Here are a few things to do to prepare for its arrival.

Lighting cameraman Peter Rance has set up a new forum for all things AF101 and AF100. So, pop over and register your interest at...

Next download the operating manuals. There are two of them. Volume one is a quick start guide, although it is still 52 pages long - so not that quick. But you'll also need Volume two for the advanced stuff.

Volume 1 - Panasonic AG-AF100P

Volume 2 - Panasonic AG-AF100P

Related posts: Panasonic AF101 in high demand, Panasonic's HD DSLR killer + New Panasonic AF100/AF101(updated)