Canon EOS C100 Super35 camera

Canon has announced a new entry-level HD large-sensor camera to compliment its existing C300 and the upcoming 4k-capable C500. The C100 records about half the data rate of the C300, but then it will cost about half the price….

The EOS C100 digital video camera is aimed at budget filmmaking. It records 1920x1080 HD video in the AVCHD codec (24Mbps, 4:2:0) to dual SD cards, for up to 12 hours recording on two 64GB cards.

Higher quality formats will require an external recorder, such as the Atomos Ninja 2 (via the C100’s uncompressed HDMI port – no HD-SDI, but the HDMI is lockable).

It has three seconds of cache recording, so you can capture what happened before you pressed the record button.

By replacing the C300’s Compact Flash recording, the C100 shrinks to about 85% of the size, and weighs 1020g (410g less than the C300).

It has push auto iris and one-shot auto focus – or full manual focus and exposure control, but it is being touted as being optimised for use by a single operator, although these auto functions are not available if shooting with Canon’s cinema lenses.

It also has a rotatable 3.5-inch LCD control panel, which is built-in rather than an add-on (as it is on the C300), plus a high-resolution electronic viewfinder (EVF). Thankfully, there are built-in ND filters (2, 4 and 6 stops), which gives it a key advantage over Sony’s NEX-FS100 and all DSLRs).

For audio, it has dual XLR inputs (on the detachable handle), recording linear PCM two-channel audio or Dolby digital two-channel audio.

Super35mm sensor

It promises “reduced rolling shutter artefacts” in interlaced mode, enhanced gamma modes, cinematic depth of field (from the Super35mm/APS-C sized sensor), and “excellent low-light performance”, which should be achievable as it appears to use the same 16:9 CMOS sensor as the C300 (which performs very well in low light and delivers excellent dynamic range of a consistent 12 stops through the ISO range).

It captures 8.4 megapixels, with individual Red, Green, and Blue channels for each full HD 1920x1080 frame, and provides an ISO range of from 320 to 20,000 for work in low light with “minimal picture noise”. It also uses Canon’s DIGIC DV III image processor for better colour rendition.

Frame rates

There are multiple recording modes, resolutions, and frame rates (60i, 50i, PF30, 25p, PF24 and 24p), plus enhanced gamma modes (including Wide Dynamic Range Gamma and Canon Log Gamma) for a peak dynamic range of 800% and wide exposure latitude for creative post-production image processing, colour correction, and contrast manipulation (although if you are recording AVCHD with 4:2:0 colour space, you lose a lot of that).

The C100 has a similar modular design to the C300, so you can add accessories to suit your shooting style. A removable side-mounted rotating grip with start/stop button and miniature "joystick" menu control provides almost SLR-like operation.

A detachable handle on top of the C100 includes dual XLR connectors, built-in stereo microphone, a bracket for an external microphone, audio-input level adjustments, and a tally light.

It can record to both SD cards simultaneously or relay-record from one card to the other, but also outputs uncompressed 4:2:2 HD via HDMI, including superimposed time code and 2:3 pull-down marker information. The HDMI is lockable, and if you’re using external recorders you really need this. Additional outputs include a USB connector and stereo headphone jack.

EF-mount lenses

The C100 can be fitted with EF-mount lenses (of which Canon makes more than 70 zoom and prime lenses in its EF, EF-S and EF Cinema lens line ups, with other lenses available from third-party manufacturers).

There are now seven EF Cinema lens models, which are more suited to video use than stills lenses.

There are four zooms: the compact, lightweight CN-E15.5-47mm T2.8 L wide-angle zoom and the CN-E30-105mm (pictured above) T2.8 L telephoto cinema zoom (available in EF and PL versions – with a list price of $24,500); the CN-E14.5-60mm T2.6 L wide-angle zoom and CN-E30-300mm T2.95-3.7 L telephoto zoom (also EF and PL).

The primes are: the CN-E24mm T1.5 L, CN-E50mm T1.3 L, and CN-E85mm T1.3 L prime lenses. Two new cinema primes, the 14mm T3.1 and 135mm T2.2 (pictured), were announced today for release in the Spring.

Price and availability

The EOS C100 should be available in November, with a list price of $7,999 – our local dealers are pricing it at about £4,160 + VAT (just under £5,000 inclusive) – about €5,250 or $6,500 – so it’s a little more expensive than an FS100, probably its nearest rival (but considering what it offers, probably better value).

By David Fox

CPUG Amsterdam SuperMeet at IBC

The Creative Pro User Group Network will be holding its Fifth Annual Amsterdam CPUG SuperMeet to coincide with IBC (the International Broadcasting Convention – Europe’s biggest broadcast conference and exhibition). 

There will be lots of presentations and demonstrations, including sneak peeks, and the seemingly endless raffle with more than €31,000-worth of production and post-production kit to be won.

As usual, it promises to be the biggest meet-up of Final Cut, Adobe, Avid and Autodesk editors and independent filmmakers during IBC. Food will be included and there is lots of opportunity to network.

It is being held in the Grand Hotel Krasnapolsky on Dam Square. Doors open at 4:30pm with showcase of more than 20 software and hardware developers, such as: Adobe, Autodesk, Avid, Blackmagic Design, Red Giant Software, Atomos, Axle Video, B&H, Amsterdam's College Of Multimedia, Drobo, The Future Store, G-Technology, Mocha, Noise Industries, The Padcaster, pond5, Promise Technologies, Shutterstock, Sonnet Tech and X2Pro (many of whom are donating raffle prizes).

SuperMeet presentations begin at 7pm, and will include (not necessarily in this order):

The award-winning cinematographer John Brawley, who was the first to get his hands on the new Blackmagic Cinema Camera, will show what it can do and talk about how it works and his post workflow using Blackmagic Design’s new DaVinci Resolve 9.

Michael Cioni, CEO of Hollywood post facility Light Iron Digital will lead a discussion about how the changing media ecosystem is changing filmmaking, and talk about new workflow and creative opportunities. One of Light Iron’s specialities is on-site dailies, and it has created a couple of iPad apps: Live Play – an automated digital playback and on-set collaboration tool; and Todailies (below) – which gives directors, cinematographers, script supervisors, and key production personnel the ability to take home and review camera takes or pre-visualizations.

Ken La Rue and Marc-André Ferguson, from Autodesk, will run through the all-in-one workflow of the new Smoke, including dealing with green screen, keying, tracking, colour correction and editing. The Smoke 2013 pre-release trial will be available until December and can be downloaded at: www.autodesk.com/smoke-trial.

Adobe’s Al Mooney will give an update on Premiere Pro CS6, and share a peek at “some very exciting future technology”.

Avid’s Adam Green will be revealing Avid news from IBC, while Filmlight's Martin Tlaskal will show off Media Composer’s AVX2 plug-in architecture with the latest Baselight for Avid plug-in.

Freelance trainer/author, Simon Walker will demonstrate three new releases from Red Giant Software: Trapcode Mir, PluralEyes and Knoll Light Factory, the light effects tool developed by ILM Visual Effects Supervisor John Knoll. Webby Award-winner Seth Worley (who made the brilliant Plot Device) has directed another excellent short film, Order Up, to show off what Knoll Light Factory 3 can do.

There are also likely to be other speakers, including independent film makers/editors.

Tickets cost €15 each online (€20 on the door), or €10 for students and teachers. But, you can save €5 off the ticket price by using the promotional code ibcvip when registering.

Also of interest during IBC will be DSLR Meetup 2012 Amsterdam with Philip Bloom on Saturday, September 8th at 8pm, at Café ‘De Pont’ behind Central Station (and a short trip on a free ferry). The theme of the evening is time lapse.

By David Fox

Scene files for Panasonic pro cameras

Panasonic users can change the look of the images captured by their P2 HD and AVCCAM HD camcorder using freely downloadable scene files from the company’s website.

The files can change lots of aspects of how a camera performs, from different frame rate to wide-ranging changes in the colour correction matrix and gamma used to specific create looks without having to manually change individual parameters or experiment to get the look you want. Panasonic’s selection of customized scene files each contain a unique look that can be stored in the camera or read from the camera's built-in SD Memory Card slot.

The latest files available are 18 for each of the following cameras: the AG-AC130 and AG-AC160 AVCCAM HD handhelds; the AG-HPX250 P2 HD handheld; the AG-AF100/AF101 large sensor HD cinema camera; and the AG-HPX370 (pictured above) and AJ-HPX3100 P2 HD shoulder-mount camcorders.

The 18 files come in three packages (styles, filmic, effects), each containing six files per download – except for the AJ-HPX3100, for which the files must be downloaded individually. If you have an AF101, you apparently have to change the camera name to AF101E in each of the three styles text entry (according to a comment on Creative Cow) - something similar might also apply to other variants, like the HPX371.

The Styles package includes: Clean, Portrait, Rich, SoftB (similar to using a black diffusion filter), SoftW (like a white diffusion filter), and Stylin (a bright, punchy look).

The Filmic package, for the film look, includes: Comedy, Drama (darker, grittier, more contrast), Hollywood, Super8, Flat (for grading in post), and Stark (for that Iron Man look… sorry, no, apparently for a highly stylized, brighter, more contrasty, washed out look, so more ‘Tony Stark’ than ‘Iron Man’).

The Effects package includes: DSLR, Ghosty (green and blue), Cold (blue), Night (darker blue), Hot (dusty), and Boost (for shooting in low light).

You’ll also find scene files for other Panasonic cameras on the page: with 33 for the AJ-HPX2700, AJ-HPX3700 and AJ-HPX3000; 31 scene files for the AJ-HPX2000; 16 for the AG-HPX500; 18 for the AG-HPX170 and AG-HPX300; and 20 for the venerable AG-HVX200/HVX200A.

Remember the HVX200 - It's good to see Panasonic still does...

By David Fox

Sony NEX-EA50 NXCAM camcorder

Sony’s new NEX-EA50 answers a demand that many camcorder users have for a large-sensor, low(ish)-cost camcorder you can use on your shoulder without having to buy some sort of rig. Certainly, our most popular post ever is one from two years ago on Shoulder-mounted AVCHD cameras – which is exactly what this is…

As the newest addition to the NXCAM range, the NEX-EA50 has a new form factor that should be more comfortable to hold however you like to shoot.

When its shoulder pad is extended, the camcorder can be balanced on the shoulder for extra stability, making it a lot easier to hold for long shooting times. When the shoulder pad is in its original position, the camcorder is compact enough for any style of handheld use.

Many of its specifications seem similar to the NEX-FS100, but it doesn't appear to use the same sensor. The camcorder, due to ship in October, features a large format sensor, E-mount lens system, shooting Full HD movies (and high-quality still photos), but is promised to meet a “more affordable price point than ever before” - about £2,700 - Creative Video has it for £2,499 + VAT, which is less than €3,200/$4,000.

The Exmor APS-C/Super35mm-sized HD CMOS sensor is claimed to offer low noise and high sensitivity in low light conditions. It also enables 1080 progressive and interlace recording with 50/60Hz selection at 50p/25p/50i or 60p/30p/24p/60i. It records AVCHD 4:2:0 at up to 28Mbps. It can also record standard definition MPEG-2.

“This all-in-one camcorder brings a new level of creativity to a wider range of professional users than ever before,” said Bill Drummond, Sony Europe. “It combines affordability and high performance with a range of versatile, professional features for many applications, including event production, budget movie making and corporate production.”

It will capture 16.1 megapixel still pictures and has a built-in mechanical shutter so it can deliver high shutter speeds while capturing stills.

The camera can be used with any Sony E-mount lens, which enables auto focus, auto exposure and stabilisation during shooting. It has a short flange back distance, so it is possible to attach Sony A-mount lenses via the LA-EA2 lens mount adapter, or a wide range of other manufacturer’s lenses using third-party adapters.

The NEX-EA50 comes with the newly developed Power Zoom E-mount lens E PZ 18-200mm F3.5-6.3 OSS SELP18200. The 11x zoom includes auto focus, continuous variable iris and Optical Steady Shot image stabilisation with Active Mode, which should give a more stable shot.

The lens is electronically controlled via either the zoom rocker lever on the camcorder grip or the top handle, offering either a constant zoom speed or smooth, slow zoom.

Other camera functions include: two-channel XLR audio (an ECM-XM1 Shotgun microphone is included with the NEX-EA50H); Linear PCM audio; time code; user bit; built-in GPS; six assignable buttons; HDMI Type A, component (3xRCA) and A/V (RCA) outputs; 3.5-inch 1920x480 LCD; and Face Detection autofocus.

For recording, Sony’s HXR-FMU128 (128GB) flash memory unit (which costs about £600/€750/$1000) can dock directly to the camcorder for simultaneous backup recording. The camcorder is also compatible with Sony’s new Mirroring Memory Stick (MS-PX64/32/16), the world’s first memory card with mirroring. This enables the card to deliver higher reliability and data security through a dual recording (mirroring) function. The PX Series cards will be available from September, in 16GB, 32GB and 64GB versions. It can also record to SD cards.

By David Fox

Is FCP X ready for broadcast?

After a year of updates, is Apple’s best-selling non-linear editor, Final Cut Pro X, finally ready for primetime? 
The following was written for the August issue of the broadcast industry magazine: TVB Europe - available free online or downloadable to iPad via Newstand.

When Apple introduced Final Cut Pro X last year, it wasn’t so much an update to FCP 7 as a completely new non-linear video editing program. It was a radical re-think of how we do editing, but because it was essentially a version 1.0 release, it became more talked about for what it didn’t do than its new features.

Amongst broadcast editors, especially, the initial reaction was one of dismay. Many aspects of the traditional broadcast workflow weren’t supported. Indeed, so great was the backlash that Apple soon put the discontinued FCP 7 and the Final Cut Studio package back on its shelves, so that facilities and production companies that relied on the earlier version didn’t need to upgrade to X if they wanted to add further edit seats.

Sony PMW-200 XDCAM camcorder

Many fans of Sony’s venerable PMW-EX1R looked at the introduction of the 50Mbps single-sensor PMW-100 and wondered when Sony would bring 50Mbps recording to their camera. Well, now it has… mostly. The new PMW-200 does have three half-inch Exmor CMOS sensors and full HD 4:2:2 5 50Mbps recording (as required by pretty much every broadcaster as the minimum bitrate for HD), but the form factor familiar to EX1 users has changed slightly. The PMW-200 is a somewhat more compact body, similar to the PMW-100, so it could take a little time to get used to new ergonomics.

Sony has taken a long time to offer 50Mbps in a decent lower-budget camera. Canon’s XF300/XF305 and Panasonic’s AG-HPX250 have had the field to themselves for a long time. It has meant that EX1 users have had to fit external recorders if they were shooting for broadcast. However, both the XF300/XF305 and the HPX250 use 1/3-inch sensors, but some broadcasters, such as Sky, believe half-inch chips are the minimum standard for HD (they often also ask for 100Mbps recording, so it may not be the end for all external recorders). The half-inch sensors should also deliver better low-light performance than their smaller rivals. Of course, if you already own an EX1R and an external recorder, the PMW-200 is not so much an improvement as a potential B-camera.

The XF range is currently the most popular for low-budget broadcast work, not just because it meets most broadcasters’ requirements, but also due to it using low-cost Compact Flash cards. The HPX250 uses Panasonic’s more expensive P2 cards, while the PMW-200 will primarily use SxS cards, which are only slightly cheaper than P2 – although at least the PMW-200 offers the option of using lower-cost SD, Memory Stick and XQD cards using an adaptor.

Besides 50Mbps, Sony covers all the legacy formats it is famous for, including 35Mbps MXF, 35Mbps/25Mbps MP4 and DVCAM. So if you still occasionally have to work in a Standard Definition environment and can’t edit in HD before outputting SD, then you are covered. Unfortunately, this flexibility uncovers one of the bugbears we’ve found using the PMW-100 – having to choose to format the cards using either UDF or FAT. Unhelpfully, the PMW-100 manual didn’t explain why you’d want to do that, so we had to work it out. If you want to record in 50Mbps (HD422) or 35Mbps (HQ), you have to choose UDF. You can’t record 50Mbps in FAT, but you can record 35Mbps (HQ) or 25Mbps (SP). It’s something you shouldn’t have to think about, but you do….

There is a slip-ring on the lens to switch between 

auto-focus (AF/MF - above) and full manual focus (below) 

Zoom lens: While the PMW-100 has a not-particularly-wide 10x zoom lens, the PMW-200 has a much better Fujinon 14x zoom, that goes from a very-nearly-wide 31.5mm to 440mm (35mm equivalent). You’ll still probably want a wide-angle adaptor for it, but you’ll probably only really need it in confined spaces.

The lens has three independent rings for zoom, focus and iris adjustment, plus greater precision through indications of ring positions on the 3.5-inch (852x480) LCD screen.

Recording: It has some frame rate flexibility with its Slow and Quick motion function which goes from one to 30 frames per second in 1080p, or 1fps to 60fps in 720p mode (but only if recording to an SxS Pro or SxS-1 card – and you can immediately play it back without using an external converter or processing on your editing system.

Most new professional camcorders now have cache record, which continually buffers what you are pointing at in its memory, but the PMW-200’s is longer than most at 15 seconds, which it will then write to your card once the record button is pressed, which is great for news or reality programmes – although it does assume you have the camera switched on eating battery power…

Other features: genlock and timecode interfaces for multi-camera operations; four-channel 24-bit Linear PCM 48kHz audio; dual XLR audio inputs; dual card slots; two ND filters (1/8ND and 1/64ND); optical SteadyShot; shutter angle as well as shutter speed settings; HD/SD-SDI, HDMI USB and iLink (IEEE1394 – HDV and DV) interfaces; five assign buttons.

Price/Availability: The PMW-200 weighs about 2.3kg (plus battery and cards, etc) and should be available from mid-September. There was no price in the press release, but CVP had it for pre-order at £5,160.00 + VAT (€6,580 or under $8,000 - essentially the same list prices as the EX1R is now).

There will also be a WiFi remote control from an iPad, iPhone or Android device (adaptor CBK-WA01 required), which is scheduled to be available by December with a free firmware upgrade (workflow above), including the ability to add metadata as used in Sony's successful XMPilot workflow.

“With the new PMW-200, we are putting one of the most versatile handheld camcorders we’ve ever developed onto the market,” said Bill Drummond, Strategic Marketing Manager, Professional Solutions, Sony Europe.

“The PMW-200 combines exceptional picture quality, seamless HD422 50Mbps workflow and a whole host of other useful features, with an ergonomic form factor. The result for users is an agile, lightweight solution that meets their varied needs and is the perfect partner for shoulder camcorders such as the popular PMW-500. It is also the ideal A-camera in its own right for HD broadcast production.”

Freelance cameraman, Alister Chapman, has done a good video overview of the PMW-200 and runs through the new features and how they can be used:


By David Fox

NEX-FS700 shooting with Matt Davis

On Wednesday 11th July, one of our local dealers, Prokit, has an interesting seminar on shooting with Sony’s NEX-FS700 presented by the very nice Matt Davis – (‏@matt_davis on Twitter), producer/director/editor and cameraman…

The NEX-FS700 is essentially an updated NEX-FS100 and Davis will demonstrate the key differences between the two cameras, such as the switch from CineTone to CineGamma, and shooting slow motion (the FS700 can do 200 or 240 frames per second, depending on whether you are shooting 50Hz or 60Hz).

Other features include: the Super 35mm sensor (on both models); uncompressed HDMI output; built-in ND filters (lacking on the FS100); and 3G-SDI output for 4K recording (needing an external recorder and firmware upgrade).

The Sony Masterclass will run from 10am to 4pm at Prokit’s base in Chiswick, west London, and will cost £50.

By David Fox

For-A FT-ONE 4K slo-mo camera

The world’s first full 4K super slow motion camera has been launched by For-A. The FT-ONE will record up to 1,000 frames per second at a resolution of 4096x2160, making it ideal for movies or for major events, such as sports, where producers might want the ability to crop HD frames from the 4K pictures, or for archive in anticipation of 4K transmissions in future.

Images are captured as uncompressed raw data on the system’s internal (RAM) memory, which has a recording capacity of 8.5 seconds at 1,000 fps (the prototype camera does up to 900fps). This data is then stored on one of two hot-swappable SSD cartridges. Each cartridge is capable of storing 75 seconds of full 4K resolution images, enabling up to 150 seconds with a maximum of two SSD cartridges. It can output uncompressed DPX files, which are widely used for movie mastering.

The camcorder will be able to simultaneously record and play back in full 4K resolution. At the user’s preference, one output channel can provide either full 4K output, or four 1080p HD-SDI outputs, while the other output channel provides down-converted HD-SDI for live viewing and the control menu.

The FT-ONE uses a high-sensitivity CMOS colour sensor, the FT1-CMOS, developed by For-A, which uses a global shutter, so you won’t see any of the skew or wobble effects caused by the rolling shutter usually used on CMOS sensors.

“While digital cinematography has been widely adopted within the motion picture production and post production communities, there has been a technology gap—the ability to record super slow motion image at full 4K resolution,” said Hiro Tanoue, President for For-A Corporation of America.

“The new FT-ONE completes the 4K workflow by introducing this ability, with the high-level performance this application demands. We chose Cine Gear Expo as the venue for our breakthrough announcement since this event draws key decision makers and creatives seeking the latest solutions for high-end entertainment production. With the FT-ONE camera rolling, they can rest assured they won’t miss that critical action shot.”

The FT-ONE camera uses a PL mount lens is designed as a self-contained unit that is claimed will be dependable and easy to use. It weighs 7kg with dimensions of 235mm(W) x 294mm(H) x 384mm(D), and should be available in September for between $120,000 and $150,000.

[UPDATE: Latest version now has optical fibre output built in as For-A builds 4K ecosystem around it, including 4K extraction, HD-4K upconversion, 4K virtual studios, and more - see For-A focuses on 4K future for more...]

By David Fox

Vislink LiveGear wireless links

Vislink has launched two compact ENG systems using mobile and WiFi connections as part of a new LiveGear range of IP-centric products for broadcast wireless communication for internet newsgathering (iNG).

The LiveGear AirStream LGT-1000 Cellular iNG Transmitter is a 3G/4G LTE portable video transmitter (costing from about $18,000 depending on configuration) that Vislink claims “provides the power of an ENG news van in a compact and easy to use unit which can be carried by hand, in a shoulder bag or backpack.”

Users connect a camera to AirStream via SDI or HDMI, and go straight on the air, delivering broadcast quality video with the push of a button. “Mobile internet newsgathering (iNG) has never been easier,” it claimed. It sees it being used for live coverage of news, sports, politics, and community events. It will operate continuously up to six hours with hot-swappable, rechargeable high-capacity batteries

The LiveGear AirCam Camera Back Transmitter (above) can be docked to IDX or Anton-Bauer battery mounts and comes in three versions: a 3G/4G LTE system for about $10-12,000; the AirCamPlus, which adds WiFi, for about $13-14,000; and the AirCamMax, which adds COFDM microwave, for $18-20,000 (prices are dependent on configuration).

There is also the LiveGear Receiver: IP Playout Receiver, which will cost from about $18,000. The 1RU receiver can connect with up to six transmitters simultaneously, via the internet, and aggregates the four bonded data channels into a HD-SDI video stream for retransmission or playout to web based subscribers using the VMS video media server. An optional IP-to-SDI decoder expansion unit (LGD-1000) can be connected to the receiver to support up to five additional AirStream transport streams.

“With the launch of LiveGear, Vislink is the first company to offer a comprehensive suite of licensed and unlicensed remote video solutions that include broadband cellular, WiFi, terrestrial, and satellite microwave technologies,” said Eric McCulley, Vislink Marketing Manager.

“Utilizing Vislink’s H.264 adaptive bit-rate encoding technology, LiveGear products offer superior, robust and persistent video transmission by bonding multiple 3G/4G LTE cellular networks together.”

By David Fox

IndieGS2K global shutter camera

The new Indiecam indieGS2K is the first miniature CMOS camera with a global shutter, which will mean no rolling shutter issues (like skew and wobble) when you pan the camera quickly or shoot fast-moving subjects.

It is a 2K camera (2048 x 1080 pixels), with a 3G HD-SDI output, and its small size makes it ideal for use in 3D rigs. It can also be used with a 12-bit RAW workflow (using Adobe's Cinema DNG format). In its RAW 10-bit mode it can output 1080p at up to 120 frames per second (in 12-bit RAW and 10-bit 4:2:2 YUV it can do up to 50/60p).

“At last we have a single piece 2/3-inch minicam that can meet the requirements of not just the OB/live production people but also the film production people,” said Steffan Hewitt, Managing Director, Polecam (one of Indiecam’s distributors).

The global shutter means that “CMOS cameras can be fully integrated into high speed sports productions, where rolling shutter has always been a bottleneck in the past,” he added.

“We had it on our stand at NAB and we were very impressed with the picture quality out of the box.”

Its power consumption is just 4W (7-24v DC), it measures 39.8 x 39.8 x 100mm (about 1.5 inches x 1.5 inches by 4 inches) without a lens, and weighs about 170g (six ounces). It has a 2/3-inch sensor and takes C-mount lenses as standard, but can also be fitted with a PL-mount option.

The Polecam Remote Control Panel will soon work with the GS2K and there will also be a small handheld controller for individual camera control and set up.

Four GS2Ks have been used on the set of Rush, directed by Ron Howard and shot by DoP Anthony Dod Mantle. German post-house Cinepost is working on the movie and is using Colorfront's On-Set Dailies system, which supports Indiecam’s InstantRaw workflow, alongside other RAW formats. The new Convergent Design Gemini RAW recorder also supports the InstantRaw format. The cameras were also used to shot a high proportion of Danny Boyle‘s latest movie Trance.

Hewitt has found the small team at Indiecam very ready to respond to feedback. The Austrians had initially been focused just on the camera’s use for movies, and hadn’t given it interlaced output, but when Polecam pointed out how important it would be for broadcast work Indiecam added it very quickly.

For 3D work, the indieGS2K offers an interocular of as little as 40mm, making it one of the most compact 3D-set ups available as a side-by-side rig. The Fraunhofer Heinrich Hertz Institute is using the indieGS2K for its hybrid stereoscopic technology in cooperation with imcube labs, while the new P+S Technik PS-Micro Rig for 3D is also designed to operate with the GS2K.

Indiecam has also introduced a new indieFocus Control, which is 100% compatible with the C-motion system.

Related post: Indie shows 3D in the RAW

By David Fox

Atomos AtomOS 3.0 now available

Atomos Samurai users can now update their recorders to AtomOS 3.0.

"It adds great new functionality and is the direct result of feedback from our growing customer base" said Jeromy Young, Atomos CEO.

Features include:
- SmartMonitor, which adds various monitoring functions, including Peaking (for easier focusing), Zebra stripes (for exposure), False Color and Blue Only;
- SmartLog, which allows pre-editing and keyword tagging on location, including XML support for Final Cut X;
- SmartControl, which allows start/stop/pause to be triggered on any number of Samurais, interconnected via their LANC port, from any computer.
- automatic file recovery in the event of power failure;
- auto-record when an input is detected;
- Loop Playback;
- iPhone/iPad/Mac/PC recording support, which will allow software companies or reviewers to record how an app or game works.

AtomOS 3.0 is a free firmware update for existing Samurai users, and will also run on the new Ninja 2 when it ships.

[[Update: AtomOS 4.0 - including Avid DNxHD support - now available]]

By David Fox

Canon widens ENG + OB lenses

Canon has introduced a new ENG HD lens and two new HD field lenses for outside broadcast use. The new 80x and 76x OB lenses and the 17x ENG lens all combine long focal lengths with wider angles of view.

The HJ17ex6.2B portable HD lens weighs about 2kg and is designed for use with 2/3-inch camcorders.

It is part of Canon’s HDxs series and offers a broad focal length range from 6.2mm to 106mm (212mm with built-in 2x extender) and a Minimum Object Distance of 40cm (shortened by about 30% compared to previous models) for close shooting in news situations. It can focus as close as 10mm in macro mode.

"On-location news coverage can frequently involve rapid changes in subject distance and associated focal length,” said Larry Thorpe, senior fellow, Broadcast and Communications division, Canon USA.

“The new HJ17ex6.2B is capable of adapting flexibly to all manner of filming situations, whether in close proximity to a subject or in shooting close-ups of a subject from far away.”

The HJ17ex6.2B is claimed to minimize optical aberration across the entire screen and exhibit superb optical performance throughout the field. It also features Canon’s Enhanced Digital eDrive technology, which utilizes high-precision digital servos with 16-bit optical encoders, to make it easier to program focus, iris, and zoom position and speed settings for precise, automated repeatability via an easy-to-use LCD menu, assignable function buttons, and a rocker switch built into the lens grip.

XJ80 and XJ76 lenses

The XJ80x8.8B and the XJ76x9B lenses are third-generation additions to Canon’s Digisuper range, which is widely used by outside broadcast companies as they give the long focal lengths necessary to get a close up of player in a large stadium.

They “deliver optical performance that has been significantly elevated over previous models,” claimed Thorpe, thanks to proprietary large-diameter aspherical lens technology, new glass materials, and sophisticated lens coatings that minimize aberrations and distortion that you usually get with large focal-length ranges. “Significant reduction of these factors enhances the excellent resolution and contrast of these lenses in a manner that contributes to superb picture sharpness across the entire 16:9 HD image plane,” he added.

The premium XJ80x8.8B lens delivers an 80x zoom with a maximum wide angle of 8.8mm (a horizontal angle-of-view of 57.2 degrees) – approximately 5% wider than previous long-zoom lenses. This means it should be able to capture everything from a stadium-wide shot to an athlete’s face.

It includes a new built-in Optical Shift Image Stabilizer (Shift-IS) as standard. This uses a new motion sensor, a faster control circuit and a new correction algorithm to significantly curb vibrations, particularly in the high-frequency range. When the new Shift-IS sensor detects vibration, a correction drive signal is created that shifts compensating optics at high-speed to instantly deflect the incoming light rays in a direction that cancels out the vibration's effect on the image. It also improves image tracking by virtually eliminating the image drift that can be caused by the sudden cessation of panning or tilting.

The XJ76x9B combines a 76x telephoto with a maximum wide angle of 9mm (a horizontal angle-of-view of 56.1 degrees) – about 3% wider than previous long-zoom lenses.

Both lenses include Canon's CAFS (Constant Angle Focusing System), which employs a 32-bit processor to help counteract breathing (where the picture size/angle of view changes during focusing). Both also feature improved digital servo systems using 16-bit miniature optical encoders and improved algorithms for zoom, iris, and focus to deliver increased responsiveness in terms of ultra-slow to very high-speed zooms, high-resolution control of both iris and focus, and precise repeatability of zoom and focus operations.

The lenses are also compatible with many digital virtual studio systems, with output of zoom, focus, and iris data.

By David Fox

World first ultra-slowmo PoV camera

The compact new LMC Antelope Pico is claimed to be the world’s first high-speed point-of-view camera to record at up to 330 frames per second in full HD.

Launched at NAB, it can provide a permanent HD-SDI live video output as well as a replay channel that can deliver from 25-330fps in HD1080i (and up to 660fps in extended/double image mode).

At 330fps it can deliver a 30 second replay using 32GB of memory. Its output modes cover 1080i 50/59.94/60 and 1080p 23.98 to 1080p 60 at 4:2:2, and it will also have a 23.98p to 30p 4:2:2 / 4:4:4 RAW and 2K option.

The small camera head measures 29x29x50mm, which should allow it to fit into spaces where no slomo camera has gone before, making it useful for covering goalmouth action, inside cars, or on board yachts.

It uses a 2K 2/3-inch global shutter CMOS sensor, takes 12-24v power and comes with 3D synchronisation. It takes C-mount lenses, with PL and B4 mount adaptors available.

The sensor has reasonable light sensitivity, at over 600 ISO, with 9.5 stops dynamic range. There will also be a high-dynamic range option. Features include: on-board de-flickering; image flip/flop (horizontal/vertical); and dynamic replay.

Both software-based and RS232 serial controls are available. LMC has designed special remote control and operational control panels to integrate the Pico into a professional broadcast environment that will allow production companies to use one RCP and one OCP for up to four cameras. Wireless and fibre systems will also be available.

Related posts: Fan riot destroys 1st Antelope camera, Tiny HD camera blends in and Antelope slows down skiing + golf

By David Fox

Super Hi-Vision at 120fps for Games

NHK has developed an 8K image sensor for its Super Hi-Vision Ultra HD system capable of 120 frames per second, which should be ready for use at the London Olympics.

The new 33-megapixel (7680x4320 pixel - 16x HD) CMOS sensor will use an advanced two-stage (4-bit then 8-bit) cyclic analogue-to-digital converter to deliver a 12-bit image at the higher frame rate (twice that of the current SHV cameras).

This architecture also allows it to reduce power consumption, with the ADC drawing 800mW (out of a total drive power of 2.5W). To deal with the high number of pixels involved, the sensor outputs alternating rows of pixels to ADCs on either side, each of which has 48 parallel outputs. It also means that the camera can be a lot smaller than the initial 8K cameras have been - 4kg and normal ENG size compared to about 20kg for the earlier models.

The sensor, which has been developed with Shizuoka University, will probably still get rather warm at these frame rates, so heat management will be a significant issue.

Each pixel measures 2.8 x 2.8 microns, and the 26.5 x 21.2mm chip (which is about the width of a Super35mm sensor, but taller) will use a 0.18-micron manufacturing process.

Two SHV cameras will be used to capture parts of the 2012 Olympics, with transmission to three large screens around the UK (plus one in the International Broadcast Centre) and three in Japan. Having the 120fps sensor will reduce motion blur and allow for much better slo-mo replay.

However, as the resolution increases (and 8K is 16 times the resolution of HD), motion defects become much more noticeable. “300 frames per second might just be acceptable, but 600fps would be better,” said colour scientist and camera consultant, Alan Roberts. At 300fps, the material would also be easily compatible with displays that run at either 50Hz (Europe) and 60Hz (US + Japan).

Using Long GoP compression, which typically combines a group of pictures in half a second, would lead to a GoP of 150 or 300 frames, but this wouldn’t lead to huge bandwidth requirements. “The motion between frames is very small, so the compression is much easier,” he explained, which means the increase in bit rate needed to convey high framerate material is minimal.

“The problem is in the shooting and the editing, because of the monstrous data files you have to deal with,” he added.

NHK this week demonstrated the first ever over-the-air transmission of 8K video (using a UHF TV link over two combined channels) over a distance of 4.2km in Tokyo. It has previously demonstrated transmission via satellite and the internet (in conjunction with the BBC). While 8K TV sets won't appear in homes any time soon (although Panasonic has built a prototype 145-inch plasma display), SHV does look incredible on a big screen (especially if you sit up close, immersed in the picture) and the 22.2 audio sounds great, so if you can get a look at any of the public displays during the Olympics, do....

By David Fox

Libec extends reach with Swift Jib50

The Swift Jib50 telescopic jib arm is Libec’s latest, easily portable camera jib, designed for both in the studio and location use.

A remote control box, monitors and a remote head can be fitted to the jib with minimal effort. Like the existing Jib30, the Jib50 is claimed to be quick, compact and dynamic, and can be set up in minutes.

Rather than fixing on extension units, a time consuming and often fiddly process, the Jib50's arm simply extends by turning the lock levers. Despite this additional mechanism, it can support reasonable loads.

Fully extended at 190cm it can hold up to 10kg load, as much as some systems can manage at a metre length. At its shortest setting (100cm) it can hold up to 20kg of equipment.

"Producers have become used to working around the limitations of their grip, as changing jib arm length has been something of a chore, especially on location where camera operators prefer to travel light. With Jib50 this is no longer an issue. We think its extendible arm, combined with its sheer strength make it an excellent choice,” said Nick Allen-Miles, MD of its distributor, Ianiro International.

It comes in kit form with a padded carrying case, weighs 16.4kg and costs £1,895.

By David Fox