The late Kevin O’Malley of JVC Professional

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Such sad news, Kevin passed away in his sleep last Wednesday evening (28th December 2011) and leaves his loving wife and two very loving daughters.

I must have known Kevin for over 20 years and what a character, full of life and a good joke or two. Kevin worked for Sony Broadcast for many years before moving over to JVC Professional.

Kevin was a man who knew his cameras and was liked by all who met him in the video industry, he will be sadly missed.

For all your video production needs in Scotland, get in touch with Small Video Productions

3 Products of 2011

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I have decided this year to give three products I personally bought a special mention for their usefulness and good design qualities.

Firstly I will start off with the Manfrotto 24 LED light that I picked up for £69 in my local Jessop store, it takes two AAA batteries and has a dimmer. There is nothing fancy about this light other than its extreme portability and usefulness on corporate shoots.

This wee light is carried about in your pocket and can be a God send if you need a small bit of fill light as happened to me on a shoot only last week. On two occasions I had a need to light peoples faces and this wee chap was just the trick.

Its well made for its size 70mm x 55mm and comes with a removable cold shoe.

My second useful product was the Zacuto Z-Finder EVF Pro, this has been invaluable in many ways over the last 4 months. Picture quality is nothing short of fantastic and with firmware updates you can now see your sound levels coming out of your camera.

I used it recently when I shot a two camera demonstration of manual handling and I took a 5 meter HDMI output from my second Sony NX70 and sat the viewfinder next to my NX70 so I could monitor my sons output as he is in training.

The other thing its great for is monitoring high shots especially using the Sony FS100 as the LCD design is shockingly bad for use in high shots.

It was not cheap at $1000 but is the best of its kind to date and built like a tank.

Recently I purchased another tripod an ACE from Sachtler, I saw this at IBC 2011 and was very impressed with its overall build quality Sachtler have finally learned that not everyone can afford their £2-3K tripods and to be frank those tripods are not fit to use with a Sony NX70.

As you can guess the NX70 needed a tripod and at just over £500 the ACE with mid spreader fitted the bill. Sachtler have made a fine job with their first budget tripod and amazingly its very usable with its basic drag and tilt system.

So there you have it three tools that I have been impressed with during 2011 more often than not for their simplicity in use and size, the LED light just ticks all my boxes for filler shots, the Zacuto EVF Pro not only looks good but outperforms itself with such an accurate LCD screen and the Sachtler ACE is the right tripod for smaller camcorders like the Sony NX70 and at just over £500 performs better than a lot of tripods twice its price.

For all your video production needs in Scotland, get in touch with Small Video Productions

The Last Burning Embers of 2011

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2011 will be remembered for all the wrong reasons, a giant earthquake near Japan causing untold death and disruption to the Japanese lifestyle, then to compound things even further floods in Indonesia later on the same year caused many video and photographic products to cease production causing a worldwide shortage of cameras, lenses and media in general.

A worldwide recession didn’t help matters alongside banks not lending money for small businesses and the worst year to date for refused credit loans has hit many people looking to upgrade to new equipment.

On the other hand despite the terrible tsunami that befell Japan they still managed to their credit to export 14 new camcorders over the last twelve months so what can we expect during 2012.

Looking into my crystal ball I predict the following…

1. Panasonic : I think they will bring out a fully featured AF301 mFT camera with 10bit processing, 4:2:2 and AVC Ultra, the collective name given to Panasonic’s group of professional AVC based codecs, represents a single workflow destination for professional users working at many levels in the production cycle. As a unified, seamless group of codecs based on the H.264 standard, AVC Ultra offers enhanced flexibility for both high-end and mainstream production through its support for a wide range of data-rates from low to high quality.

2. Sony : I predict a NX7 camcorder with interchangeable lenses, 50MB/s, 4:2:2 and once again 10bit. This camera may take on the SxS media and be a direct competitor to the Panasonic HPX250 and Canons XF305. I also predict a hybrid of the F3 and the FS100 finally giving us neutral density filters and 50MB/s.

3. Canon : Will bring out their “C” DSLR dedicated to those of you who prefer the size and style of shooting the DSLR gives you. We may also see a C150 cut down C300 at the tail end of the year running at 35MB/s and XLRs built onto the camera itself.

Will we see 14 camcorders during 2012 if you want my opinion I doubt it. JVC are hoping to give us a 4K camera the size of their 150 with 4 SDHC cards but like a lot of JVCs ideas and formats its a non starter, as someone told me at IBC 2011 “what happens if one of the 4 cards gets corrupted”.

Alister Chapman predicts the demise of the shoulder mount camcorder and if you look at last years trend not one new shoulder mount camera was produced, the world of digital cinematography is downsizing, like it or not.

Canon need to get their finger out and produce a 10 bit C300 camcorder for as sure as night turns to day Sony and Panasonic are hard on their heals, 2012 will be the year of the 10bit camcorder as the 2011 Panasonic P2 HPX250 is only the start.

Many pundits are now questioning Canons decision to bring out such a relatively expensive 8 bit Super 35mm camcorder during a world wide recession when many companies are now pulling their belts in and making do with their 2 year old camcorder.

Blogging like this site  does not help matters as I love to talk new technology but if I didn’t do it someone else would. You will always get an honest opinion from HD Warrior with over 25 years in the video production business we have a lot to offer and it all comes free with NO PAID advertising, thats the one fact I am very proud of not having paid adverts as once you start getting commission from adverts your opinion on that product is never as honest and thats a fact…my blog is not here to make me money.

While we are talking about blogging how about you lads and lassies sending me your thoughts on a video camera that you bought during 2011…User reviews always go down well so why not send me an email to and have a Happy New Year when it comes.

For all your video production needs in Scotland, get in touch with Small Video Productions

Australian cameraman crashes during a live cricket match

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For all your video production needs in Scotland, get in touch with Small Video Productions

A Year with Large Sensor cameras

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As I write my Sony FS100 is tucked away in her Kata bag ready for the next job, its been a funny old year and I will share my experiences with you using various large sensor video cameras.

January : My Panasonic AF101 arrived after first seeing it at IBC 2010 in Amsterdam, it was a camera generously loaned to me by H Preston Media who I work part time for as a technical consultant.

I was pleasantly surprised with the AF101, well built, great easy to understand menu system and that all important micro Four Thirds chip set, never before had I seen virtually  noiseless gain at 18dBs.

lenses…I had far to many lenses for the AF101 from Panasonics own to Canon, Nikon, Olympus and Voigtlander. The latter was the lens of the century the 25mm f0.95 Nokton lens from Voigtlander probably the best shallow depth of field lens second only to the Canon 50mm f1.2.

It was the first time in history I sold a lens for virtually what I had payed for it as the Nokton was not only scarcer than gold dust but almost as precious due to the volcanic eruption hitting Japan at the time.

My prime lens for interviews was the 25mm Nokton mFT followed by Canons 50mm f1.2 L lens with Kippon EF adapter and Panasonics 7-14mm F4 wide angle zoom for opening shots these were my main contenders.

Two things set the large sensor cameras head and shoulders above conventional camcorders and that is noiseless gain and shallow depth of field (SDoF), they are not particularly good run and gun cameras or off tripod in general due to lack of stabilisation and manual focusing.

After about 3 months I got a Sony F3 for review and used aside the AF101, the Panasonic showed itself to be a lot softer than the F3 which is not difficult as the AF101 is only 800 lines compared to Sonys 1000+ lines. The F3 was also a lot less noisy in low light and the extra resolution was also a bonus in low light.

June : I gave back my AF101 to Prestons to take delivery of the Sony FS100 now I have got to put my hand up and say I was more than a bit scathing of this camera before I actually began to use one myself. The lack of ND filters is just laziness on Sonys part and not having SDI out was also a poor decision by Sony but having lived with the camera for six months now it soon grows on you in fact I have actually bought my loan camera.

It comes with a body only or a Sony E 18-200 f3.5-6.3 manual zoom lens, personally forget the lens version and buy yourself an MTF Nikon to E mount adapter, sadly no one has yet appeared with a Canon adapter for the Sony E mount though MTF should be shipping during January 2012 but at just under £1000 its a dear alternative.

As you use Large Sensor cameras you become more savvy when choosing lenses for it so my three stock lenses for the FS100 are the Nikon 50mm f1.4 for interviews the Nikon DX 17-55 f2.8 lens for general filming and the Tokina 11-16mm f2.8 wide zoom for establishing shots.

You learn through experience that you don’t need a bag full of lenses to produce a competent job nor the extra expense that extra lenses cost, my regret is selling off some cracking Canon L glass to move over to Nikon, not because the Canon is better glass because it isn’t but merely the extra expense of buying it all over again.

At the moment I am using a new Sony A77 DSLR and what a performance choosing decent glass for it, Sony present you with three sets of glass the Sony G lens, the Carl Zeiss lens and Sonys own zooms and prime glass, in other words three levels of quality which I do not care for. The Zeiss is good but expensive, the G glass is also good depending what you buy into and the standard glass is also surprisingly good with a cheaper look and price tag.

I mention the A77 because it has a similar look and chip to the FS100 but as yet I have done no side by side comparisons, one things for sure its not as good as the FS100 in low light noise.

Fortunately I did buy a Sony Alpha to E mount adapter and tried my three Sony lenses with the FS100, a Sony 30mm F2.8 macro lens, a Sony 16-50mm f2.8 wide zoom lens as an aside I did purchase the 50% cheaper Tamaron 17-50mm f2.8 but was disappointed by its chromatic aberrations so I sent it back. I wanted a telephoto so my budget stretched for the Sony 70-300mm f4.5-5.6 “G” lens the lenses are all very sharp though the electronic f stop thumb wheel on the FS100 makes a very steppy, clanky manual iris, definitely not recommended for use during filming. Nothing else gets transferred via the electronic pins i.e. auto focus nor auto iris which is a surprise.

Conclusion : I love the large sensor cameras they give me that look and feel that no other camcorder can touch, the extra noiseless gain is a fantastic bonus especially when you are forced to use lenses smaller than f2.8.

My recommendation is to get a prime lens that is f1.4-f1.2 for producing interviews and don’t be scared to give the subject breathing space by shutting down the iris to f2.8 there is nothing worse than a person moving in and out of focus during an interview, 9 times out of 10 you won’t know that till you have started the interview wether they sway back and forth.

The large sensor is not for everyone or every situation hence my purchase of two Sony NX70s but as long as you follow the basic rules when filming you can get some fantastic footage that only the Super 35mm sensor can produce.


For all your video production needs in Scotland, get in touch with Small Video Productions

The need for more cameras…Why ?

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We seem to be witnessing a new trend of having more than one camera, especially large sensor cameras, I asked Alister Chapman why he needed a Canon C300 when he already had two Sony F3s.

Alister “I purchased my first pro camera and recorder back in the late 80’s. It cost me an arm and a leg, around £50k with the lens in todays money. Until a year ago I always had a main 2/3” shoulder mount camcorder. The last one was a PDW-700, which with the lens cost about £30k. With such a large investment in a single camera, it HAD to be a jack of all trades, which in many respects it was. However when Sony launched the EX1 almost 5 years ago, I felt that the writing was on the wall for the traditional, shoulder mount camcorder.

Once external recorders like the NanoFlash could be paired up with good cameras like the EX1 to meet and even exceed broadcast requirements it became harder and harder to justify the expense of a single, bulky camcorder. Remember a smaller camcorder also means smaller batteries and support equipment, all significantly reducing the cost of ownership, size of vehicle needed, insurance etc.

Now I have the luxury of owning an EX1R for run and gun, quick and easy shooting, the EX1R works very well in that type of application. Next came the PMW-F3 for those more set up shoots, interviews, documentaries, shorts and movies. I now have 2 of them as I shoot a lot of 3D and they are fantastic in this role. However the F3 (which is my all time favourite camcorder) just isn’t suitable for some of the things I shoot, especially things like tornadoes, which are often fleeting, fast moving and unpredictable. It can be done, but the EX1R is a much better camera for this type of thing.

Now I’m planning on getting a C300. Why? Well in part it’s experimental. I want to spend time learning the menu’s and setups to see what it’s capable of. But I also think that the C300 with the EOS mount may sit somewhere between the F3 and EX1R. It’s more compact than the F3 and with an L series zoom will make a very portable system that can produce broadcast quality images without an external recorder. Perhaps not quite as quick and easy to use as the EX1R but with size and weight benefits over the F3. I still think the images from an S-Log F3 with an external recorder will be superior, but that’s a pretty bulky rig. I think it might be a good fit for some of my expeditions, I’d really like to have one for my Northern Lights trip in January, but I don’t think deliveries will be in time.

I’ve also considered a Scarlet or Epic, these are great cameras, but not suited to the kinds of productions I make. Perhaps that will change. What I really want is a 4K version of the F3!

In summary the difference today is that I can afford to have  2 or 3 cameras tailored to specific shooting styles for the same cost as what I’ve been used to spending on a single jack of all trades camera in the past.”

Alister Chapman XDCAM

Thanks Alister, last night I sat and watched Philip Blooms candid review of the Canon C300 for CVP and was rather disappointed when Philip was comparing the C300 versus the Sony F3 remembering the C300 was only 8bit and no 1080 50p or full HD slow mo, that is very limiting for a camera of this magnitude, seemingly because Canon used a current 8 bit processor they were limited to 8 bits but we all know what version 2 will have !!!

As I have pointed out before when you bring out a camera you need to equal or better the competition thats why I am still confused as to why anyone with an F3 (10 bit out) would look at a C300 (8 bit out).



For all your video production needs in Scotland, get in touch with Small Video Productions

Merry Christmas from HD Warrior

Categories: Miscellaneous 11 Comments

What a year for new cameras…fourteen to be precise and what about large sensor cameras, the Panasonic AF101, Sony FS100, F3, REDs Scarlet and the Canon C300.

I think like the majority of us Canon was going to bring out a £10K and a £6K Super 35mm camera but alas it was not to be though many of us are hoping santa will drop a C300 into our wish list of presents.

News is getting slacker this time of year and with just 2 sleeps till Christmas it only remains for me to thank you all for reading my blog over the last exiting year and lets hope Japan are going to give us a further dose of goodies during 2012.

Just a note for any stray Japanese camera designer…

1. Make sure your Super 35mm camcorder has 50MB/s or better !

2. 4:2:2 or 4:4:4

3. 10 bit minimum

4. HD SDI output as well as HDMI

5. Hi resolution viewfinder


For all your video production needs in Scotland, get in touch with Small Video Productions

14 Cameras in one year Part TWO

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We are fast approaching June 2011 when HD Warrior reported their one millionth hit, H Preston Media had its first open day in Glasgow, I produced a music video called Insecure using the Sony FS100 and  Final Cut Pro 10 became the first Apple product to attain 81 one star ratings because it was so badly conceived.


It was over two and a half years ago that I reviewed JVC-HM700 and I was more than impressed with it though when you consider the time span between the 700 and the 790 I feel this design is getting a wee bit tired now.

The GY-HM790U is a modular HD camera with solid state recording capability as well as studio functionality. It was developed to address the needs of modern broadcast and production facilities offering the highest level of HD picture quality in both 1080i and 720p formats.

Whether used on the shoulder for electronic newsgathering, field production, or as a primary studio camera, the GY-HM790U is everything that a broadcast camera should be.

Panasonic AG-AC130 and 160 (2 camcorders)

I had the good fortune to review a 160 camcorder and I must admit I was very impressed, the camera ticked all boxes bar one, no 1080 50p with sound, since my review Panasonic have announced that they are bringing out a FW update to enable 1080 50p with LPCM sound during the Spring of 2012…fantastic.
There is a lesser spec camcorder, the 130 with no SDI outputs and not switchable to NTSC is exactly the same otherwise but for the price differance of £400 most people are pluming for the 160.

Sony HXR-NX3D1

I reviewed this camera during the Edinburgh Fringe, the camera itself is a fat MC50 with professional XLR sound connectors. The LCD is 3D which is a great feature and it only uses the left lens if you decide to use the camera in mono mode.
This is a great step forward as a portable 3D camcorder allowing you to use the 10x zoom and the professional sound inputs is a major bonus.
Picture wise the camera pulls in a great 3D picture but I found the camera very limiting in 3D mode only having the ability to adjust Focus and exposure, the feature I felt it fell flat on was its inability to have any control over your gain.

Panasonic HDC Z10000

I first saw this 3D camcorder at IBC 2011 and it had an impressive number of features for the money.
3D is not for everyone but if you are looking at a semi pro 3D camcorder this must be one of your choices.
A bright 0.45-inch Live View Finder (LVF) with high-speed responses and a 1,227,000-dot high-resolution. The superb LVF makes it easier to optimize the focus, or for use in a situation that requires no excess light from an LCD screen.
  • A dual SD Memory Card slot with the option of extended recording or back-up. When two SD Memory Cards are inserted and the first card reaches full capacity, the system automatically and seamlessly switches*3 to the second card. This allows extended recording without having to worry about interruptions due to a lack of card capacity. Or, during backup recording, the same data is recorded onto both cards for immediate duplicating or archiving purposes in the case of a faulty SD card.
  • The bundled HD Writer XE 1.0 Software lets users cut out full HD 3D and progressive images and save to a computer.
  • 2D/3D Still Image Recording Any Time. The user simply presses the shutter button to record a 2D or 3D (MPO compliant) still image*4 at any time. It is also possible to cut out images in all modes while shooting or playing videos. 3D and 2D still images are recorded simultaneously with 2.1-megapixel resolution.


Scarlet was announced the same day as the new Canon C300 which gave bloggers like me a major headache that evening.

Scarlet has its following its down to RED to ramp up production  to keep up with demand.

Scarlet brings your images to life with 4K footage that will change the way you look at motion.

No matter if you’re shooting a feature film or web content to go side-by-side with your stills, you will be working with crisp REDCODE RAW files that will give you ultimate freedom and control when finishing.

Scarlet harnesses the power to bring life to imagery and imagery to life.




Canon EOS C300

This was the major announcement at the end of 2011 the Canon EOS C300.

Its well built produces a cracking picture and has an ever increasing line of DPs wanting to buy one.

Canon pulled another first out of the bag by adding the magical 50MB/s broadcast spec in order to be the first Super 35mm sensor camera to be accepted by the BBC the same as their XF305.

Canon have played a great card with this camera and remember its the first and only Super 35mm camcorder to accept Canon EF glass which is further increasing its popularity.

Round up

So thats all 14 cameras produced this year my own personal favotites are the FS100 and the NX70 as they both compliment each other and match really well when cut together in the same program. Out of all the cameras I reviewed this year the Panasonic 160 was a joy to use and full of very useful features, if it had not been for the colour matrix not matching Sony I may have been tempted to buy one.

For all your video production needs in Scotland, get in touch with Small Video Productions

14 New Cameras in one year (Part One)

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What recession and do we remember an earthquake in Japan during January that brought video manufacturing to a stand still…what a year and unbelievably 14 new camcorders were produced last year alone.

I take my hat off to the men and women of the Japanese video manufacturing industry who through severe adversity produced an amazing amount of cameras and disruption was kept to a minimum.

Panasonic AG-AF101 micro Four Third sensor camera

Officially the Panasonic AF101 did not start to ship till January 2011 so this is my first port of call.

This was my first taste of large sensor video production and it takes a bit of getting used to. The first thing you notice is the total lack of zoom facilities that 95% of cameramen have been used to over the last 20 years or so.

Not only are all the lenses fully manual but are also photographic glass and if you decide as I did to go with Nikon…they pull focus anticlockwise not something that is natural when all your previous ENG lenses focus clockwise.

The positives are the fantastic shallow depth of field and the AF101 was no exception, by some miracle I managed to get hold of a 25mm Nokton f0.95 lens which I must admit was my favourite stock lens for the AF101 giving you an amazing shallow depth of field.

The AF101 takes micro Four Third lenses (mFT) and back in January we had an adapter from MTF which took Nikon to mFT, Kipon also had a frig which allowed you to go from Canon EF to mFT but this adapter proved weak so I stopped using it.

We were promised an electronic Canon EF adapter from Birger but to this date in time nothing has materialised.

The AF101s Achilles heal has to be the 800 line sensor which proved no match for the 1000+ sensor Sony was to produce later on in January.

Sony PMW-F3 Super 35mm sensor camera

During my spell with the AF101 I was sent a Sony PMW0F3 to review, this camera was a tad more serious not only in looks but lenses as well.

I decided to take the F3 through to Edinburgh one cold January evening to film some low light footage and I was astounded at the footage I brought back, this was indeed the king of low light filming.

I had three Sony PL lenses a 35mm, 50mm and an 85mm, good lenses but large and bulky.

During a corporate job for the NHS I decided to use the F3 and the AF101 to film a conversation with two people, nurse and patient. The F3 footage was far superior and the 1000+ lines of resolution put the AF101 to shame.

The Sony F3 was a good size but quite restricting only having the PL mount till MTF came up with a Nikon adapter by then I had sent the camera back.

The F3 is a good alrounder and fantastic in low light its major letdown is its 35MB/s recording speed when the camera is clearly directed at the broadcast drama market.

Sony NEX-FS100

As I write this is the Super 35mm camera of my choice as I own one.

Interviews have never been more sexy or easy with a 50mm f1.4 Nikon lens giving a cracking shallow depth of field.

The other benefit is lack of noise 9dBs is noisless giving you far more leaway if you are forced to stop down your lens to give myself a wee bit more breathing space.

The camera looks a lot better with a matte box added but the handle is shoddy and I notice 3rd party vendors coming out with alternatives.

Sony will be updating the FS100 in January with FW adding switchable 50/60 Hz, ISO display, expanded focus x4, x8 and other features.

The quality of the FS100 pictures is the best I have seen to date excluding the F3.

Sony HXR-NX70 camcorder

January was indeed the month for camcorders with the Sony NX70 a single chip HD camcorder with a picture to blow your socks off.


I loved this camera from day one having most of the pro features of cameras 3x the price and a picture to match.

This was the first Sony Pro camcorder to film at 1080 50p which produces some stunning footage its only let down by a 10x lens that has some chromatic aberrations especially on the tight end. I have to admit not to seeing these aberrations in most of my filming but there was the odd occasion that I had a less than perfect picture but at £2500 what do you expect.

I was so impressed with the camera that I bought 2 of them.

The one major problem is its poor zoom rocker switch on the camera, you go from full on to creep with nothing in the middle, this is being tackled by a firmware upgrade due in March 2012.

JVC GY-HMZ1U Pro 3D hand held camcorder

Amazingly its not till April that we get camera number four the JVC GY-HMZ1U 3D camcorder.

Not a lot I can say about this wee camcorder as I never got one to review.

Is was the first hand held 3D camcorder to include XLR inputs and a usable 5x zoom.

The GY-HMZ1U is a 3D camcorder offering full HD recording (1920 x 1080 x 2) to dual SDHC/SDXC flash memory. Its unique integrated 3D twin lens delivers professional results in a surprisingly easy-to-use package.

Equipped with JVC’s proprietary Falconbrid™ LSI processing, full HD recordings can be made in either 60i, providing smooth motion for sports and fast action, or 24p for a film-like effect. It also shoots great 2D footage in Full HD, recorded in the AVCHD format.


Panasonic AG-HPX250 P2 camcorder

Early doors we got a sneak peek at a camcorder that was going to rock P2 to its foundations, at £4000 plus vat you get a full HD broadcast spec camcorder for a third of the price of a shoulder mount equivalent.

During April Panasonic announced the forthcoming HPX250 P2 full HD camcorder, with specs like 4:2:2 and 10 bit processing let alone AVC Intra this camcorder was causing a big stir especially around the P2 fan club.

Never before had so many professional features both inside and out been seen on a hand held camcorder.

Panasonic were taking P2 to a new level and although you can’t fault the pictures it would be fair to say that P2 followers are saddled with rather expensive media, about 4x the price of an equivalent CF card.

I would like to see a reduction in price of P2 media during 2012 as such a move would bring a lot more followers into the P2 marketplace and help sales of the HPX250 which is a cracking camcorder for the money.

  • Progressive-compatible U.L.T. (Ultra Luminance Technology) image sensor (1/3-type 2.2-megapixel 3MOS sensor)
  • 22x Zoom Lens with Wide Coverage from Wide-Angle to Telephoto
  • Full P2HD Image Quality with AVC-Intra Codec Recording
  • High-End Operation with Multi-Camera Synchronizing and VFR Recording
  • 4-position (clear, 1/4 ND, 1/16 ND, 1/64 ND) optical neutral density filter wheel

 Sony F65

This is one of the big boys cameras, producing a 4K image the F65 is about as good as it gets but at £80400 pounds its more and likely a camera that you would rent rather than buy.

The F65 is a top-end motion picture camera. It features a true step-change in sensor technology, using a 20 Mega pixel 8K CMOS sensor. The F65 runs up to 120Fps, creates HD/2K or genuine 4K resolution images with a huge colour gamut, outstanding dynamic range, and high sensitivity.

The dockable SR-R4 SRMemory unit records 16bit linear SRRAW directly on to an SRMemory card at up to 5 Gbps. This can be developed with industry-standard NLEs from companies such as Adobe, Avid, Apple, Film light, Quantel, Sony and many others. For maximum operational flexibility, the SR-R4 can also support SStP (same as HDCAM SR) recording which can be used natively on the same NLEs.

 Sony PMW TD 300

Once again this is a camcorder that I glanced at during IBC 2011 but as 3D is no where on my radar there is not a lot I can write about.

The PMW-TD300 is a professional 3D camcorder with a compact, shoulder-mount design that helps provide a comfortable, stable shooting platform – crucial to creating proper 3D images.

Affordable and fully integrated, the PMW-TD300 makes it easier to set up and shoot high quality 3D. Dual three 1/2-inch type Exmor™ CMOS sensors provide high quality 3D recordings at 1920 x 1080 resolution on to SxS cards using the XDCAM EX codec.

The dual three 1/2-inch type Exmor™ CMOS sensors provide high-quality 3D images with an excellent sensitivity and 1920 x 1080 resolution. The sensor type has been chosen to achieve an ideal balance between high quality and compact design – the camcorder body is a similar size to current 2D models.


So thats the first eight camcorders of 2011 as you can see January and April are the prime months for camcorder announcements and with January just round the corner maybe we might get a sniff of the AF101 update or will it be a cheaper F3, lets hope the 3D phase is passing us by, to be quite frank only Hollywood is now driving 3D with the odd smattering of broadcast sports productions…the public don’t want 3D and thats the fuel to drive the 3D bus.


For all your video production needs in Scotland, get in touch with Small Video Productions

Canon C300 v Sony F3 v Canon DSLRs

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Interesting comparison the main things I take out of this is the amazing film look almost 1960s 400 asa Kodak Ektachrome at iso 20.000. Its interesting how bad the 2 DSLRs are against the F3 , C300. Also be aware that some of the above footage was also experimenting using different gammas which is why some shots look flat.

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