Here is a good example of “Lets knock out a video” from Sony

Categories: Miscellaneous 3 Comments


You spend millions of Yen to produce the best cinematic camera to date and one of the first introductions to this fantastic Sony F5/55 camera is a half-baked video produced either before the presentation in London or after.

That’s what studios are for, even a white backdrop to take away the clash of jumper versus seats in the background…not to mention the clinking and creaking sound.

It’s known as “Heath Robinson” in the trade, if Sony think this school master sitting at a bench is the right image for the new F5/55 so be it but personally I would have presented this new camera in a studio setting with better lighting, nicer shots of the camera, the fish eye shot is a disaster… give the camera the “look” it deserves.

Manufacturers seem to forget their customers are creative producers themselves and are harsh customers when it comes to video production.

Production standards are dropping everywhere you look, it’s a sign of the times, this Sony video was one of those last-minute decisions “we’ve got the gear lets show how to assemble the parts and talk about them…good idea” sadly it looks like a half-baked idea that grew arms and legs.

Here is the link to this video

And here is a good example of a company who knows how to make a well produced teaching video…Sony…look and observe !

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

Sony’s Fin camera

Categories: Miscellaneous 5 Comments

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

Sony’s affect on the future for other manufacturers !

Categories: Miscellaneous 1 Comment

Today Sony announced the “Future ahead of Schedule” with two versions of the same camcorder, the PMW-F5 and the PMW-F55.

This is a direct hit at ARRI, RED and Canon, not something we were expecting but Sony has in the last 15 months taken an enormous hit from Canon with the very popular C300 and just coming to market the 4K C500.

Sony expected a lot from their PMW-F3 but like a lot of recent Sony products they were pipped at the post by lack of features or poor design leaving an enormous gap for the likes of Canon to fill with the C300.

The ARRI Alexa being the number one choice among DPs filming multi million pound dramas like Sherlock, RED being the choice of Jamie Olivers production company with some slack being taken up by Sony F65.

No one can deny the Alexa is a good camera but it’s a tad on the big side which makes it a bummer for hand held shots…in my opinion, plus they only seem to film in 2K which is now very limiting.

Sony have just sunk a very large hole in the Alexa with the F55 at 4K RAW 16bit, how much of a hole in RED is anyones guess but I personally think it will be significant.

The Sony F65 is still a good camera but once again a bit like the Alexa a tad on the large cumbersome side making it impossible for any hand held shooting which seems to be the fashion these days “wobble vision” as I call it.

Canon with the 4K C500 have a head start on the F5 but if Sony are astute they will price the F5 closer to the C500 if they are to take any ground from Canon, Canon on the other hand have just reduced the price of their XF300 range so who knows what price war may ensue.

Size wise theres not a lot to choose between the F5 and the F3 which gives the F5 a major advantage over the Alexa for 2K shooting and for once we get a decent viewfinder plus a choice of a higher resolution viewfinder taking Sony away from the joke VF as seen on the PMW-F3.

I think these modular cameras from Sony are a true game changer, game changing for Sony, bringing them up there with the Alexa, RED and Canon, stealing potential sales from all three competitors and setting the bar even higher for the competition in general.

The only problem Sony have now is…

1. Getting the price right !

2. Delivering enough units to satisfy the hunger for all those who want one !

If Sony can overcome their production bottle neck on the F5/55 they will indeed have reached their pinnacle of perfection by finally producing cameras more than fit for purpose.


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TWO new large sensor cameras from Sony PMW-F5/55 (Feb 2013)

Categories: Miscellaneous 2 Comments


Here are the first pictures of the new Sony PMW-F5 and enhanced F55, looking a lot more like a mixture of an ARRI and a RED ONE, this camera means business.

The new PMW-F55 and PMW-F5 CineAlta 4K cameras deliver unprecedented creative options for HD/2K*/QFHD*/4K (PMW- F55) and 2K*/HD (PMW-F5) production. Both offer multi-codec support featuring Sony’s new XAVC MPEG-4 AVC/H.264 format, the SR codec (MPEG4 SStP) and the industry-standard High Definition XDCAM 50Mbps 4:2:2 codec.  In-camera recording is on Sony’s New SxS media, SxS PRO plus, which can be used to record XAVC in HD High Frame Rate and in 4K at up to 60fps (in the PMW-PMW-F55), and XAVC HD High Frame Rate in the PMW-F5.

In addition to on-board recording onto SxS PRO+, the PMW-F55 and PMW- F5 can also be connected to the new AXS-R5 RAW recorder.  Slow-motion imagery at up to 240fps** (PMW- F55) and up to 120fps** (PMW- F5) can be captured as 4K RAW files on newly developed AXS memory.

The PMW-F55 features a global shutter to eliminate rolling shutter skew and flash band, and features a wider colour gamut for exceptional colour reproduction. The cameras are further distinguished by wide (14 stops) exposure latitude, high sensitivity, and low noise.

New Options for Monitoring

The PMW-F55 can connect to the new 4K 30-inch LCD monitor, PVM-X300  using four 3G-SDI interfaces to monitor pictures at 4096×2160 resolution at up to 60p while recording and playing back XAVC 4K images.  Similarly, it is also possible to connect directly to the 84” BRAVIA 4K LED TV for large-screen monitoring of the camera’s 4K 60P images (at resized horizontal resolution of 3860 pixels).

PL Lens System – The Second Generation

The PMW–F55 and PMW-F5 cameras continue Sony’s efforts to offer the most flexible lens options.  A PL-mount lets users choose cinematic lenses from suppliers such as Angénieux, ARRI, Canon, Carl Zeiss, Cooke, FUJIFILM and Leica.

Sony is also launching a second generation of cost-effective PL mount prime lenses. Each is certified for 4K capture, and is designed to minimize geometric distortion, vignetting and breathing.  A 9-blade iris delivers beautiful bokehs and the focus rings rotate 240°.  The new lens series includes focal lengths of 20, 25, 35, 50, 85 and 135 mm.  For easy lens changes, each has the same T2.0 aperture, the same external diameter, matte box diameter, and gear locations for follow focus and aperture. All are the same height except for the 135 mm lens.

Shooters can use stills lenses by removing the supplied PL-mount adaptor to reveal the native FZ mount.  This makes it easy to accept commercially available adaptors for third-party lenses, including Canon® EF, Canon FD, Nikon® DX, Nikon G, Leica® M and even 2/3-inch B4 lenses. A third option is the use of Sony FZ-Mount lenses with auto focus servo zoom (model SCL-Z18X140.)


Using a new digital interface, PMW-F5 and PMW-F55 users can take advantage of a new series of high-quality OLED and LCD viewfinders. The DVF-EL100 OLED viewfinder measures 0.7-inches with 1280 x 720 HD resolution, superb brightness, contrast and response. The DVF-L350 3.5-inch LCD viewfinder offers 10 times the contrast of previous Sony LCD viewfinders, with a flip-up eyepiece for direct monitoring. A third option is the full HD DVF-L700.  This compact 7-inch LCD viewfinder enables high resolution when shooting in 2K and 4K, with pixel-to-pixel 1920 x 1080 representation of HD images.

New RAW Recording System

Sony is also unveiling the AXSM™ Access Memory System for 2K*/4K RAW recording, based on Sony’s unique recording technology.  Optimised for this new platform is the AXSM memory card (512 GB capacity, model AXS-512S24), using the generic file system exFAT. Users can record 4K RAW data up to 60 fps and 2K RAW up to 240 fps**, with a 300MB/s sustained transfer speed. PC-friendly operation is enabled through use of the AXS-CR1 card reader, offering a USB 3.0 interface for high speed transfer.

Additionally, the new AXS-R5 RAW recorder directly docks onto the PMW-F5 and PMW-F55, for an extremely elegant and compact recording system for 2K** and 4K RAW recording.

New Recording Media

The cameras support Sony’s new high-speed, enhanced versions of its SxS PRO memory cards: the “SxS PRO+(PLUS)” series (in 128 and 64 GB capacities, models SBP-128B and SBP-64B). Based on the format long used in Sony’s XDCAM EX camcorders, the cards support XAVC 4K and XAVC HD high frame rate recording, and can be directly inserted into the cameras.

New Battery and Charger

The PMW-F5 and PMW-F55 cameras take advantage of Sony’s new BP-FL75 battery pack, which uses Olivine—Lithium Iron Phosphate—instead of conventional Lithium Ion cathodes.  The result is a substantial increase in charge-discharge cycles, compared to previous Sony batteries. The Olivine battery works with Sony’s BC-L90 quick charger.  The new battery supports outstanding mobility for on-set shooting enabling two times higher speed charging than current chargers and a maximum 150 minutes of consecutive shooting.

The PMW-F5 and PMW-PMW-F55 cameras are also compatible with Sony’s BP-GL95A, GL65A, L80S and L60S batteries, which use the BC-L70 and L160 chargers.

Shoulder Rig

Delivering advances in ergonomics specifically requested by cinematographers, the PMW-F5 and PMW-F55 feature Sony’s newest shoulder rig for extra stability and comfort.  The rig is sturdy, lightweight and uses industry-standard rosettes on both sides for quick and easy attachment of third-party hand grips and other accessories.

Here are the headline features of the F5:

  • Full HD & 4K
  • Super 35mm 4K CMOS Imager
  • 4,096 x 2,160, 11.6M total pixels, 8.9M effective pixels, Bayer Pattern
  • High sensitivity (ISO 2000) and low noise (S/N 57dB with noise reduction off)
  • High Frame Rate of up to 120fps
  • Internal Recording to SxS media
  • Modular Design
  • RAW Recording capability to a new modular “dockable” external recorder, the AXS-R5
  • 50Mb/s / 4:2:2 Broadcast Friendly HD
  • New XAVC Codec for efficient 4K
  • Shoulder Pad & Class-leading OLED HD viewfinder & mount options to provide a genuine shoulder-mount camcorder
  • Dual lens mount as standard – Arri PL & Sony FZ
Enhanced features of the F55 (otherwise identical to the F5):
  • Higher frame rate of up to 240fps (Full HD RAW) or 60fps (4k RAW) with optional  AXS-R5 recorder
  • Internal recording at up to 180fps onto SxS media using XAVC Codec (HD / 4K)
  • Simultaneous XAVC and MPEG 2 recording capability – onto the same SxS media card
  • Slightly reduced sensitivity of ISO 1250 when compared to F5
  • Global Shutter (Eliminates rolling shutter effect)
  • F65 Colour Gamut

Sony have finally fought back with this modular 4K camera system that will if the price is right have a major impact on not only the likes of the Canon C500 but ARRI and RED as well.

No prices yet.

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

Francine Bloom talks fondly of her late father who died from Prostate cancer

Categories: Miscellaneous No Comments

Every Movember Philip Bloom turns his blog into a fundraising campaign for Prostate Cancer Awareness and this year Philip has made a personal documentary about his grandfather telling it from his mothers perspective, it’s a very moving tribute to Philip’s “Papie” and he is giving away a ton of gear.

Here is a link to the gear on offer..

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

JVC are on the ball…lens issue has already been fixed.

Categories: Miscellaneous 25 Comments

As usual eagle eyed end users pick up on an issue that JVC were aware of with the zoom lens going slightly soft at the tight end. I first noticed this in the edit suite and contacted Kris Hill who told me it was a known issue and had been fixed. I had a pre production HM600 and I have to say if this is as bad as it gets JVC are onto a winner with this camcorder.

1. Zoomed in and pre focus.

2. Pulling back and slight softness which rectifies itself.

And to answer Michael Warren’s post in DVINFO.NET

“The Philip Johnston review is interesting. I notice the image is very soft at the telephoto end when he’s filming the crane at 12:41. I hope that is not typical, but was rather either that he just wasn’t focused properly, or it was in digital zoom (which is actually what it looked like to me).”

This camera does not have a digital zoom facility, it’s 23x optical from top to tail and I pre focused the lens, the AF had it been engaged may have compensated for this but we will never know.


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

Rick Young looks over the new FCPX 10.0.6

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Dual Viewers
Compare shots and match action by enabling a second viewer on demand, which displays the media you skim, select, and play in your Event Browser. You can choose to show video scopes for both viewers, making it easy to grade and match footage.

Multichannel Audio Editing
Edit multichannel audio faster than ever. A simple keystroke reveals separate audio channels when you need them and collapses them when you don’t — right in the timeline. Easily disable individual channels or select ranges for fine control of timing and volume. And access the Inspector to view details of any audio file, rename individual channels, or hide them in the timeline.

Import RED media directly into Final Cut Pro X and start editing right away with native support for .r3d files. Convert to either ProRes 4444 or ProRes Proxy in the background while you work, and use the optional REDROCKET card to accelerate transcode, render, and playback. Even adjust essential debayer and color settings to get the look you need without leaving Final Cut Pro.

Unified Import
Use the new single-window interface to import from all sources, including file-based video cameras, DSLRs, external hard drives, and network locations. Choose the customizable List view to display a variety of clip metadata, or switch to Filmstrip view for a visual representation of all your footage. Even add commonly used locations to the Favorites sidebar for fast access.

Streamlined Share
Deliver your work faster than ever from Final Cut Pro. Choose from export presets optimized for a wide range of uses — including iPhone, iPad, and Apple TV. Or build custom settings in Compressor and easily access them in Final Cut Pro. Export an entire project, a single clip, or a selected range in your project or event. Bundle multiple destinations to deliver different versions of the same project in a single step. And add Chapter Markers right in Final Cut Pro to quickly move between sections within a QuickTime file, DVD, or Blu-ray disc.

  • RED Camera Support
  • MXF Plug-in Support

Work natively with MXF files using third-party plug-ins by developers including Hamburg Pro Media and Calibrated Software. Import MXF files from your media library, archive, or other video source and export directly from Final Cut Pro in the MXF format.

Copy and Paste Attributes
Easily copy and paste specific attributes between multiple clips. A new interface allows you to see the source clip and choose exactly which effects you want to transfer.

Flexible Clip Connections
Control how Connected Clips respond to changes in your timeline.
Choose to keep them connected to clips as you edit or — with a simple modifier key — have them remain in place when slipping, sliding, or moving clips in the Primary Storyline.

XML 1.2 with Metadata Import and Export
Enjoy richer integration when moving projects and media between applications. XML 1.2 includes new standard metadata fields such as Reel. And Final Cut Pro X XML now includes custom project and media metadata, so you can import from — and export to — third-party apps and media asset management systems.

Edit multicam projects faster than ever before with a collection of innovative features. Select videos and photos, then create a Multicam Clip by automatically syncing different angles based on time of day, timecode, markers, or audio waveforms. You can change, add, or delete camera angles at any time and work with different formats, frame sizes, and frame rates without conversion. When it’s time to cut your multicam project, simply click in the Angle Viewer or use keyboard shortcuts to switch between video and audio on the fly. You can even combine audio channels from multiple cameras with a click.

New Range Selection Functions
Speed up your workflow by creating, preserving, and exporting ranges in the Event Browser. You can even maintain multiple ranges on a single source clip.

  • One-Step Freeze Frame
  • Create a freeze frame from your timeline or from source media in your event and add it to your project with a single keystroke.
  • Drop Shadow

Add dimension to text and objects by applying a drop shadow right in Final Cut Pro. Use intuitive onscreen controls to adjust position, edge falloff, angle, and more. Or access the Inspector for a complete set of adjustments. A 3D-lighting model dynamically adjusts shadow orientation for a realistic perspective.

Enhanced Compound Clips
Compound Clips are now automatically saved to the Event Browser, making it easy to consolidate edits and reuse them in multiple projects. And Compound Clips work just like Multicam Clips, so changes you make in the Event Browser instantly appear wherever the clips are used.

Ricks new book due out any day now, will be reviewed by HD Warrior as soon as we get a copy. PS. I exported a video to Blu-ray and it worked flawlessly, remember it has to MPEG the video first so it does take a bit longer to do. Note : As per FCP-7 the FCPX chapter marks are not recognised in Encore CS6 which is a real pity.

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

Exclusive 1st Review of the new JVC GY-HM600

Categories: Miscellaneous 100 Comments

You can now watch this video in 720p HD

My thanks to Kris Hill (JVC UK Sales Manager) for monitoring some of your questions, it’s very refreshing when such a big company like JVC takes the time and effort to answer your technical questions in person.

JVC’s GY-HM600 camcorder is designed for fast-paced ENG, offering exceptional imagery and features for news, sports and independent production. It features three 1/3-inch 12-bit full-HD CMOS sensors (1920 x 1080) and offers superb low light performance of F12 at 2000 lux. It also has a long (23x) wide angle autofocus zoom lens, a 15-second pre-record function,  professional layout, and extensive video settings and encoding formats to deliver smooth file interoperability from acquisition to air.

The lightweight camera records HD or SD footage in multiple file formats, including native XDCAM EX™ (.MP4), Final Cut Pro™ (.MOV), AVCHD and H.264, to non-proprietary SDHC or SDXC media cards. In addition to relay mode for uninterrupted recording, the GY-HM600 allows simultaneous recording to both memory cards for instant backup or client copy. It is the perfect tool for super-fast news and media coverage.


The manual can be downloaded here…


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The new Sony large sensor camera the F ?

Categories: Miscellaneous 7 Comments

It’s now obvious to most of us that we are getting another large sensor camera from Sony, probably one that gives you all the best features of the F3 plus 50-100Mbps and a decent viewfinder. Don’t see it being 4K but Sony need to make ground up from Canon’s C500…who knows.

CVP seem to not only know but have official information from Sony…



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Video Review of the JVC GY-HM600 (Delayed till Tuesday)

Categories: Miscellaneous 6 Comments

With all my problems editing with FCP I have one more day to finish off the HM600 Review, then I will post it on Tuesday and yes it will be in HD !

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