The JVC GY-LS300 Edit

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Having used the JVC GY-LS300 in anger I can confirm the shots are solid with very natural skin tones, the Super 35mm sensor in this camera is producing some delightful HD footage. I am at the editing stage with some extra footage still to be filmed.


The navigation of the menu system on the LS300 is one of the best and most intuitive I have come across using the joystick right where its needed…on the LCD itself, other manufacturers take note !


As you can see the JVC LS300 takes a variety of lenses from Panasonic MFT to Canon and Nikon. The Panasonic uses the cameras native MFT (Micro Four Third) mount and the Canon uses an electronic Metabones adapter. The camera has Variable Scan Mapping (VSM) allowing you to match various lenses preventing vignetting.


The Nikon is the odd one out with a manual adapter from MTF, fortunately the lens is one of the older full frame “D” lenses which has a proper aperture ring.


We used the JVC LS300 to film at a local Speedway meeting in Glasgow, recording bikes and interviews. I stuck to my Panasonic MFT lenses as the VSM (Variable Scan Mapping) would wast precious time changing from MTF to full frame, this will be explained in detail on the video review.


Although the camera performed well its not a camera I would recommend for fast action sport as there are two servo zoom lenses and both of them are only 3x.


I have not yet shot any 4K 25p footage on the LS300…that will depend on the Scottish weather.


The JVC LS300 does have a rocker switch but is limited to two Panasonic servo lenses, the 14-45 and the 45-175 both 3x zooms not practical in a professional environment. Panasonic need to bring out a 10x servo zoom lens ranging from 14-140 at f2.8, this would really boost sales of the JVC LS300.


The JVC LS300 has 3 ND filters built in 1/4, 1/16, 1/64 and clear, perfect for tricky out door shooting in sunlight fortunately for those extra bright days you also get a rear viewfinder, not the biggest but it will get you through where the LCD won’t. Low light will also be explained in detail in the video.

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

Fantastic price break for new DJI Ronin-M…£1082.50 plus vat

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Announced at NAB 2015, new from DJI the new lighter Ronin-M – three axis gimbal. Up to this point we’ve been guessing at the price, as of this morning the price has been announced at a amazingly low £1082.50 +VAT.

Simon (Production Gear) “Obviously at this price we’re going to get a lot of demand, so would encourage you to get your preorder in with us as soon as possible to secure this great new lightweight gimbal built on the outstanding DJI Zenmuse stabilisation technology.”


You can preorder online, your card will not be charged until your order ships.  Any questions or to reserve a unit by phone call Production Gear on 020 8236 1212

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

Review of the JVC GY-LS300…Filming this Sunday at Glasgow Speedway

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I was the first video company in Glasgow to cover Glasgow Speedway from 1988 to 1992 at Shawfield Stadium, Glasgow. Today the Glasgow Tigers are at a new home on the North side of Glasgow at a newly re-generated Ashfield Stadium.


JVC have kindly sent me their new GY-LS300 to review, a Super 35mm 4K camera with a micro 4/3″ lens mount. This is the reason for the trip to Ashfield Stadium today, to do a production recce.

Ashfield used to be a greyhound track but is now solely owned by Glasgow Tigers Speedway. Today I had my first look at the all new stadium and I was more than impressed. I am hoping to produce some sexy footage from the JVC LS300.


Although the LS300 has 4K abilities I am using the cameras full HD capabilities 1920 x 1080 50p because of the nature of the sport, fast action never looks good at 25p.


I am looking forward to filming Speedway once more, its a very exiting sport and can be very dangerous.


Back in 1988 we filmed Speedway with the first commercially available CCD camera called a Panasonic F10, recording onto a portable VHS recorder. The camera had an interchangeable 12x lens.


I am almost having a reunion on Sunday bringing back Chris Malcolm, my good friend who used to interview the Tigers…23 years ago !


I took this photograph back in 1992, the last year Steve Lawson (2nd from left) rode for the Glasgow Tigers. We produced a documentary called the Steve Lawson Story and went to Steve’s farm at Workington. The youngest chap on the far right, Richard Lawson now rides for the Glasgow Tigers.

So lets hope the JVC GY-LS300 puts in a good account of itself, I hope to use some sexy Canon glass to get some cracking shallow depth of field shots.

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

The NAB 4K Post Mortem

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Now that NAB 2015 is out of the way lets have a serious look at what each camera manufacturer had to offer in the 4K stakes.


Panasonic 2015

Panasonic brought out a 4K run and gun camera called the DVX-200 at £3500 this camcorder should sell well.

Plus Points...

4K filming at 200Mbps onto SDXC cards (C10 U3)

13x 4K optical f2.8-4.5mm, 5 axis stabilised servo zoom lens in 4K 29.5mm – 384.9 or HD 28mm – 365mm (35mm equivalent)

4/3″ large sensor giving a reasonable shallow depth of field and low noise at higher ISO.

422 10bit output from HDMI socket

4K 50p recording onto SDXC cards (C10 U3)

Very stylish with all the usual professional switches, XLRs etc.

ND filters

Price £3500 or less

Not so useful…

Records 420 8 bit internally…possibly the one feature that will curtail AF101 type sales figures.


Again Panasonic are throwing caution to the wind with this fantastic 4K offering with all the features a professional could ask for. This is the first non interchangeable 4K camcorder with a 4/3″ chipset and unlike Sony’s PXW-Z100 does not rely on expensive proprietary card media. With most of Sonys latest offerings being 422 10bit, including the PXW-X70, I was disappointed in the DVX-200 only being 420 8bit though taking the same principal as the semi pro HC-X1000 it will produce cracking downscaled HD footage from 4K.


Canon 2015…

Canon delighted its followers with the next generation C300 Mk11 with 4K internal recording, at £11,300 its going to have a rough ride aside Sony’s PXW-FS7 priced at £6,200.

Plus Points…

4K internal recording up to 410Mbps using XF-AVC intra for 4K, and XF-AVC Long GOP for 2K and Full HD.

Interchangeable lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option.

Super 4K 35mm sensor

ND filters

422 10bit internal or 444 12bit external.

Not so useful…

4K 25p maximum frame rate

XLR’s not on the body itself, as requested by C300 owners.

Relies on expensive CFast media



I think Canon have missed a trick with the latest C300 Mk11 offering, they are hard up against the Sony FS7 at almost half the price and also records up to 4K 50p !

Because of its price it won’t fly off the shelves and the upgrade to CFast media also makes it an expensive 4K recording media, £676 for 128G Sandisk card.


Canon 2015…

Another 4K camera from Canon this time the smaller XC-10. At the street price of £1600 I think this will be a good seller amongst C300 Mk11 owners looking for a good run and gun “B” camera.

Plus points…

Record 4K footage at up to 305Mbps 422 8 bit with Canon’s XF-AVC H.264 codec

10x zoom with optical image stabiliser

1.0 inch Canon CMOS sensor

One ND filter

4K filming to an internal CFast 2.0™ memory card and Full HD video or stills to a separate internal SD card

10x fixed manual zoom…Video Mode: 8.9 – 89mm (27.3-273mm 35mm equivalent)
Stills Mode: 4:3 – 24.1 -241mm,/ 3:2 – 25 – 250mm, /16:9 – 27.3 – 273mm (approx.)

Not so useful…

Fixed lens

No optional XLR accessory

Expensive CFast media for 4K

4K 25p maximum.


I think this will undoubtably  be a great success for Canon, its petiteness and keen price will take the place of the C100 as a “B” camera for all of Canons cinema camera range.

ursa-mini-v3Blackmagic Design 2015…

Blackmagic have come a long way in camera manufacturing in such a short time, this NAB is no exception, one of their new camcorders is the 4K URSA mini, a reflection on the disgruntles made of the original 7.4Kg URSA the URSA mini is a mere 2.27Kg.

Plus points…4.6K EF model

The 4.6K sensor features global shutter up to 30 frames per second and rolling shutter up to 60 frames per second with 15 stops of dynamic range

Compact and lightweight digital film camera

12G-SDI output with optional “V” lock adapter

Weight 2.27Kg

5” fold out monitor

Dual CFast media card slots

Price £3565

No so useful…

Viewfinder is optional at £1079

No ND filters

Using expensive CFast media


I think this is by far the best value for money 4.6K camera on the market, once again Blackmagic have pulled a rabbit out of the hat and set the bar even higher. The URSA mini is three times cheaper than the Canon C300 Mk11 and half the price of the Sony FS7. Even the Canon XC-10 has one ND filter…to bring out a professional large sensor camera in 2015 with no ND filters is stupid as it will clearly affects sales.

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

NAB News 2015 Panasonic also release a new P2 shoulder mount camera AJ-PX380

Categories: Miscellaneous 1 Comment


Panasonic’s multi-codec AVC-ULTRA offers master-quality and/or low-bit-rate 10-bit, 4:2:2 recording in full raster HD to meet a variety of user needs from mastering to transmission. Addressing the need for high-speed file exchange, high-resolution AVC-Proxy encodes in parallel with higher bandwidth production formats, enabling fast, efficient offline editing, at bit rates from 6 megabits down to 800 kilobits per second.

The PX380 will record in AVC-LongG to provide on-air content direct from the shooting location and for workflows using content transferred over the internet. The camera will offer three AVC-LongG bit rates: AVC-LongG50/25 providing10 bit, 4:2:2 quality at bit rates of approximately 50/25 Mbps, and the more economical AVC-LongG12, which is optimized for field wireless workflows.

Built-in network functions support wired LAN, wireless LAN and 4G/LTE connections, enabling on-site preview, streaming and uploading data to a server quickly and easily at low cost with a PC/Mac, tablet or smart phone; or users can connect to the camera via WiFi to control, add or edit metadata, view proxies, or watch live streaming for logging or monitoring. Unique to Panasonic’s live streaming protocol is a quality of service (QoS) layer that rapidly and dynamically adjusts the bit rate of the streaming signal to optimize the transmission speed as bandwidth of the cellular network changes.

The PX380 will include a “Rec during Uploading” function to allow automatic transfer of previously  recorded content to an FTP server, which means that recording is possible even while video content is being uploaded.  The camcorder will also support a P2 Remote Operation Panel (ROP) application, enabling wireless control of PX380 camera settings (video parameters, camera painting and rec/stop operation, for example) using an iPad. (The P2 ROP App is available free of charge at the Apple App Store.) Remote control will also be available using Panasonic’s AG-EC4 camera extension control (serial) AJ-RC10 Remote Control Unit (serial) or AK-HRP200 ROP (LAN).

Weighing just over six pounds, the PX380 will incorporate high-sensitivity, low-noise 1/3” 3-MOS imagers to produce stunning pictures, even in low light conditions. With the flexibility of an interchangeable lens, the PX380 can be used with 1/3″ to 2/3″ lens adapters for use with existing 2/3″ zoom and prime lenses. The PX380 will feature a wide range of recording modes, including the full range of 100 Mbps AVC-Intra formats, up to 1080/60p,50p. Two microP2 card slots will facilitate cost-effective operation; a P2 card slot and SD card slot are also included.

Professional interfaces will include HDMI out, HD/SD-SDI in/out, 3G-SDI out to support 1080 60p video output, genlock in/video out for multi-camera operation, timecode in/out, USB2.0 (host), and USB 2.0 (device).

dels are all AVC-ULTRA capable, with the same recording formats, codec and file structure. When used in modern field production–whether fast -breaking news or scheduled interviews–the tool kits provided are similar across the range of camcorders, differing only in the lens / imager format and pricing.  In many cases a mixture of cameras can used by various crews.

The AJ-PX380 will be available in September 2015 with a suggested list price under $12,000, including supplied Fujinon 17x lens and AG-CVF15 Color LCD viewfinder.

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

NAB News 2015…ARRI SkyPanel…Soft lighting – Redefined

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ARRI proudly introduces SkyPanel, a brand new line of LED fixtures. SkyPanel is a compact, ultra-bright and high-quality LED soft light that sets a new standard for the industry. With a design focused on form, color, beam field and output, SkyPanel represents the culmination of more than a decade of research and development of LED technology at ARRI.


The new ARRI SkyPanel is an exceptionally versatile LED soft light – compact, fully tuneable and delivering light of unsurpassed power and quality. Because different application areas call for different lighting needs, SkyPanel has been designed as a series of fixtures. The S60 is the mid-range model and the S30 is the smaller, more portable version. With SkyPanel, the sky is limitless…


SkyPanel ‘C’ (Color) versions have the ability to adjust the correlated color temperature anywhere between 2,800 K and 10,000 K, with excellent color rendition over the entire range. Full plus and minus green correction can be achieved with the simple turn of a knob, and in addition to CCT control, vivid color selection and saturation adjustment is also possible.


High output is usually not associated with a fully tuneable LED fixture, but with the SkyPanel ARRI has been able to accomplish both. SkyPanel has tremendous light output across the entire CCT range. Brighter than a 2 kW tungsten soft light or a 6 kW tungsten space light, the SkyPanel S60 has more than enough light for most applications. In some cases the fixture can even compete with natural sunlight; at the same time, it is able to perform beautifully at lower light levels.

ARRI SkyPanel Features film from ARRI on Vimeo.

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

NAB News 2015…Ikegami SHK-810 shoulder mount 8K camera

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The Ikegami SHK-810 camera employs a single 33 million-pixel Super 35 CMOS sensor, achieving 4,000 TVL horizontal and vertical resolution. The color filter on the sensor employs a dual-green SHV color arrangement and achieves a high level of modulation depth.

The System Expander enables the use of large viewfinders and full studio lenses, converting the portable camera into a full-facility studio/field camera.

A viewfinder detail (VF DTL) function allows the camera operator to increase the detail edges to the viewfinder and picture monitor video for easy focusing. A lens aberration correction function and communication features (tally, intercom, etc.) are also available for conventional HDTVcamera operation.

The PL-Lens mount allows the operator to use the camera with 8K lenses, cine lenses, 4K lenses and custom-designed zoom lenses for single-chip SHV cameras. A flange-back adjustment system is built-in, enabling back focus adjustment of PL-mount lenses without shims.

Standard SMPTE fiber cable can be used between camera head and camera control unit (CCU) to enable long-distance transmission for live broadcasting.

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

Panasonic’s Break from Tradition with the new DVX-200 4K camcorder (£3500)

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The Panasonic DVX-200 is striking because of its red body and superb design qualities but this is not the first time Panasonic have broken away from tradition, John Preston from H Preston Media reminded me of the Panasonic V3.


The V3 goes all the way back to 1986 thats 29 years ago and had 3 half inch Newvicon tubes, a signal to noise ratio of -54dB and a 1.5″ black and white viewfinder. It provided 570 lines resolution and a minimum illumination of 30 lux.

This was the bad boy of low light, John remembers selling 5 Panasonic V3’s to the local constabulary only to get all 5 back a week later because of their shocking low light capabilities.


This is probably one of Panasonic’s best looking hand held camcorders to date, I have moaned on about boring black and grey cameras for years and Panasonic have obviously listened.


How it performs is another question but with its newly-developed 4/3” large-format MOS sensor it should be good in low light and have a reasonable shallow depth of field. Remember the Panasonic HC-X1000 has a 1/2.3″ sensor so there should be a vast improvement in low light performance over the semi pro HC-X1000 in which the DVX-200 is being compared to.

Apart from its striking looks the DVX-200 should in my opinion be equal to or out perform the Panasonic GH4 in 4K mode not to mention the five-axis Hybrid Image Stabilizer and 4x correction-area Image Stabilised lens.

Having the ability to zoom from 29.5 mm ~ 384.9 mm, 4K and 28 mm ~ 365.3mm, in HD (35 mm equivalent) is a major bonus for a 4K professional camcorder.

Lets not forget the other major advantage of the DVX-200, low cost media in the form of SDXC C10 S3 cards, Transcend 64G are £25 each while the 128G is £55 which is a major advantage over Sonys XQD cards 128G = £420 !

This will be the first true 4K run and gun camcorder and I can’t wait to get my hands on one.

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

Importing Sony’s XAVC footage into FCPX v10.2

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Firstly if you stick to the rules you can import Sony’s XAVC L footage into FCPX v10.2 via an FS7.


You can’t import directly into FCPX 10.2 via Sony’s FS7 4K XAVC L via FCPX 10.2 or you get a green screen like this. (above), you need to use Catalyst Browse/Prepare or Edit Ready.


You also can’t import XAVC HD (Long GOP) footage from Sonys PXW-X70..all you get is audio and small JPEG images. (above). Once again you need Sony’s Catalyst Browse (FREE).


You can import XAVC Long GOP HD footage from your FS7 as you can see above.


XAVC I frame has always available to FCPX both on HD and 4K via your FS7


XAVC I frame 3840 x 2160 50p 500Mbps via Sony’s XQD G series card.

Both Peter from FCP.Co and myself worked on this last evening into the small hours.

Here are the facts to date when importing Sony’s XAVC footage into FCPX 10.2

XAVC S seen in Sonys A7s footage has always been supported in FCPX for a while now.
XAVC I seen in Sonys FS7 has also been supported both HD and 4K footage.
XAVC L seen in the Sony FS7 is only supported up to HD, 4K footage is not yet supported.
XAVC HD (Long GOP) as seen in the Sony X70 is not yet supported (HD only).
There is no need to download the PDZK-LT2 plugin if you are working with FCPX 10.2.
Sonys Catalyst Prepare does not transcode 4K L GOP footage as there are no presets for 4K PreRes (This may change)
Edit Ready is the best overall solution to transcode both HD and 4K Sony Long GOP footage to PreRes.

It’s not advisable to mix and match I frame and Long GOP footage on the same card.

I am sure Apple and Sony are working on a fix for this lets hope a solution will be available sooner rather than later.

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

NAB 2015 News…Panasonic pull a blinder 4K AG-DVX-200 (£3500) Updated

Categories: Miscellaneous 30 Comments


Delivering a shallow depth of field and a wide field of view, the DVX200 is the ideal companion camera to the company’s groundbreaking VariCam 35 4K camera/recorder. With an integrated lens design, the DVX200 will excel in independent film and documentary production, as well as event videography.

Just in : The DVX-200 is 420 8bit recording with a 422 10bit HDMI output. The camera records a maximum data rate of 200Mbps to the SDXC card C10 U3 (Official from Panasonic)

The DVX200 will be optimized for 4K/HD production, and shares the esteemed VariCam family characteristics of filmic tonality and colorimetry, with natural, subtle rendering of skin flesh tones, and a V-Log curve emulating the natural grey-scale rendition of the VariCam 35. The camcorder will incorporate a newly-developed 4/3” large-format MOS sensor and offer variable frame rate recording up to 120fps in FHD mode, enhancing the DVX200’s utility in sports and VFX production.


The new handheld 4K camcorder will offer an array of professional features including a newly-designed Leica Dicomar 4K F2.8~F4.5 zoom lens (4K/24p: 29.5 mm ~ 384.9 mm, HD: 28 mm ~ 365.3mm, 35 mm equivalent), time-code in/out, 3G HD-SDI and HDMI 2.0 (4K) video outs, easy focus and zooming, and programmable user buttons.

The DVX200 will record 4K (4096 × 2160) / 24p, UHD (3840 × 2160) / HD (1920 × 1080) 60p / 50p / 30p / 25p / 24p in either MP4 / MOV file formats. There are two SD card** slots, facilitating backup and relay recording. For professionals working worldwide, the camera’s master frame rate is selectable between 59.94Hz (23.98Hz) / 50.00Hz / 24.00Hz.


The DVX200’s three manual operation lens rings—13x zoom (Cam driven), focus and iris—will provide a comfortable manual control similar to an interchangeable lens camera, but without the need for actual lens changes. The zoom ring’s solid feel and smooth action allow delicate ultra-slow zooming. In addition, the camera’s multi-step zoom control provides fast response and smooth zoom action, yielding the creative freedom every camera operator desires. The zoom control on the handle enables variable speed zoom, allowing fine zoom control even for low angle shots. The DVX200 also features an enhanced Image Stabilizer,

including a five-axis Hybrid Image Stabilizer and 4x correction-area Image Stabilizer that produces clear images without blurring, and a micro-drive focus unit that improves focus speed, tracking and capture performance, facilitating 4K focusing and shallow focus shooting.


The new Leica Dicomar 4K zoom lens with F2.8 aperture is an optimal choice for 4K video, with the ability to produce elegant imagery and subtle “bokeh” Also, Leica’s exacting quality standards serve to suppress the occurrence of ghosting and flare to a minimum. Since the DVX200 is an integrated-lens camcorder, there is no need to perform the flange back adjustments or shading corrections when changing lenses. Even with a large diameter lens, the DVX200’s weight and balance have been optimized to facilitate agile, mobile 4K acquisition. With superb center-of-gravity balance, the camcorder will be ideal for such flexible shooting applications as mounting on today’s popular stabilized camera rigs


The AG-DVX200 utilizes a front element lens / filter diameter of 72mm, a very common size. It is expected that many third party lens accessory manufacturers will announce items such as close-up lenses and other desired options.

The AG-DVX200 will feature next-generation ergonomics, with the battery positioned in the rear so as not to interfere during handheld shooting. The DVX200 comes with a rugged woven carbon,fiber-like finish, and the recording section is distinctively styled with crimson shading.


Note the 5 Axis Hybrid IS which has only been seen on the likes of the Sony A7II and works a treat. On the down side the DVX-200 uses a new Panasonic Li-ion battery.

EDITORS NOTE : Having just received the information about the recording specs, 420 8bit, you have to remember like the HC X1000, if you film in 4K with the DVX200 and edit it on an HD timeline the picture quality will be equivalent to 444 10bit.

The AG-DVX200 will be available in Fall 2015 with a suggested list price under $5000.

* UHD (3840×2160) resolution, when 60p mode is selected.

** Requires a SD card of UHS speed class 3 (U3) for 4K recording.

Here is the 1st look at the Panasonic DVX-200 from News

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

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