Sony’s truck with all the 2017 NAB show gear goes missing

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Sadly Sony have lost a ton of gear on its way to NAB 2017.

Sony “I can confirm that Sony’s NAB exhibit plans are unaffected and the show will go on,” says a Sony spokesperson. “All the major equipment that’s planned for the show will be in place.”

An investigation is ongoing but NAB attendees should still expect to see a full complement of new technologies related to four key areas: Image Capture; IP Live: Media Solutions; and High Dynamic Range. A massive 8K x2K screen that measures 32×9 feet will also be a big part of the booth.


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Metabones Speedboster XL 0.64x Canon EF to MTF for GH5 FW update 2.7

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Just installed the new Metabones firmware 2.7 for the Canon EF to MTF and tested my Sigma 18-35mm f1.8 lens. My thanks to Andrew Reid from EOSHD for spotting the new FW was available.

As you can see (above), finally the Sigma 18-35mm f1.8 works fine on the GH5 with some barrel distortion as you would expect but strangly* no vignetting. This was photographed in 16:9 @ the 18mm end of the lens.

*Strangly : Last night I shot this just after applying the new 2.7 firmware and it clearly shows vignetting from the APS-C Sigma 18-35mm f1.8 lens @ the 18mm end.

I shot this today and apart from a different white balance (I did WB the GH5) there is clearly no vignetting issues. Some would say there must be a 2x digital switched on, no I clearly checked that all digital converters etc were on the off position and shot the same scene on both GH5s. The one thing I do notice is the background shallow depth of field is different between last night and this morning, its almost as if the Speedbooster is not giving me and extra f stops.

UPDATE : Answer, its the wrong adapter, I have 2 adapters from Metabones the 64x Speedbooster and a Metabones Canon EF Lens to Micro Four Thirds T Smart Adapter.

It was the Smart Adapter that was on the lens on day 2 !

Metabones info…

  • Supports only Panasonic GH5, GH4, GH3, G3, G5, G6, G7, G10, GF3, GF5, GF6, GX1, GX8, GX80/GX85, Olympus E-PL7, PEN-F, Blackmagic Cinema Camera with Micro Four Thirds mount**, Pocket Cinema Camera*** and Micro Cinema Camera***
  • EF-S lenses require modification to fit or may remain incompatible even after modification (but third party DX lenses can be used without modification)
  • On GH5, Speed Booster XL can be used with full frame lenses only. DX lenses are unable to cover full-sensor width readout + in-body image stabilizer (IBIS)
  • EF-S and third party DX lenses does not cover the full Micro Four Thirds sensor in still photo and FHD video (but will cover 4k video mode on GH4, GX8 and GX80/85).

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

Lumix GH5 micro review UPDATED

Categories: Miscellaneous 4 Comments

My GH5’s arrived just over two week ago and I soon got to work exploring the new features. I spent a lot of time filming the local bird life mostly at 180fps as you can see above.

I still do not understand why the cameras came with 4K 422 10bit 25p and not Full HD 422 10bit as this was main the reason for upgrading my two GH4s. OK, Panasonic have told us the 10bit HD is coming just around NAB which is just over a week away.

I have only used the two SD card slots recently to add JPEGs in slot one and RAW in slot two, photographic job.

My new SDXC card of choice is the Lexar 64GB UHS-II technology (U3) for a read transfer speed up to 1000x (150MB/s).

Autofocus…What about the poor autofocus everyone is on about on You Tube, I rarely use autofocus but I did find out that autofocus is disabled during 180fps. I found the tracking very useful and accurate especially during my low light footage as seen in the video (ladies coming out of a pub, walking towards the camera).

Jitter update : I also found that the Olympus and older Lumix lenses did not seem to produce the jitter the same as the newer Lumix 12-60mm f3.5-5.6 lens did, so I stopped using that lens.

Battery life… screen open…dual image stabiliser…One slot only…2 hours 13mins before the red indicator, squeeze a further 5mins after the red flashing battery indicator giving a total battery life in a brand new DMW-BLF19e battery pack. Total = 2h 20m.

Filming in 4K 50p, screen open filming onto 2 SDXC cards. Total rec. time = 1h 45m.

Olympus Pro lens…40-150 f2.8 with a 1.4x Olympus converter

The lenses used were as follows…

Olympus Pro lenses…7-14 f2.8, 12-40mm f2.8, 40-150 f2.8 plus the 1.4x  Olympus converter.

Olympus Digital ED lenses…12mm f2, 60mm f2.8 macro.

Lumix…25mm f1.4 Leica and the 12-35mm f2.8

Focus Transition timings…

Sets the moving speed of focus

SH = 12 frames

H = 1 sec

M = 2s.14f

L = 4s.37f

SL = 14s.21f

Focus Transition Wait…

Sets the wait time before the start of Focus Transition for 5secs or 10secs or OFF.

This feature is very useful to avoid a small bump in the picture as you press the LCD.

Focus Transition Rec…

Starts Focus Transition when recording starts at either..

[POS 1]/[POS 2]/[POS 3]/[OFF]

Why Panasonic don’t refer to timings like I have translated above beats me or even better why can’t you dial in your own transition times.


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Filming the GH5 Micro Review

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Hopefully, cross fingers I will publish my Micro Review of the GH5 tomorrow, its taken many hours of sitting with Greylag geese to get some fantastic 180fps footage.

This is why my blog has suffered over the last few days, the Scottish weather has changed…for the better.

These are great birds to film and photograph

I had to amend my tripod handle with a hacksaw so it would not impede me while filming, mainly to stop it hitting the tripod legs.

This is the frame from the review that took over 7 hours to capture and what a classic bit of footage it turned out to be but you will see it in all its full glory tomorrow.

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

4K-compatible broadcast zoom lenses from FUJINON

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The demand of 4K-compatible broadcast equipment is spreading rapidly in Japan, Europe, North America, etc. for live broadcast of sporting events such as soccer and golf tournaments, as well as the production of dramas, documentaries and other genres of programs, produced both in studio and outdoors.

Fujifilm released the world’s first 4K-compatible broadcast lens in 2015, and already offers four broadcast lens models worldwide in response to the expansion of the 4K broadcast market.  The company’s lenses are used in a wide range of applications in recognition of their premium image quality and superior operability.

The new “UA18x5.5,” “UA14x4.5” and “UA27x6.5” broadcast zoom lenses deliver 4K quality across their zoom ranges by preventing resolution degradation around the edges and controlling all types of aberrations.

The “UA18x5.5” and “UA14x4.5” are portable lenses with compact and lightweight bodies for advanced mobility.  With the recent market introduction of compact and lightweight “4K camcorders,” these lenses will accommodate an increasing number of videographers who shoot while carrying 4K equipment on their shoulder.  The “UA18x5.5” weighs 2.04kg and covers focal lengths from 5.5mm on the wide angle end to 100mm on the telephoto end, making it useful for production situations that require added mobility such as news reporting and on-location production.  The “UA14x4.5” covers the ultra wide angle focal length of 4.5mm despite its compact body, measuring just 238.5mm, allowing you to go up close and personal during live sport coverage or on-location production with a real sense of depth.

The “UA27x6.5” is a 4K-compatible 27x zoom lens, perfect for in-studio applications for news and variety shows.  With the wide-angle focal length of 6.5mm, it can also be used to give a full view of a concert venue in live coverage.  The “UA27x6.5” has a built-in extender*1, which doubles its focal lengths, covering up to 360mm in focal length while maintaining image quality in advanced definition.

FUJINON lenses by Fujifilm are known for high quality eloquent images, and have been used in the production of movies, TV programs and commercials around the world.  Fujifilm will continue to tap into its optical, high precision forming and assembling technologies that have been nurtured over many years in the field of cutting-edge video expression, to further expand and enhance its product lineup, thereby addressing the diversifying needs of broadcast production.

These three models will be on display at the NAB 2017 exhibition of broadcasting equipment, to be held in Las Vegas from April 24 to 27, 2017.

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

Tim Palmer, Director of Photography interviewed by Rick Young.

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A great insight to the world of television drama lighting from Tim Palmer DoP interviewed by Rick Young of Movie Machine

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

FUJINON MK 10-55MM T2.9 MFT-mount CINE lens for GH5 ($3,799) April 1st

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Finally we have a servo zoom lens for the GH5. Fujinon announced this cracking new cine lens yesterday. The price will be $3,799.

GH5 owners may have noticed an extra pin has been added to the camera to accommodate the extra power needed for a servo lens.

Ever wondered what the greyed out POWER ZOOM LENS feature is all about in menu 6/6 on the GH5, now you know.

Many micro four third owners have noted that a good servo zoom lens would make this camera range and now its here, starting shipping at the end of June.

HDW : Have not produced an April fools day blog for a while, although the pic from the GH5’s menu is legit as you can get 2 Lumix lenses with power zooms, not recommended. The lens above would make the GH5 very top heavy, if it existed.

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