There no point owning a Ferrari to discover it has the engine of Skoda. The new Panasonic DVX-200 has the same chip as a GH4 giving you the best of both worlds. Panasonic have taken the success of the GH4 and designed a professional camcorder around it…fantastic.
This was well attended with journalists and bloggers from all over Europe, there were four Panasonic DVX-200 camcorders on offer.
The one I choose was set to 3840 x 2160 50p but one of the bloggers had noted there was no HD footage shot with the DVX-200 yet so I changed my settings to 1920 x 1080 50p at 200 Mbps ALL-Intra.
All three interviews were filmed in HD and at 6dBs which is why they are a tad noisy in the blacks, I was not there to produce a review of the DVX-200 just an overview and a play with the camera.
I phoned Panasonic the following day with my concerns as I know from owning a GH4 6dBs should not contain any noise in the blacks, Panasonic reminded me that these were still pre production models and are still being fine tuned back at the factory.
One other annoyance was the eye sensor on the viewfinder as you brought the DVX-200 towards your shoulder the LCD switched off but Technical Product Manager Luc Barra has already informed me this has been fixed in the next FW update.
Nigel Wilkes, Group Manager at Panasonic AV IP Business Unit for Pro AV / Broadcast Products told me they were a bit sceptical at first with a 4K camera that had a fixed lens. I can assure you the 13x Leica built lens is a cracker and one of the major features on the camera. Having a fixed lens actually suites more end users who will be using the camera for run and gun.
I love the camera, its well built has the same ergonomics as the PX270, produces a good solid picture and has LOG features for those who are willing to increase their workflow. Remember I will be getting a DVX-200 to review from Holdan very soon, so I can make my final judgements on a more updated firmware.
Heading down to London to get my first look at the new 4K DVX-200. As I type I am getting ready for my 4 hour train journey down to the big smoke. Panasonic have asked a select party of bloggers to meet in London city centre on Tuesday to have a hands on with the DVX-200.
As usual HD Warrior will be recording it both photographically and video on a GH4 and an FZ1000. We used the FZ1000 at the Spirit of Edradour and was very impressed with the quality, its a fast no nonsense camera for photographs and as long as you use one of Sonys UWP-D radio mics you can monitor your sound via the receiver itself.
There is still time to ask Panasonic questions, I will check my comments on this page on Tuesday morning, if you have any questions leave them and I will ask Panasonic on your behalf.
This is probably one of the most horrific news stories I have reported on HD Warrior and it has consequences for all of us working in television news. Many a time news editors send a crew to cover a live incident and inevitably its a crew of two or three if your lucky.
I have reported on this in the past but health and safety of news crews is at breaking point and this is a fine example of not enough people on the job due to limited budgets.
If Alison and Adam had one extra crew member overseeing their news broadcast this might have been a different outcome.
We all think we are safe when the camera appears and for the majority of broadcasts everything is fine. The problem is we have many different ways to send back live footage today which does not always rely on a sat truck being there. At least the sat truck gives you an extra person, someone to oversee the production.
Its all down to numbers…
1. Number of people allocated to a live shoot
2. The “cost” of having an extra person on the shoot
Television stations seriously need to re-think this VJ mentality where one person turns up to a shoot as well as the amount of crew deployed to a live shoot.
I have said this in the past and I will say it again we are now seriously understaffed in the broadcast industry especially in the news department…its all down to cost. We have shaved staff levels beyond the minimum safe level and I would like to see a minimum of three crew members at any live news event…”safety in numbers”.
I am asked at least once a month to film at a live event and I always factor in my son, Scott, who comes out of my budget, we work well together and as far as I am concerned brings a far higher level of security to the job.
The main thing to take out of this shocking news story is the sheer professionalism both Alison and Adam showed when approached by the gun man, they were so intent on their job they never saw him.
I would like to say how shocked and sad I was to hear this news and my heart goes out to Alison and Adams close family and friends.
At last someone has got their head screwed on and designed a universal quick release system for DSLRs. The Edelkrone QR-ONE only relies on the 1/4″ screw itself so you never need to find that illusive camera plate that only fits on one tripod.
The video tells the story…simple but effective, a great product for those of us who use more than one make of tripod.
Advances in video have made filmmaking accessible to creators everywhere. But the accessibility of professional audio devices has not kept pace. Field recorders, with essential features such as time code, have been unobtainable for most. Until now.
The F8 is made for serious filmmakers and sound designers.
With 8-input/10-track recording, super low-noise preamps, and support for 24-bit/192kHz audio, the F8 captures the highest-quality audio.
Outfitted with our finest mic preamps to date, the F8 features an extremely low noise floor (−127 dBu EIN) and high gain (up to 75 dB), with +4 dB line inputs.
High-resolution audio and advanced limiters
The F8 can record at 24-bit/192 kHz resolution and is equipped with onboard limiters designed to provide overload protection. Limiting can be applied to all 8 channels simultaneously at full resolution, with 10dB of headroom and controls for setting threshold, attack, and release.
Time code with pinpoint accuracy
The F8’s time code is state-of-the-art. It utilizes a precision oscillator that generates time code at 0.2 ppm accuracy, enabling rock solid syncing of audio and video.
The F8 supports all standard dropframe and non-drop formats, and can jam sync to time code being provided by external devices. An input and output are provided on standard BNC connectors, enabling easy integration into any rig.
Weight and build
The F8 is not only versatile and feature rich, it is the smallest field recorder with eight XLR combo inputs ever made. Weighing just 2.1 pounds (without batteries), its aluminum chassis is both rugged and durable.
Sound professionals sometimes work in dusty, hard-to-see environments. Level meters with adjustable brightness and its 2.4 inch full-color backlit LCD (which can be set to monochrome mode), make the F8 easy to use in any environment — from low-light to direct sunlight.
File formats, resolution, and sample rates
The F8 records in BWF-compatible WAV format at 16 or 24-bit resolution, and at any standard sample rate up to 192 kHz. When recording files in MP3 format, you can choose bit rates of 128, 192, or 320 kbps.
Friday morning driving up to Dundee for 8.30am to film an insert for the Gadget show, this was a hard 10 hour day.
For obvious reasons I can’t tell you anything about the day but the crew were great and I had a sound recordist, Colin. Jason the presenter was a joy to work with. A wee point for future reference my Mac book air is USB-2 and a 128G XQD card takes an hour to transfer while my iMac USB 3 only takes 20mins to transfer the same 128G card.
Its been a while since I was part of a multicam crew but this gig was a joy after the hard day before. I think my camera was called Dave ? Its a Sony HDC-1500 full HD studio camera.
My friend Mallo was over to my right while Daniel was up on the gantry, behind me.
There were 4 cameras on this shoot 3 manned and 1 locked off.
The 10 hour shift ended with a review of the best of the Edinburgh Festival presented by Anneka Rice.
This is Daniel he was up the back on camera 1.
Mallo was on camera 2 while I was on camera 3. Its nice to work with friendly, helpful people.
We filmed 3 shows in total and everyone was a sell out. My thanks to Donald our Director for making it such a pleasant day.
Samyang seem to be on a mission, just as I buy their 35mm T1.5 cine lens they announce a further range of newly designed cine lenses…XEEN lenses. I have to disagree with Samyang on this one, why produce a further set of lenses in a “new” housing and not make them optically better than the previous set ! Also, the last range of cine lenses have not even reached the market and are still on back order !!!
I have to commend Samyang on their 35mm T1.5 lens for being sharp and if truth be told I used it on a recent film “The Spirit of Edradour” in favour of 4K Canon glass to save the extra weight when filming hand held.
Having the lighter 35mm Sanyang lens for this shoot was a joy and the pictures were very good.
Features added to the 500 Series with Firmware 2.0
1. 3D Luts Downstream
Feature Description: Send your 3D Luts downstream to the next monitor or device in line so your client or director can see a finished product.
Notes: There is now an “output preview” page. This page shows what is being sent downstream. Use it to apply a look to the output video. This page can also be hidden via the settings menu. (but not recommended)
2. Cross Conversion Added (502 model only)
Feature Description: You can now feed an HDMI signal into your monitor and output it via the SDI OUT, or feed an SDI signal to your monitor and output it through the HDMI OUT.
Notes: Feature is activated in the monitor Settings menu under the Output option.
It is not possible to convert all HDMI formats to SDI. You should restrict HDMI formats to those supported by SDI.
3. RGB Parade
Feature Description: The RGB Parade is a helpful video scope for separating out the 3 color channels of digital video: red, green and blue.
Notes: Feature is activated by applying “Waveform” and choosing the “Parade” style.
4. SDI Metadata Display
Feature Description: View timecode and record trigger that is being sent from your camera through the SDI output on your 500 monitor.
Notes: Feature is activated through Add tool -> Overlays -> SDI Metadata
Shows a small box with the SDI timecode, and a full-screen border to indicate the Record Start / Stop bits. Each function can be disabled individually.
5. Brightness & Contrast Settings
Feature Description: You can now customize your monitor’s contrast and brightness.
Notes: Feature is activated through Settings->System->Calibration in your monitor.
Adjusts the panel’s brightness and contrast. Last adjustment made to video data being sent to the panel.
6. Profile Saving To SD Card.
Feature Description: Save your current monitor configuration to an SD card
Notes: Feature is activated through Settings->User->Profiles
Does not work without an SD Card.
Only one profile may be saved per card. Can be used to copy profiles between monitors.
The following are intentionally not stored in the saved profile:
JVC Professional Video, a division of JVC KENWOOD USA Corporation, today announced the Version 2.0 firmware upgrade for its GY-LS300 4KCAM handheld Super 35 camcorder. The upgrade adds a “JVC Log” mode that practically duplicates the look of film, plus new Cinema 4K and Cinema 2K recording modes, a unique Prime Zoom feature that uses the camera’s innovative technology to allow zoom capabilities when using prime lenses, and a histogram. Free for all current owners, the upgrade will be available in September 2015.
With the new JVC Log mode, the GY-LS300 delivers wide latitude and high dynamic range – up to 800 percent – to rival the look of film. The camera’s Super 35 CMOS sensor delivers a higher contrast ratio between dark and bright areas within the frame without saturation while providing details within highlights and shadows. V2.0 also adds 4096×2180 Cinema 4K and 2048×1080 Cinema 2K recording modes at various frame rates, each with a 17:9 aspect ratio for digital cinema presentations.
Prime lenses have a fixed focal length, but the GY-LS300’s new Prime Zoom feature takes advantage of JVC’s unique Variable Scan Mapping technology, which was created to electronically adapt the active area of the camera’s image sensor to provide native support of various lenses when paired with third-party lens adapters. When used with a Micro Four Thirds (MFT) prime lens, the image can be adjusted between the maximum scan area and minimum scan area using the camera’s zoom rocker. As a result, the camera can deliver 2.3x maximum zoom for HD or 1.25x maximum zoom for 4K. The new Prime Zoom feature can also be used as a lens extender for zoom lenses.
Version 2.0 adds a histogram display, which is useful for checking the exposure by showing the brightness distribution of the image. The function is accessed through a convenient user button, and the range can be set to provide top and bottom limits. Beyond a histogram, V2.0 adds a color matrix adjustment, spot meter for setting exposure values, and black paint setting to precisely adjust color temperature of master black. Additional performance and streaming enhancements include a new 70Mbps recording mode, which makes it possible to record 4K on economical Class 10 SDHC/SDXC memory cards.
“We listened to our customers and made sure this firmware upgrade delivered the features they wanted, as well as recording modes specifically designed for the 4K digital cinema market,” said Craig Yanagi, manager of marketing and brand strategy, JVC Professional Video. “The GY-LS300 will also have the unique ability to use a prime lens as a zoom lens, which gives shooters even more shooting flexibility.” Note : Available during September 2015