Canon C300 drops like a stone in the US with a 4K C300 NAB announcement imminent

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C300-drop

Due to the imminent announcement of a new 4K C300 prices in the US have dropped dramatically to $6,499 (£4,380), considering this camera cost £12,500 just over 3 years ago,  £8,000 is a massive loss to anyone thinking of upgrading to the new version.

DAF

Strangely UK pricing is still around the £8,000 mark but this strange page appeared at the CVP web site declaring the the C300 was discontinued and was being superseded by a C300 with Digital Auto Focus ! Though the picture is in fact a C100.

I got just over £6,000 when I sold my C300 this time last year so I can’t complain but the second hand value this year will be a lot less, you will be lucky to sell a C300 for £3,000 after NAB 2015.

If you are planning to jump ship you are always advised to sell long before April to give yourself the best possible chance of a good return on your money.

Will Canon take some hard to get sales from Sony’s FS7…that will depend on price, specifications and codec.

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

Sony PXW-FS7 with 4Ch Audio using the Sony XLR-K2M (£425)

Categories: Miscellaneous 4 Comments

4-ch-title

Thanks to the new V.2 Firmware update the FS7 can now record 4 channels of audio.

4x-Ch-sound-VF-v2

This is a great asset with one small problem, monitoring. You can monitor MIX ALL, that gives you all 4 tracks on your output which for most cases will be fine but adjusting them is down the the camera person.

XLR-K2M-CU

The XLR-K2M has a Multi Interface Shoe and has been purchased to use with my Sony A7s but having the ability to use it on the FS7 for 4 channel sound is an added bonus.

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

Pre NAB 2015 “KineMAX 6K for under $10K”

Categories: Miscellaneous 2 Comments

Kine-1

6K RAW In-Camera KineMAX is capable of Capturing and Recording 6K RAW without external recorder. KineMAX is honoured as one of three cinema camera models in this planet. 6K RAW is recorded as KineRAW(.krw) codec which is compressed lossless RAW format developed by Kinefinity. For 4K and lower resolution, it can record Uncompressed CinemaDNG; for 3K and lower resolution, it can record Cineform RAW which is easy to be edited and graded in mainstream DI software.

Chart

6K RAW capturing and recording leaves very large room for reframing, trimming, and CG, especially for 4K delivery. At same time, it also features capturing and recording 6K, 4K, 3K, 2K, 1080p in both S35mm frame and crop mode: that means KineMAX can cover from 1080p to 6K, every mainstream resolution in one camera. KineMAX may be the most compact and powerful cinema camera for 6K&4K RAW capturing and recording now.

6K details and framing space is beyond imagination, > 18Million pixels in one frame: 9 times of Full HD/1080p, 2.25 times of UHD/3840×2160! Every single frame matches high-end DSLR RAW photo!

6K-v2

100fps SLOW-MO KineMAX has the power of capturing Slow-Mo up to 4K Wide 100fps . At HiSpeed S35, KineMAX supports 4K/3K/2K Wide Slow-Mo up to 100fps, while KineMAX supports 2K Wide to 144fps at HiSpeed M4/3. At same time, M4/3 (Crop mode) 4K Wide up to 48fps, S16mm (Crop Mode) 3K Wide to 60, 2K Wide up to 100fps.  As of undercrank/quick-mo, the lowest fps is down to 6fps under current firmware. You can set any custom sensor fps between lowest and highest fps, the accuracy is 0.001fps.

Kine-2

Colours of Culture Bali (by KineMAX) from Kinefinity on Vimeo.

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

Sony’s FS7 is becoming a lens nightmare…again…WHY ?

Categories: Miscellaneous 6 Comments

VF

Just when you think Sony have got it right you discover its far from it…Many cameramen and women are still waiting for their FS7’s to arrive, meantime the question is…what lens to buy.

Sony Broadcast may have had a hand in the specifications of the 28-135mm f4 lens but someone in Sony should have noticed its severe lack of wide angle due to the 1.5x crop factor on the Super 35mm sensor taking the 28mm end to 42mm. Its become obvious that this full frame lens was never intended to be used with a Super 35mm sensor camera.

The reason the FS7 is so popular is many of us are fed up with the static manual lens DSLR “look” and want to get back to a camera that not only looks the part but performs with more than one function hence the run and gun problem.

You only have to look at the internet boards to see everyones dilemma, yet again, about which lens to buy for run and gun…this should not have been an issue if Sony Broadcast had a specific lens made for a S35mm sensor. The 28-135 works fine on a Sony A7s as this has a full frame sensor but is top heavy for such a small camera in my opinion.

We seriously need a WA zoom for this camera that does not cost a fortune like the Canon zooms at a ridiculous £25K. Sony have proved you can produce 4K servo zoom lenses for just under £2.5K.

400K

As a comparison of a good run and gun camcorder lets take the Sony PMW-400K, this has a 2/3″ sensor and comes with a 16X lens with an acceptable 31.5mm wide angle, this is Sony’s stock lens for the 400 which is only £1,686 dearer with the lens and its a lot faster at f1.9 !

People have said “but look what you are getting for £2.5K” not realising for £1.7K Sony make a 16x 2/3″ lens so why can’t we get a 10x wide angle zoom for the Super 35mm sensor ?

Many of you say you can, its the 18-200 f3.5-6.3 lens as seen on the FS700…so why is it not marketed with the FS7 simple its not “professional” enough, they were designed for semi pro use and thats obvious by their design.

EA50

When Sony brought out the E18-105 f4 lens (£450) for the NEX-EA50, they made sure it was wide enough for the S35mm sensor.

FS700-v2

Again the same scenario with the FS700 we get a Sony 18-200 lens (£900). In fact one of my readers has asked why not use one of the 18mm zoom lenses, that might be an option but the lack of aperture ring makes these lenses more awkward to use and manual focus is awkward.

Sony have been bringing out 18mm (1.5x crop factor 27mm) for the last two S35mm camcorders yet the one thats taking the world by storm and the most technically advanced is marketed with a full frame 28-135mm servo zoom…why has this been allowed, Sony must have known all along this lens would compromise the FS7 yet it has been allowed to happen…shameful Sony !!!

With NAB 2015 just around the corner lets hope Sony have a wide angle 4K 16mm – 150mm f2.8 servo zoom lens to show off or to be more practical an 18-135 f4 would hit the mark.

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

Look out Focus Pullers…Redrock Micro to introduce Auto Focus Tracking System

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Redrockmicro

This seems a great solution for the vast number of manual lenses being used for large sensor cameras. My only problem with it is the extra meccano this introduces to the camera. The Movi is heavy enough but the advantages may override the extra weight.

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

Sony’s XQD dilema…FS7 only uses XQD yet still in short supply !

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128

Sony’s 128G XQD cards are like gold dust and relatively expensive at £415 per card. No one has them in stock. Once again Sony have been overwhelmed by the uptake of the FS7 and although working 24/7 they can’t keep up with demand.

Lex

An alternative to the 128G XQD card is the 64G version which is just as hard to get so an alternative may be the Lexar 64G XQD card. Some users have identified a slight problem using the Lexar in the new Sony USB 3 “G” reader. Sony points out the “G” reader is for G cards only. Lexar sell a USB 3 or Thunderbolt hub that takes either XQD, Compact flash, SDHD/XC and CFast modules.

XQD

The good thing is its cheaper by £80 per card and more readily available but will it work with the FS7, one person who knows his technology is Alister Chapman. Price was obtained from CVP’s website.

1333-v2

Alister “Lexar have two classes of card a slower 1100x – 168MB/s card and a faster 1333x – 200MB/s card. For my tests I chose the faster 1333x card as this wasn’t much more expensive than the slower card and on paper at least matches or betters the Sony S series cards which can be used for all modes and frame rates. The 1100x card should also work just at least as well as an H series card, maybe N series, but I have not tested one and would recommend testing before use.

I tested the card across a large range of frame rates and resolutions going all the way up to UHD 60fps on the FS7 and SStP on the F5 as well as S&Q all the way to 180fps. I had no errors or other major problems. I did notice in the F5 that the it takes a little longer for the red light above the record slot to return to green at the end of a recording. While the slot light is red you cannot start a new recording so you do need to be aware that you may have a momentary delay before you can record the next clip.”

You can read Alister’s full article here : http://www.xdcam-user.com/2015/03/tested-lexar-xqd-cards-in-the-pxw-fs7-and-pmw-f5/

Bloom

Philip Bloom has 14 of the faster 1333x Lexar 64G cards used for a worldwide doc for CNN “The Wonder List” and reports 100% compatibility with the Sony FS7.

XQD-to-SDXC

Could this be produced, an XQD to SDXC adapter that takes SDXC C10 U3 cards, that would save us a packet on XQD cards. The demonstration above is to size so as you can see there is certainly room for an SDXC card.

Some of you will have gone down the external recording route with an Odyssey 7Q or an Atomos Shogun, but the majority of us are XQD owners and feel happier with less electronics hanging off our FS7’s. Lets hope the lack of XQD cards is a temporary blib and maybe Sony can thank us with some price deals on cards.

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

From the Panasonic HPX-250 to the new Ikegami 4K 2/3″ system camera…an interesting coincidence !

Categories: Miscellaneous 9 Comments

250

The picture above was taken on the 4th of February 2012 just over three years ago with my good friend from Holdan, Nigel Cliff. Nigel had brought me one of the first Panasonic HPX-250 camcorders to have a look at.

I received a very telling email from one of my readers Andy Johnstone which I thought I would share with you…

Andy “I was out shooting my HPX250 yesterday on my new film for BBC on a story in Cornwall. As I was shooting I was thinking ‘how on earth would I be able to shoot this on the FS7′. I am sure the FS7 would knock spots off the HPX250 in terms of overall image quality, but the HPX250 does produce a very fine image and these small handheld camcorders are peerless for obs doc work.

The speed at which I work would be totally compromised on an FS7 with all the lens changing and you cannot underestimate the ability to capture actuality that a 28-600mm fixed lens gives you. I think in the rush to get that ‘film look’, many people forget that the most important thing is telling the story. Indeed, at a dinner last night I spoke to vastly experienced BBC colleague who told me that there is a move against shallow DOF shooting in BBC factual as so many key ‘moments’ are missed with all the fiddling about. This colleague also said that people are tiring of the shallow DOF looks for documentary as this is ‘not how our own eyes see the world’. Make of that what you will.

I am very keen to be able to offer clients the best possible images I can produce, but I think I’m going to keep my powder dry and rethink. I think the FS7 with a better stock lens would be much more attractive. I am now keen to see what the response from Panasonic & Canon will be.

Certainly if Panasonic brought out a new version of the HPX250/PX270 with a larger chip, a great stock lens (28-600 – yes please) and 4k (just to keep up with the Jones, I buy it tomorrow.”

I also received an email this week from Ikegami showing off a new 4K 2/3″ sensor system camera which in my opinion if a recorder were bolted on would fit the bill for factual programming, a colleague of mine always told me a 4K shoulder mounted 2/3″camcorder would be just the job for doc and factual work.

Ikegami_2_3-inch_CMOS_4K_camera-1

Unfortunately it was pointed out to me this yet un-named camera is a system camera and will be on show at NAB 2015. I still  think with some engineering and enough “will”… seasoned professionals would jump at the chance at a 4K camera in a form factor that many of them are happy with. This constant changing of lenses on the Super 35mm cameras is becoming tiresome and can lead to lots of production time and shots lost, thats why the Sony FS7 has almost scored a goal but Sony need to bring out a decent servo zoom lens to satisfy the growing ownership. Due to the 1.5x crop your 28mm Full Frame lens becomes 42mm which is not wide enough. (Ref Sonys 28-135mm f4 servo zoom).

Getting back to the Ikegami camera this would allow you to film 4K with a Canon 22x lens and use the 4K capability to punch in on the picture on an HD timeline doubling you lens capability to 44x.

22x

Although I am a Sony PXW-FS7 owner I know exactly where Andy is coming from and he is correct…we do not visualise the world in anything other than a large field of view and if you are filming once in a life time shots the last thing you want is a slightly out of focus shot thanks to a shallow depth of field or a lost shot due to a lens change.

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

Pre NAB 2015 NEWS…Canon to show new 4K cinema camera

Categories: Miscellaneous 4 Comments

4K-Canon-title

Here is a glimpse of a new 4K camera from Canon showing it off is Canon China President & CEO Hideki Ozawa.

New-Canon-4K-1

  • 1″ CMOS Sensor
  • 58mm filter
  • Built-in Wi-Fi
  • Similar shape to the Canon EOS 70D
  • External viewfinder
  • Canon 10X optical zoom 8.9-89mm f/2.8-5.6 4k video fixed lens (35mm Equi. 24-240mm)

This seems to be from the domestic side of Canon as a fixed lens won’t go down well with professionals. This puts even more pressure on Canon Professional to announce a 4K replacement for the C300. More news when we get it.

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

Interesting freak workaround for GH4/YAGH owners on the sound monitoring delay using the YAGH.

Categories: Miscellaneous 1 Comment

GH4-RealTime

After installing FW 2.1 on my Panasonic GH4 I decided to re-visit the Sound Output tab to see if Panasonic had resolved the RECSOUND greyed out menu bar but sadly it has not been addressed, leaving many of us with sound monitoring that is slightly out of sync with what you are recording…very annoying.

RealTime

I had a terrible time getting the .bin software to work till I got a tip to download it from another site which had the Macintosh option, after installing the software I hunted down the Sound Output bar on page 5 to discover to my delight it had been fixed…REALTIME. So I took it through to my edit suite to listen to my wife on the phone to her mother and amazingly …no sound delay…yee ha.

I left the room and noticed the micro HDMI socket was disconnected and re attached it. After another break I decided to photograph my discovery and write this blog post…what the f…the Sound Output bar was greyed out again and RECSOUND was the only option.

It took a further hour to discover what was going on, if you attach the micro HDMI socket it does not allow you to choose REALTIME sound monitoring while if you pull it out and monitor your pictures via SDI you get REALTIME monitoring with no sound delay via the YAGH…now thats a tip worth sharing !

This is obviously a bug that Panasonic needs to address the next time they decide to update the GH4 firmware.

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

HOLDAN at BVE 2015

Categories: Miscellaneous 1 Comment

Holdan-title

Always an impressive stand, Holdan are busy showing off the latest video technology.

Int-Rich

We interviewed Richard Payne of Holdan who is always a joy to talk to.

Tristar-LED

The Alphatron Tristar Bi-colour camera light was the star of the Holdan stand.

Nigel

Another star of Holdan is Nigel (right) who is not only knowledgeable on his topic but a good laugh and friend.

UView

Teradek announced a new H.264 encoder, the VidiU Mini, along with an accompanying iPad Production Suite called Live:Air (pronounced Live to Air).

Tony

Our Tony with a young attractive lass from Quadrus.

Here is our Holdan video produced at BVE 2015

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