Dramatically improve the quality of professional or consumer cameras! HyperDeck Shuttle gives you the quality of uncompressed recording direct to common low cost SSDs in the smallest possible size! HyperDeck Shuttle is small, affordable and battery powered so it’s perfect as a field recorder. HyperDeck Shuttle bypasses your camera’s compression and records from SDI and HDMI direct into the highest quality uncompressed video. SSDs are cheap and fast, so you can edit directly from the SSD media itself. Only SSDs eliminate time wasting file copying! Only $345.

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NAB 2011 – Las Vegas – April 11, 2011 — Matrox® Video Products Group today announced Matrox MXO2 devices featuring the all-new Thunderbolt™ technology developed by Intel® and brought to market with collaboration from Apple. Thunderbolt technology is a high-speed I/O technology running at 10 gigabits per second that brings together high-speed data transfer and high-definition (HD) display on to a single cable. It is currently available on the Apple MacBook Pro line. The Matrox MXO2 devices provide broadcast-quality video and audio capture, monitoring, output, and H.264 encoding for use with leading editing and content creation applications.

“Our original vision for the Matrox MXO2 product line was to bring audio/video connectivity and encoding functionality outside the computer to provide video professionals with portable, future-proof solutions,” said Alberto Cieri, senior director of sales and marketing at Matrox. “Thunderbolt technology builds on that vision, giving our customers the ability to take advantage of the latest and greatest connectivity technology with our MXO2 products.”

A live demonstration of the Matrox MXO2 devices featuring Thunderbolt technology running with Final Cut Pro on the new 15-inch MacBook Pro will be featured at NAB 2011 in booth SL2515.

Key Features of Matrox MXO2 Family
Convenient form factors for use in studio, on set, in the field, and in OB vans
Works with laptops and desktop systems
Connects via PCIe, ExpressCard/34, or Thunderbolt technology
Broadcast-quality HD/SD video and audio input/output
Extensive application support including Adobe CS 5.5 Production Premium, Apple Final Cut Studio, and Avid Media Composer
10-bit HDMI input, output, and monitoring with the unique Matrox HDMI Calibration Utility
10-bit realtime hardware up/down/cross conversion on capture and output
Matrox MAX option for lightning fast H.264 encoding
Price and availability
The full range of Thunderbolt technology enabled Matrox MXO2 devices will be available from authorized dealers worldwide in July 2011 at prices starting from $649 US (£460, €530), not including local taxes. Matrox Thunderbolt adapters for all MXO2 devices can be purchased as an add-on at $299 US (£199, €249).

Jan Crittenden discusses Panasonic’s camera announcements at NAB 2011.

Panasonic Solutions Company today sets a new standard for video quality in mobile HD acquisition with the introduction of the AG-HPX250, a P2 HD handheld camcorder with 10-bit, 4:2:2 independent-frame, full 1920 x 1080 resolution AVC-Intra recording.

“The AVC-Intra codec is highly prized for the stunning, master-quality 10-bit, 4:2:2 sampled, independent frame images it produces,” said Joseph Facchini, Vice President of Sales and Product Management, Panasonic Solutions Company. ”Now for the first time with the HPX250, Panasonic offers an ultra-portable handheld camera with full-resolution, 10-bit, intra-frame recording in a one-piece unit without the need for an add-on recorder. This is an unprecedented level of image quality in a lightweight camera.”

Weighing 5.5 pounds, the HPX250 incorporates high-sensitivity 1/3”, full-HD 2.2 megapixel 3-MOS imagers and a 20-bit Digital Signal Processor to acquire native 1920 x 1080 resolution images.
Offering a wide 28mm to 588mm (35mm equivalent) 21X HD lens with 3 independent adjustable rings, the HPX250 covers most shooting situations without the need for a wide-angle conversion lens. The 21X lens also features an Optical Image Stabilizer (O.I.S.) function that ensures stable images during shooting.

The HPX250 offers variable frame rate capability in 1080p up to 30fps as well as 720p up to 60fps for undercranking/overcranking to create fast or slow-motion effects.

In addition to AVC-Intra 100/50 recording, the HPX250 records in DVCPRO HD, as well as standard definition recording in DVCPRO50, DVCPRO and DV. The HPX250 supports international HD and SD standards, an added benefit to producers with global clients. In AVC-Intra 100/50 and DVCPRO HD, it records in 1080 at 59.94i, 29.97pN, 23.98pN, 50i and 25pN and in 720p at 23.98pN, 29.97pN, 59.94p, 50p and 25pN. In DVCPRO50/25 and DV, it records in 480 at 59.94i, 29.97p, 23.98p, 23.98pA, and in 576 at 50i and 25p over 50i.
The HPX250 offers Genlock/timecode input for multi-camera operation, as well as an HD-SDI output, an HDMI output, and an IEEE 1394 in/out. The camcorder is equipped with a Dynamic Range Stretch (DRS)* function to help compensate for wide variations in lighting, a waveform monitor and vector scope display, and two focus assist functions – a picture expanding function and a focus bar.

Equipped with two P2 card slots, the HPX250 can record for up to 320 minutes in AVC-Intra 100 at 720/24pN, 160 minutes in AVC-Intra 100 1080/24pN and 128 minutes in other AVC-Intra 100 or DVCPRO HD formats on two 64GB cards. In AVC-Intra 50, the recording time is twice that as AVC-Intra 100.

The F65 is a top-end motion picture camera. It features a true step-change in sensor technology, using a 20.4 Mega pixel CMOS sensor and a unique Double Bayer pixel orientation for full green resolution. The F65 runs up to 120Fps, creates HD/2K or genuine 4K resolution (4 times HD) images with a wide colour gamut, excellent dynamic range, and high sensitivity.

A dockable SRMemory recorder attaches to the camera to record directly on to an SRMemory card of 256 GB, 512 GB or 1TB capacity with data security at 5 Gbps.

Super 35mm CMOS sensor with 20.4 Mega pixels

The F65 features superb image quality in HD/2K and True 4K. A unique Double Bayer pixel orientation with double the number of green pixels to red or blue pixels makes the camera especially sensitive and ideal for visual effects and green screen work. There is a choice of format composition as required, including 1.85:1, 1.78:1, 1.66:1, 1.33:1, 2.35 spherical, 1.3x anamorphic, or 2x anamorphic cropped. The F65 has a wider dynamic range, better S/N ratio and higher sensitivity than the F35 camera. It offers filmic colour reproduction with a wide colour gamut.

Compact and light-weight

Smaller and lighter than the F35, the F65 allows for even easier handling for applications such as Steadicam.

Records on to SRMemory with dockable SR-R4 SRMASTER Portable Recorder

The SR-R4 is a 4K recording system specifically designed for Sony’s new top-of-the-line F65 cinematography camera. It takes full advantage of the ultra high-speed SRMemory platform to record super-rich RAW data from the F65 at speeds as fast as 5 Gbps.

SRMemory is unique – nothing can match its combination of capacity, sustained data throughput, security and portability. It opens up completely new ways for end-users to work. With huge transfer speeds up to 5 Gbps, SRMemory media also has massive capacity up to 1TB for long recording times.

Wide range of interfaces for on-set workflow

The F65 provides 16bit RAW output (19Gbps) compressed to 5Gbps for recording onto SRMemory in the dockable SR-R4. Other interfaces include HD-SDI and HD viewfinder output with LUT, camera remote connector, LAN connecter and ARRI Lens IF.

Rotary shutter

The rotary shutter eliminates the rolling-shutter effect common to CMOS sensors.

Built-in ND Filters

Four Neutral Density Filters are built-in.

Render Module

The SR-R4 docks directly to the Sony Render Module, which performs real-time double de-bayering of 16 bit RAW data shot using the F65 camera. Provides signals in 4K: 444/422, 10/12bit, 24P to 60P. It can also produce 2K/HD ultra-high quality output from the down converted 4K original.

Records at up to 120 FPS

The camera features higher frame rate recording up to 120P, which is especially useful on productions such as commercials that require a slow motion effect.

Mike Tapa from MTF has just sent HD Warrior this exclusive picture of his newly re-designed PL to E adapter that now takes Sony’s new F3 prime lenses. The great thing about this is the ability to buy an F3 with Sony’s three prime lenses and by using MTF’s PL to E adapter use the FS100 as a B camera.

One of the most exciting additions to NAB will be the SuperMeet on Tuesday the 12th of April it will be the 10th Anniversary get together of the Final Cut Pro User Group Network in Las Vegas.

Larry Jordan…

“The ProVideo Coalition publishes a rumor that Apple is announcing the next version of Final Cut Pro at next week’s SuperMeet. Then, supplements it with lots of very interesting supporting quotes.

Frankly, I was stunned.

While all things are possible, there are many strange elements here. First, nothing is confirmed by anyone. I have sent emails to learn more, but there’s nothing official.

Second, as Rob Griffiths wrote on the IMUG mailing list: This seems “awfully heavy handed of Apple to kick all the other presenters out? Apple doesn’t have any trouble drawing a crowd. Why piss off so many vendors… that Apple has good relationships with… and put the SuperMeet folks in the awkward position of clearing the agenda a week before the show?”

Since I know the “Supermeet folks,” and understand what’s involved in putting together a show this massive, “awkward” does not begin to describe the position, and stress, they are in. This is a HUGE, last-minute, change in plans.

From my point of view, Apple has made a big deal of avoiding trade shows – especially NAB – because, as Rob points out, they can draw a crowd simply by standing on a street corner. I don’t see why they need to announce at the SuperMeet.

On the other hand, a lot of the folks they would like to reach will be there. And, as I’ve written before, whenever Apple announces the next version, what you see will be “jaw-dropping.”

Curiouser and curiouser…

I’m going to the SuperMeet next week – wouldn’t miss it, actually. And guaranteed that if anything is announced I’ll be covering it here in this blog, in my newsletter, and on our podcast – Digital Production Buzz.com. However, for now, I’m adopting a wait-and-see attitude.

UPDATE – 10 minutes later.

The SuperMeet Agenda has been changed to read: The Final Cut Pro User Group Network is excited to have a very special guest presentation at the 10th Annual Las Vegas FCPUG SuperMeet. Come to see a surprise sneak peek at something very special – you really do not want to miss this one !

Looks like that makes it official. Prepare to be stunned.”

So it looks like we will finally get to see Final Cut Pro 8 and all it’s 64bit glory this Tuesday, so what else is on offer..The new Super 35mm camcorder from Sony the FS100 will be shown for the first time, well worth a look and the Sony NX70 the professional spec MC50 will also be on the Sony stand.

Sony are also previewing a new 8K camcorder similar to the F35 which films in 4K mode a direct hit at RED, while I am on the subject RED will be showing their new EPIC camera which is being used to film Peter Jackson’s the Hobbit. The long awaited SCARLET will also be on show which will be a great crowd puller.

Zacuto will finally be showing their new range of Z-Finder EVF’s and will be the first time the public will have a chance to play with one first hand.

Canon will be showing off their new PL mount cinema zoom lenses…Canon U.S.A., Inc., a leader in digital imaging, today introduced two advanced-design PL-mount lenses that address the emerging 4K production standards. Designated as the Canon FK14.5-60 wide-angle cine zoom and the Canon FK30-300 telephoto cine zoom, these precision-matched lenses incorporate breakthrough Canon optical designs that simultaneously optimize and enhance multiple imaging attributes while minimizing optical aberrations and distortions. Both lenses are also more compact and lightweight than contemporary PL-mount lenses and both feature a totally new Canon optical design that virtually eliminates focus breathing. As digital cinematography continues to accelerate for theatrical motion pictures, TV movies, episodic dramas, commercials, and other forms of digital high-resolution production, professionals will require the very best in performance and image quality. By already performing in accordance with emerging 4K production image format standards, both of the new Canon PL-mount cine zoom lenses inherently ensure the very highest performance in contemporary 2K and HD digital motion imaging.

Carl Zeiss will introduce a bundled lens set offer for its SLR lenses. The set contains these lenses with F (ZF.2) or EF bayonet (ZE): the Distagon T* 2,8/21, T* 2/28, the T* 2/35, Planar T* 1,4/50 and T* 1,4/85. These five lenses come in a special waterproof case and a special inlay ensures that each lens fits perfectly inside the suitcase and protects the lenses from shock and vibration. The SLR lens set will be offered at a recommended retail price of $6063 (€4562), excluding VAT, and will be available starting May…

NAB rumours…As usual we have some NAB rumours one of them being an update to the Panasonic AF101 which I would find very surprising as we have only had the AF101 since January this year and is selling like hot cakes. There might be a firmware upgrade or even some new features with a payable firmware upgrade.

Just when Panasonic and Sony were feeling good about themselves 3 large sensor cameras within the last six months between them…Canon decide to join the party.

This is a Super 35mm format which is not a 5DMk11 sensor but a smaller motion sensor fit for purpose..no moire…no ailasing. Sadly for Sony and Panasonic this camcorder brakes the mould with the ability to film from 6MBs up to 50MBs plus an payed upgrade to allow 150Mbs.

Like it’s sister camcorder the XF305 this camcorder will be 4:2:2 with a new engine running at 12bit. The best news is the EOS mount with access to the full range of EOS ‘L’ lenses and a future adapter will allow you to fit special Canon HD zoom lenses, there isn’t a zoom control on the camera but Canon are producing a zoom control for the tripod handle that will attach straight onto the zoom lens itself with power being accessed by the adapter.

There is a special pin on the ‘L’ mount that does not appear on the cheaper Canon glass, this was added about 5 years ago with future proofing in mind so once again if you attach the non ‘L’ Canon glass to the camcorder it won’t power up. Canon’s theory is sound by keeping the best glass on the camera you are always guaranteed the best pictures.

One point about the EOS mount is that due to it’s power connections Canon are only making one other dedicated adapter and thats for PL lenses, Canon do not envisage any work around by third party adapter manufacturers to utilise this mount ie. Nikon glass etc. The camera will not power on unless it sees an EOS lens or the special PL adapter.

This is a bit of a shame in my opinion but if you have Compact Primes CP.2 or Canon ‘L’ glass then your laughing, there is a tentative price of €8,500 euros. The embargo (Not to be shown till the 1st of April) has now been lifted and I can now show you the camcorder itself.

Interestingly I had a conversation with Erik Widding (above) from Birger Engineering who are developing the electronic Canon adapter for the AF101/100 cameras and it looks like shipping after NAB 2011.

Other great revelations from a 50min Vimeo video is that Birger are working on an electronic Canon adapter for the following camcorders :

The Sony PMW-F3

Arri Alexa

Sony NXCAM due April-May 2011

Zoom motor for SLR lenses only

These are fantastic additions to a long line of large sensor camcorders and just in time as only today I had a phone call from my good friend Tony who discovered one of the few Canon L lenses that wont work with the AF101 as it stands the Canon 85mm f1.2 L USM lens. It needs power from the camera to run the focus motor.