Panasonic 3D footage misbehaving in Sony Vegas 11

Categories: Miscellaneous 2 Comments

One of my readers has a problem with an edit and needs an answer ASAP can any of you help, please. He filmed a band with three 3D camcorders, two Sony and one Panasonic, the Panasonic being the main camera due to its more professional features (XLR sound etc).

The files are split into various folders because of the FAT 32 problem, so for every 22 minutes a new folder is produced. When he brings the 1st folder (001) into Sony Vegas 11 it comes in as a 3D file, fine…when he brings in file no 002 into Vegas it only plays back in 2D ?

As you will have guessed by now the Sony footage from cameras 2 and 3 are fine but these cameras were for cut-aways and can’t replace the main camera.

The Panasonic footage plays 3D out of the camcorder onto a 3D monitor it’s only when the chap tries to edit the second folder that it won’t edit in 3D. The chap is up against the wall, the band are looking for their edit…does anyone have any ideas whats going on here.

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

Editing into 2013 and beyond with FCPX

Categories: Miscellaneous 17 Comments

Thunderbolt is the future of editing, add this to one of the new sexy 27″ iMacs and you’re ready to go. My editing setup today is two 24″ OLED Apple monitors, 6 core MacPro with a Black Magic Intensity Pro card, 24 TB of drive space run with Sonnett EP4 E-sata cards and drive bays running FCPX 10.0.6.

I hope to get away from my MacPro setup, it’s not fast enough for today’s software and not upgradable to Thunderbolt. The Pegasus R6 is a cracking way forward with 2 Thunderbolt ports on the back and space for 18TB of storage it’s a no brainer.

Along side the Pegasus R6 you can have Black Magic’s Ultra Studio Express I/O Thunderbolt device with HDMI monitoring and HD SDI input and a breakout cable for analogue devices, it also comes with Media Express a cracking ingest software for older analogue camcorders like Betacam etc.

The cost…For the setup as shown above you are looking at £6,400 and that does not take into account the highest spec 27″ iMac configuration as there are no prices yet on the Apple store.

This will run FCPX 10.0.6 plus Motion 5 admirably, miles ahead of any present MacPro configuration seen today. During the “MacPro lull” I have had time to reflect on both my edit suite and my need for heavy bulky slow towers. FCPX has come on leaps and bounds since version one and I am now glad it’s my choice of editing platform …once again.

NOTE : I had a Drobo D5 in the graphic above but I have been told it’s not up to scratch for HD video editing.

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

JVC admit there is a bug recording 1080 25p with GY-HM600

Categories: Miscellaneous 5 Comments

Once again it’s very refreshing that JVC come out and admit there is a fixable bug with the GY-HM600 recording interlaced pictures at 1080 25p. We will give you a link for the firmware update as soon as it becomes available.

Every new electronic product has bugs they usually get fixed with an update 3-6 months down the line, the difference is that JVC are on the ball and fixing these bugs almost before the product has flooded onto the market, unlike another video manufacturer who took well over 6 months to fix a known issue with their camcorder.

Kris Hill “Please note that JVC Professional do acknowledge that there is currently an issue recording 1080/25p on the first production of GY-HM600E camcorders. Please be assured that we are working on a fix that will be available very soon.  The problem lies when you review your 1080/25p footage – instead of the intended progressive format it will look as you have shot it interlaced.  

The fix should be available within the next 10 working days and downloadable from www.jvcpro.co.uk or www.jvcpro.eu complete with the full instructions on how to apply the firmware.

You can also register your details with us to receive a notification by email. You can do this by emailing techsupport@jvcpro.co.uk with the subject line ‘1080/25p Firmware’ (please also include your serial number/s within the body of the email)

Thank you to everyone that has purchased JVC Professional products and we are sincerely sorry if this matter has caused anyone any inconvenience. Again please be assured that this will be resolved very soon.

Please feel free to contact me directly should you have any questions” Kris Hill – UK Sales Manager, JVC Professional Europe Ltd

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

CVP Scotland is moving to the HUB

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When you see the rabbit hutch the boys at CVP Glasgow have been working out of over the last few years away in the back of the beyond it’s a great pleasure to announce the super new premises at the HUB on the South Side of Glasgow near BBC Scotland.

The new address is CVP Scotland, G.5 The Hub, Pacific Quay, Glasgow G51 1EA or phone the boys on 07976 640949.

Mr Baxter is a very shrewd businessman as many of the more recent open days from various competitors have been at the Hub, I do wonder if this move is nothing more than a stroke of genius from Mr Baxter to have his Scottish office in the Hub itself !

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

Here is a good example of “Lets knock out a video” from Sony

Categories: Miscellaneous 3 Comments

 

You spend millions of Yen to produce the best cinematic camera to date and one of the first introductions to this fantastic Sony F5/55 camera is a half-baked video produced either before the presentation in London or after.

That’s what studios are for, even a white backdrop to take away the clash of jumper versus seats in the background…not to mention the clinking and creaking sound.

It’s known as “Heath Robinson” in the trade, if Sony think this school master sitting at a bench is the right image for the new F5/55 so be it but personally I would have presented this new camera in a studio setting with better lighting, nicer shots of the camera, the fish eye shot is a disaster… give the camera the “look” it deserves.

Manufacturers seem to forget their customers are creative producers themselves and are harsh customers when it comes to video production.

Production standards are dropping everywhere you look, it’s a sign of the times, this Sony video was one of those last-minute decisions “we’ve got the gear lets show how to assemble the parts and talk about them…good idea” sadly it looks like a half-baked idea that grew arms and legs.

Here is the link to this video http://bit.ly/PMW55Video

And here is a good example of a company who knows how to make a well produced teaching video…Sony…look and observe !

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

Sony’s Fin camera

Categories: Miscellaneous 5 Comments

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

Sony’s affect on the future for other manufacturers !

Categories: Miscellaneous 1 Comment

Today Sony announced the “Future ahead of Schedule” with two versions of the same camcorder, the PMW-F5 and the PMW-F55.

This is a direct hit at ARRI, RED and Canon, not something we were expecting but Sony has in the last 15 months taken an enormous hit from Canon with the very popular C300 and just coming to market the 4K C500.

Sony expected a lot from their PMW-F3 but like a lot of recent Sony products they were pipped at the post by lack of features or poor design leaving an enormous gap for the likes of Canon to fill with the C300.

The ARRI Alexa being the number one choice among DPs filming multi million pound dramas like Sherlock, RED being the choice of Jamie Olivers production company with some slack being taken up by Sony F65.

No one can deny the Alexa is a good camera but it’s a tad on the big side which makes it a bummer for hand held shots…in my opinion, plus they only seem to film in 2K which is now very limiting.

Sony have just sunk a very large hole in the Alexa with the F55 at 4K RAW 16bit, how much of a hole in RED is anyones guess but I personally think it will be significant.

The Sony F65 is still a good camera but once again a bit like the Alexa a tad on the large cumbersome side making it impossible for any hand held shooting which seems to be the fashion these days “wobble vision” as I call it.

Canon with the 4K C500 have a head start on the F5 but if Sony are astute they will price the F5 closer to the C500 if they are to take any ground from Canon, Canon on the other hand have just reduced the price of their XF300 range so who knows what price war may ensue.

Size wise theres not a lot to choose between the F5 and the F3 which gives the F5 a major advantage over the Alexa for 2K shooting and for once we get a decent viewfinder plus a choice of a higher resolution viewfinder taking Sony away from the joke VF as seen on the PMW-F3.

I think these modular cameras from Sony are a true game changer, game changing for Sony, bringing them up there with the Alexa, RED and Canon, stealing potential sales from all three competitors and setting the bar even higher for the competition in general.

The only problem Sony have now is…

1. Getting the price right !

2. Delivering enough units to satisfy the hunger for all those who want one !

If Sony can overcome their production bottle neck on the F5/55 they will indeed have reached their pinnacle of perfection by finally producing cameras more than fit for purpose.

 

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

TWO new large sensor cameras from Sony PMW-F5/55 (Feb 2013)

Categories: Miscellaneous 2 Comments

 

Here are the first pictures of the new Sony PMW-F5 and enhanced F55, looking a lot more like a mixture of an ARRI and a RED ONE, this camera means business.

The new PMW-F55 and PMW-F5 CineAlta 4K cameras deliver unprecedented creative options for HD/2K*/QFHD*/4K (PMW- F55) and 2K*/HD (PMW-F5) production. Both offer multi-codec support featuring Sony’s new XAVC MPEG-4 AVC/H.264 format, the SR codec (MPEG4 SStP) and the industry-standard High Definition XDCAM 50Mbps 4:2:2 codec.  In-camera recording is on Sony’s New SxS media, SxS PRO plus, which can be used to record XAVC in HD High Frame Rate and in 4K at up to 60fps (in the PMW-PMW-F55), and XAVC HD High Frame Rate in the PMW-F5.

In addition to on-board recording onto SxS PRO+, the PMW-F55 and PMW- F5 can also be connected to the new AXS-R5 RAW recorder.  Slow-motion imagery at up to 240fps** (PMW- F55) and up to 120fps** (PMW- F5) can be captured as 4K RAW files on newly developed AXS memory.

The PMW-F55 features a global shutter to eliminate rolling shutter skew and flash band, and features a wider colour gamut for exceptional colour reproduction. The cameras are further distinguished by wide (14 stops) exposure latitude, high sensitivity, and low noise.

New Options for Monitoring

The PMW-F55 can connect to the new 4K 30-inch LCD monitor, PVM-X300  using four 3G-SDI interfaces to monitor pictures at 4096×2160 resolution at up to 60p while recording and playing back XAVC 4K images.  Similarly, it is also possible to connect directly to the 84” BRAVIA 4K LED TV for large-screen monitoring of the camera’s 4K 60P images (at resized horizontal resolution of 3860 pixels).

PL Lens System – The Second Generation

The PMW–F55 and PMW-F5 cameras continue Sony’s efforts to offer the most flexible lens options.  A PL-mount lets users choose cinematic lenses from suppliers such as Angénieux, ARRI, Canon, Carl Zeiss, Cooke, FUJIFILM and Leica.

Sony is also launching a second generation of cost-effective PL mount prime lenses. Each is certified for 4K capture, and is designed to minimize geometric distortion, vignetting and breathing.  A 9-blade iris delivers beautiful bokehs and the focus rings rotate 240°.  The new lens series includes focal lengths of 20, 25, 35, 50, 85 and 135 mm.  For easy lens changes, each has the same T2.0 aperture, the same external diameter, matte box diameter, and gear locations for follow focus and aperture. All are the same height except for the 135 mm lens.

Shooters can use stills lenses by removing the supplied PL-mount adaptor to reveal the native FZ mount.  This makes it easy to accept commercially available adaptors for third-party lenses, including Canon® EF, Canon FD, Nikon® DX, Nikon G, Leica® M and even 2/3-inch B4 lenses. A third option is the use of Sony FZ-Mount lenses with auto focus servo zoom (model SCL-Z18X140.)

Viewfinders

Using a new digital interface, PMW-F5 and PMW-F55 users can take advantage of a new series of high-quality OLED and LCD viewfinders. The DVF-EL100 OLED viewfinder measures 0.7-inches with 1280 x 720 HD resolution, superb brightness, contrast and response. The DVF-L350 3.5-inch LCD viewfinder offers 10 times the contrast of previous Sony LCD viewfinders, with a flip-up eyepiece for direct monitoring. A third option is the full HD DVF-L700.  This compact 7-inch LCD viewfinder enables high resolution when shooting in 2K and 4K, with pixel-to-pixel 1920 x 1080 representation of HD images.

New RAW Recording System

Sony is also unveiling the AXSM™ Access Memory System for 2K*/4K RAW recording, based on Sony’s unique recording technology.  Optimised for this new platform is the AXSM memory card (512 GB capacity, model AXS-512S24), using the generic file system exFAT. Users can record 4K RAW data up to 60 fps and 2K RAW up to 240 fps**, with a 300MB/s sustained transfer speed. PC-friendly operation is enabled through use of the AXS-CR1 card reader, offering a USB 3.0 interface for high speed transfer.

Additionally, the new AXS-R5 RAW recorder directly docks onto the PMW-F5 and PMW-F55, for an extremely elegant and compact recording system for 2K** and 4K RAW recording.

New Recording Media

The cameras support Sony’s new high-speed, enhanced versions of its SxS PRO memory cards: the “SxS PRO+(PLUS)” series (in 128 and 64 GB capacities, models SBP-128B and SBP-64B). Based on the format long used in Sony’s XDCAM EX camcorders, the cards support XAVC 4K and XAVC HD high frame rate recording, and can be directly inserted into the cameras.

New Battery and Charger

The PMW-F5 and PMW-F55 cameras take advantage of Sony’s new BP-FL75 battery pack, which uses Olivine—Lithium Iron Phosphate—instead of conventional Lithium Ion cathodes.  The result is a substantial increase in charge-discharge cycles, compared to previous Sony batteries. The Olivine battery works with Sony’s BC-L90 quick charger.  The new battery supports outstanding mobility for on-set shooting enabling two times higher speed charging than current chargers and a maximum 150 minutes of consecutive shooting.

The PMW-F5 and PMW-PMW-F55 cameras are also compatible with Sony’s BP-GL95A, GL65A, L80S and L60S batteries, which use the BC-L70 and L160 chargers.

Shoulder Rig

Delivering advances in ergonomics specifically requested by cinematographers, the PMW-F5 and PMW-F55 feature Sony’s newest shoulder rig for extra stability and comfort.  The rig is sturdy, lightweight and uses industry-standard rosettes on both sides for quick and easy attachment of third-party hand grips and other accessories.

Here are the headline features of the F5:

  • Full HD & 4K
  • Super 35mm 4K CMOS Imager
  • 4,096 x 2,160, 11.6M total pixels, 8.9M effective pixels, Bayer Pattern
  • High sensitivity (ISO 2000) and low noise (S/N 57dB with noise reduction off)
  • High Frame Rate of up to 120fps
  • Internal Recording to SxS media
  • Modular Design
  • RAW Recording capability to a new modular “dockable” external recorder, the AXS-R5
  • 50Mb/s / 4:2:2 Broadcast Friendly HD
  • New XAVC Codec for efficient 4K
  • Shoulder Pad & Class-leading OLED HD viewfinder & mount options to provide a genuine shoulder-mount camcorder
  • Dual lens mount as standard – Arri PL & Sony FZ
Enhanced features of the F55 (otherwise identical to the F5):
  • Higher frame rate of up to 240fps (Full HD RAW) or 60fps (4k RAW) with optional  AXS-R5 recorder
  • Internal recording at up to 180fps onto SxS media using XAVC Codec (HD / 4K)
  • Simultaneous XAVC and MPEG 2 recording capability – onto the same SxS media card
  • Slightly reduced sensitivity of ISO 1250 when compared to F5
  • Global Shutter (Eliminates rolling shutter effect)
  • F65 Colour Gamut

Sony have finally fought back with this modular 4K camera system that will if the price is right have a major impact on not only the likes of the Canon C500 but ARRI and RED as well.

No prices yet.

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

Francine Bloom talks fondly of her late father who died from Prostate cancer

Categories: Miscellaneous No Comments

Every Movember Philip Bloom turns his blog into a fundraising campaign for Prostate Cancer Awareness and this year Philip has made a personal documentary about his grandfather telling it from his mothers perspective, it’s a very moving tribute to Philip’s “Papie” and he is giving away a ton of gear.

Here is a link to the gear on offer..http://philipbloom.net/2012/10/25/movember2012/

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JVC are on the ball…lens issue has already been fixed.

Categories: Miscellaneous 25 Comments

As usual eagle eyed end users pick up on an issue that JVC were aware of with the zoom lens going slightly soft at the tight end. I first noticed this in the edit suite and contacted Kris Hill who told me it was a known issue and had been fixed. I had a pre production HM600 and I have to say if this is as bad as it gets JVC are onto a winner with this camcorder.

1. Zoomed in and pre focus.

2. Pulling back and slight softness which rectifies itself.

And to answer Michael Warren’s post in DVINFO.NET

“The Philip Johnston review is interesting. I notice the image is very soft at the telephoto end when he’s filming the crane at 12:41. I hope that is not typical, but was rather either that he just wasn’t focused properly, or it was in digital zoom (which is actually what it looked like to me).”

This camera does not have a digital zoom facility, it’s 23x optical from top to tail and I pre focused the lens, the AF had it been engaged may have compensated for this but we will never know.

 

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