BBC Approved HD camera list 2011

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BBC APROVED HD CAMERAS

Studio Cameras

• Sony HDC1500 • Sony HDC1550 • Sony HDC1400 • Sony HDC1450 • Sony HSC300 • Sony HXC100 • Grass Valley LDK8000 Elite Worldcam • Grass Valley LDK8000 Elite Standard • Grass Valley LDK4000 Elite 1080i

HD Handheld

• Canon XF305 • Canon XF300 • Sony PMW-EX1R – with external recorder using a bitrate of 50Mbps or above • Sony PMW-EX3 – with external recorder using a bitrate of 50Mbps or above

HD Shoulder Mount

• Panasonic HDX900 • Panasonic HPX371 • Panasonic HPX3000 • Panasonic HPX3100 • Panasonic HPX3700 • Sony PMW320 – with an external recorder using a bitrate of 50Mbps or above • Sony PMW350 – with an external recorder using a bitrate of 50Mbps or above • Sony PMW500

• Sony HDW F900R & 900 • Sony HDW 790, 750 & 730

HD Specialist

• Panasonic HPX2700 HDC27F & H • Panasonic AF101 – with an external recorder using a bitrate of 50Mbps or above • Sony CineAlta F35 • Sony SRW 9000 • Sony PMW F3 – with an external recorder using a bitrate of 50Mbps or above • Arri D21 • Arri Alexa • Panavision Genesis • Thompson Viper • Red

Mini Cameras

• Iconix HD-RH1 • Panasonic HCK10/HMR10 • Toshiba IK-HR1S • Toshiba IK-HD1

Cameras should be chosen in consultation with the DoP and post production facility Updated 08 April 2011 by Executive Producer of BBC HD: Ian Potts

My thanks to Nick Williams for spotting this.

 

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While we wait for FCP-8

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7pm till 10pm (UK) Me and the dog have a cat nap as recommended by the HEADMASTER…

11pm Stole an hour talking on Skype to my fellow producer Ali who is in Spain having a well earned rest…

12pm Back to Final Cut Pro 7 to edit an update to my AF101 DVD…

12.30 Walked into my son’s bedroom and he was starting to watch the latest Harry Potter film so I joined him…

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

HyperDeck Shuttle $345…WOW product at a WOW price !

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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.

Compression destroys image quality and even high-end cameras compress images. Now you will never compromise quality because you can bypass the camera compression to get perfect uncompressed 10-bit SD/HD video. That’s even higher quality than broadcast decks! Create the sharpest VFX plates for match moving, compositing and more. Get deep dynamic color range for color correction and do perfect, clean keying without jagged edges caused by compression. Even on shots like flyaway hair and multi-colored patterns. Now quality won’t limit your creativity!

Simply plug in a 2.5” solid state disk into HyperDeck Shuttle and you get video recording with blazing fast speed, low power consumption and totally silent operation. Now you can eliminate complicated and expensive disk arrays. A single SSD can record uncompressed video effortlessly! Removable media like CF and SxS cards simply cannot match that kind of performance and require slow file copying to use.

With SDI and HDMI inputs and outputs, HyperDeck Shuttle works with virtually every camera, deck or monitor! Effortlessly plug into monitors or televisions for instant on set preview. Use HyperDeck Shuttle as the video playback source for digital signage systems or switchers. Imagine using HyperDeck Shuttle connected to a live production switcher for recording events, and then using it for live playback! HyperDeck Shuttle can do almost anything and it’s so small you’ll take it everywhere!

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

Today starts a new era in non linear editing…FCP-8

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It will be the last because from tonight when the ‘new’ FCP is demoed at the SuperMeet, FCP7 will named the ‘old’ Final Cut Pro. Tonight will be a watershed…

We have waited for this day ever since Larry Jordan’s jaw dropped, actually if that is the type of reaction the ‘new’ FCP triggers then I’d gaffer tape yours up because tonight will be special.

Let’s forget the rights and wrongs of how the SuperMeet changed and concentrate on possibly Final Cut Pro’s biggest day since its release.

We are not here to give you a laundry list of the new features expected in FCP8, FCPx, Final Cut Extreme or whatever it may be called. (Actually we are hoping they keep it Final Cut Pro because of a few large letters at the top left of this website). What we are trying to say though is that tonight will be the FCP world divided into two parts.

Think about it, if FCP changes that much then a lot will have to change too. There is a big FCP ecosystem out there.

All hardware will have to be checked to see if it works with the new FCP. Interesting if Log & Transfer survives.

All plugins will have to be checked and possibly completely re-written. Apple might also have had a session of ‘low fruit gathering’ and built in many popular plugins like color correction or complex transitions. Higher cost telecine style grading software is right in the firing line.

Will FxScript be supported? Many great plugins are written in FxScript, Nattress Film Effects being one.

Will the new FCP support 3D with ease? If so then it is the end of expensive third party solutions/codecs. You can’t beat free.

All third party standalone software (like XML programs) will have to be checked & modified.

What about the little things like coloured keyboards, iPhone apps, special codecs etc?

All existing printed training manuals will soon be worthless. However I bet the likes of Steve Martin, Mark Spencer and Diana Weynand are hard at work writing new ones.

All online tutorials will soon be worthless. This has been very noticeable recently by shed loads of old tutorials being dumped on YouTube. As before I expect a variety of ‘new’ FCP tutorials to appear on YouTube/Vimeo the day you can actually buy or download the program.

What about training? Will everybody have to get re-certified? Will the trainers have to get re-certified before anybody gets re-certified? Will Apple move towards an online system of resources, training and certification? Could the training be built into the app like Garage Band? “Let Walter Murch show you how to trash your preferences.”

All the above is complete speculation, what we do know though is the fact that each of us has a lot of learning to do this year. I’m going to enjoy every minute of it.

Half inched from www.fcp.co

 

 

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

Matrox now supports Thunderbolt

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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).

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

Panasonics Jan Crittenden talks about the new Panasonic camcorders

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

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Panasonic AG-HPX250 P2 camcorder

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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.

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

Sony F65 4K

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

NEW from NAB the Sony F65

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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.

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

MTF NAB Exclusive for HD Warrior

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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.

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