Shot with a Nikon 3Ds from space

Categories: Miscellaneous 2 Comments

If only Mr Chapman could get his Sony F3 into space ?

Time lapse sequences of photographs taken by Ron Garan, Satoshi Furukawa
and the crew of expedition 28 & 29 onboard the International Space Station from
August to October, 2011, who to my knowledge shot these pictures at an altitude
of around 350 km. All credit goes to them. I intend to upload a FullHD-version

HD, refurbished, smoothed, retimed, denoised, deflickered, cut, etc.
All in all I tried to keep the looks of the material as original as possible,
avoided adjusting the colors and the like, since in my opinion the original
footage itself already has an almost surreal and aestethical visual nature.

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

This is how Sangat TV produced live pictures during the Birmingham riots

Categories: Miscellaneous 3 Comments

The recent riots across the UK were viewed by a nation spellbound by the unbelievable scenes being broadcast from such channels as Sky-carried Sangat TV. This live coverage of the violence as well as the heroic community outreach efforts—described as “jaw-dropping” by the Guardian—were made possible courtesy of the broadcaster’s earlier decision to lease two of LiveU’s LU60 units from local UK distributor Garland Partners Limited for a completely unrelated event.

In these fast-moving, volatile situations, LiveU’s flagship LU60 product cost-effectively provided Sangat TV with the ability to deploy camera operators quickly and with a mobility that satellite trucks simply could not do. With cameras hooked into a video-over-cellular uplink unit all carried by the camera operators in a backpack, images were able to be relayed instantly from the very heart of the riots.

This ability to broadcast these events might not have happened had Sangat TV—normally a Sikh religious channel—not leased the LiveU units from Garland Partners. The station had intended to use the units to provide live coverage of a visit of a famous Sikh preacher. However, Sangat TV was contacted by a local councillor in the Handsworth area of Birmingham who wanted to warn the local community and help them work with the police.

Rather than having the councillor come to the studio, reporter Randher Singh took an LU60 unit with camera attached, and broadcast the councillor live using 3G connectivity from outside a local temple. From that point on, the station brought live pictures of the riots to Sky viewers that others simply could not, all due to their use of the LiveU technology.

 The LU60 is the industry’s first bonded 3G/4G LTE video-over-cellular uplink backpack with proprietary RF technology for superior resiliency, with up to 1080 HD video. The units—provided in the UK through LiveU’s partnership with Garland Partners—have been used to broadcast numerous high-profile events as they happen, including the royal wedding, sporting events, political uprisings, and large-scale entertainment events.


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Photography versus Video at Weddings

Categories: Miscellaneous 3 Comments

How true this is… the amount of times I came up against a balshy photographer with attitude at weddings was becoming intolerable, there is no need for it it’s just damed right un-professionalism.

When it comes to recording someones wedding no one has sole rights over the other no matter how much the photographer thinks they are top dog, bad attitude photographers are the bain of the wedding industry and I have seen it from both angles.

DSLRs do not help as the photographer who is a notably suspicious creature at the best of times will not be happy when you turn up with your HD DSLR.

Weddings are stressful enough without having a fellow professional acting the goat, on the whole I got on really well with photographers and always introduced myself from the minute they arrived.

This video kind of tells the story from both sides but the poignant part for me is the stepping in front of the camera, deliberatly spoiling your shot, I had a female photographer do this to me once and I took her aside and told her in no uncertain terms where her camera would go if she ever tried that trick again, she was frosty after that but we knew where each other stood…not in front of each others shot !

We have a wedding photographer in Glasgow who insisted there was to be no “video-man” at the wedding and gave the couple an incentive of £200 discount from his £2000 package for doing so, this un-beknown to him was doing us a favour as no one wanted to work beside him, his photography was very good but attitude was a joke. If on the occasion he had to suffer the “video scum” he would insist on taking the bride and groom to a park, himself, for 2-3 hours, then on delivery of a very scratchy bride by this time and an even more irritated reception manager things were put on fast forward as we were now well out of time.

A modern solution is to produce a complete package pics and DVD then you get a team of professionals working from the same hymn sheet. You can’t win in the wedding video game I once worked with a photographer who used to film for Sky News and he would also try to dominate the wedding.

You have to put yourself into the way the photographer thinks to understand why they think as they do. It’s about exclusivity, getting the next MPA winning wedding shot and you don’t get such pictures if you have a distraction tagging along (video).

Most of the pains in the ass I came up against and there were only about half a dozen were high flyers, photographers with portfolios and competitions in mind and the video was a distraction no matter how professional you were.

I have not produced a wedding DVD for over 7 years now and I don’t miss it one bit in fact I have taken more photographic weddings since concentrating on corporate video production. I have that inner knowledge that sees it from both angles but in my books there is a place for both disciplines, who cares if the video is filming over your shoulder, he is moving and I am still…what’s the problem !

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

Are Canon trying too hard to impress Holywood

Categories: Miscellaneous 6 Comments

“So expensive! It’s a kind of 5DmkII with ND filters, XLR input and headphone output. Nothing revolutionary.”

“So we’re on the brink of an unprecedented global recession and a possible meltdown of the whole financial system, and Canon decides now is a good to release a couple of 50 grand zooms to go with thier “affordable” new camera good luck with that one…”

I received these heartfelt comments from a couple of regular readers this morning who put many betrayed Canon DSLR users thoughts in a nutshell, not forgetting those of us who were looking for an alternative to the Sony and Panasonic large sensor camcorders. Most of what I predicted last week has indeed come true but for one prediction…”A sub £6K EF model”

Don’t get me wrong this C300 is very sexy but spec wise it’s lame in comparison with the competition…8bit is a very poor starting point for a camera of this magnitude like all other camcorders in it’s class it does output 10bit from the HD-SDI socket but once again whats the point in giving us 50Mbs 4:2:2 on board if you are going to resort to a NanoFlash to get that extra all important 10bits from the back end.

I really feel so sorry for the millions of film makers who were so hoping that Canon would solve their problems with a camera fit for purpose at a price they could afford, not forgetting the fact that as yet no one can use Canon EF glass electronically on any large sensor camcorder thanks to canons decision a few years back to make EF lenses fully electronic.

The EOS C300 is nothing more than a medium format 5D with all the hassle taken out and a smaller sensor !

Photo courtesy of

The other side of the coin is that Canon R&D were very reluctant to go with having HD video tagged onto their 5DMk11 at the beginning and it took Chief exec. Masaya Maeda all his efforts to convince Canon to run with a dual purpose camera…the rest is history.

I personally think Canon has by-passed it’s loyal followers who as a collective have made the company what it is today, by ignoring their needs and concentrating totally on the wrong end of the marketplace, with a camera that by Vincent Laforet’s own admission is flawed by needing a Zacuto Z-finder EVF to see critical focus.

We were all expecting a sub £6K large sensor camera that would finally plug the gap for the majority of people wanting to make a step up to a film like camera that takes EF glass instead we get a £15K 8bit camera that once again suffers from a poor viewfinder probably due to lack of space…what more can I say.

Will it affect the Sony PMW-F3 which is the market the C300 is aiming at, initially but Sony have a very loyal customer base and Sony will possibly reduce their S-Log upgrade or make it free to new customers who knows but you can be assured the next incarnation of the F3 will not only start at 10bits but will be 50Mbs or higher and have a viewfinder fit for purpose…you mark my words.

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

NEW Canon EF and PL mount glass pricing

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Pricing and availability 
Both the Canon CN-E14.5–60mm T2.6 L S (EF mount) lens and the Canon CN-E14.5–60mm T2.6 L SP (PL mount) lens are scheduled for late January 2012 availability for an estimated list price of $45,000 each.

The Canon CN-E30–300mm T2.95–3.7 L S (EF mount) and Canon CN-E30–300mm T2.95–3.7 L SP (PL mount) lens are scheduled for late March 2012 availability for an estimated list price of $47,000 each.

Single-Focal-Length Cinema Lenses for EF Mounts

CN-E24mm T1.5 L F / CN-E50mm T1.3 L F / CN-E85mm T1.3 L F *
Like their wide-angle and telephoto cinema zoom lens co-stars, Canon’s new CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F cinema lenses deliver 4K optical performance. The three lenses, designed for use with EF mounts, are compatible with not only industry-standard Super 35 mm-equivalent cameras, but also 35 mm full-frame, APS-H and APS-C sensor sizes. The trio incorporates anomalous dispersion glass and large-diameter aspherical lenses for high resolution imaging throughout the frame, and features a newly designed 11-blade aperture diaphragm for gentle, attractive blurring.

With focus and iris markings that are easily visible from behind the camera, Canon’s three new fixed-focal-length lenses support convenient film-style operation and, offering a focus rotation angle of approximately 300 degrees, facilitate precise focusing performance.

The CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F support standard manual and electronic industry accessories and matte boxes, and have a unified front lens diameter and uniform gear positions, eliminating the need for adjustments when switching lenses.

Pricing and availability 
The Canon CN-E24mm T1.5 L F (EF mount) and CN-E50mm T1.3 L F (EF mount) lenses are scheduled to be available in late July 2012.

The CN-E85mm T1.3 L F (EF mount) lens is scheduled to be available in late August.

The Canon CN-E24mm T1.5 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E50mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E85mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800.

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

Specs for the NEW Canon EOS C300

Categories: Miscellaneous 1 Comment

4K EF Cinema Lens Lineup

Canon’s Cinema EOS System makes its Hollywood debut with an all-star cast featuring seven new 4K EF Cinema Lens models: four zoom lenses covering a wide zoom range from 14.5 mm to 300 mm-two models each for EF and PL lens mounts-and three single-focal-length lenses for EF mounts. All seven new lenses deliver exceptional 4K (4096 x 2160 pixels) optical performance and offer compatibility with Super 35 mm-equivalent sensors. Additionally, the three single-focal-length lenses can be used with cameras equipped with 35 mm full-frame sensors.

EOS C300/C300 PL Interchangeable-Lens Digital Cinema Camera

The Canon EOS C300/C300 PL is an all new digital cinema camera available in two models: the EOS C300, equipped with an EF lens mount for compatibility with the wide array of lenses that make up Canon’s current interchangeable EF lens lineup; and the EOS C300 PL, offering a PL lens mount for use with industry-standard PL lenses. The camera features a Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor ideally suited for digital cinematography.

New Digital SLR Camera with 4K Movie Function (Under Development)

Equipped with a 35 mm full-frame CMOS sensor and supporting the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), the next-generation digital SLR camera currently under development will enable exceptional image quality for the creation of innovative and expressive images. Additional details, including the product name, specifications and scheduled launch date, have yet to be decided.

Key features

  • 8.3 Megapixel Super 35mm Canon CMOS sensor optimised for high-quality Full HD imaging
  • Compatibility with Canon’s wide range of EF lenses (C300)
  • Compatibility with industry-standard PL lens mount (C300 PL)
  • Three built-in ND filters
  • Compact, modular design. Lightweight 1669g (C300)/1869g (C300 PL) body only
  • Broadcast-ready 50Mbps MPEG-2 MXF (4:2:2) recording to two CF cards
  • High sensitivity: low noise images at up to ISO 20,000
  • Extensive image customisation, including built-in Canon Log Gamma
  • Robust, splash-resistant body with magnesium alloy components
  • PAL, NTSC and 24.00p modes as standard. Slow/fast motion adjustable in 1fps steps
  • WiFi remote control shooting capabilities
  • Seamless workflow integration

Please click here to take a tour around the C300 and C300 PL Digital Cinema Cameras.

* Cropped to APS-H-equivalent size (dimensions measuring approximately 80% vertically and horizontally of a 35 mm full-frame sensor) when recording in 4K.

Cinema EOS System: Product Overview
Product category Model Mount type
EF Cinema Lenses CN-E14.5-60mm T2.6 L S EF mount
CN-E14.5-60mm T2.6 L SP PL mount
CN-E30-300mm T2.95-3.7 L S EF mount
CN-E30-300mm T2.95-3.7 L SP PL mount
CN-E24mm T1.5 L F EF mount
CN-E50mm T1.3 L F EF mount
CN-E85mm T1.3 L F EF mount
Digital Cinema Cameras EOS C300 EF mount
EOS C300 PL PL mount
Digital SLR Camera (under development) TBD EF mount

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Scarlet-X starting price $9,750

Categories: Miscellaneous 4 Comments

With the innate ability to capture 5K REDCODE RAW stills and 4K motion, resolution sustains itself as a dominant gene in the RED family. Scarlet-X functions as a flexible device, utilizing HDRx and interchangeable lens mounts to provide you with options in a world that’s always changing. 5K burst modes snap up to 12 fps with 4K reaching up to 30 fps – helping you capture every perfect moment. All of the finest qualities of cinema and photography have now aligned, letting you take advantage of the best of both worlds with Scarlet-X.

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

NEW Canon DSLR “C” type for filming with 4K

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Canon has more on the way from its newly launched EOS Movies lineup than just the C300, as shown by this new prototype DSLR. Promised to be “ideally suited for cinematographic and other digital high-resolution production applications” this camera packs a 35mm full frame image sensor capable of shooting Motion-JPEG encoded 4K video at 24fps. The press pics show it fitted with both EF 50 and new Cine 24 (as shown above) lenses, as Canon looks to blend the success of the 5D MK II with RED-rivaling video capabilities. The director of House shot an episode on that camera already and called it the future, which appears to be arriving sooner rather than later. Don’t expect to hear anything about a name, price, or release date any time soon.

The camera was shown on this slide during the Canon event and caused a stir so much so Canon had to admit it’s existence.



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Behind the scenes of Vincent Laforet’s Mobius shot on the Canon C300

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Scarlet announcement from RED or NOT “Poor Show”

Categories: Miscellaneous 1 Comment

Sadly our second cinematic camera from RED was not to be as this was the screen that confronted me when I clicked onto REDs web site and the REDUSER won’t even open…If you are going to make a serious announcement the least you can provide is decent bandwidth to accomidate everyone…POOR SHOW !


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