The SONY HXR NX70 teaser video

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Sony’s HXR NX70 “A perfect camera for BBCs Deadly 60s”

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When I saw the specs of the Sony HXR NX70 I immediately thought of Steve Backshall and the BBCs Deadly 60s television show, this would be a perfect camcorder for all the wind, rain and dust that must accompany trips to Africa etc.

I am excited about this camcorder as it is the professional upgrade to the MC-50 we have all been waiting for, stringers will also upgrade to this camcorder it’s perfect for standing outside High Courts in the dripping wet rain. The inclusion of the XLR and full audio control will make my life a lot easier when producing interviews for my blog. I can use my Pro balanced short shotgun mics from RODE and Sennheiser without worrying about the 3.5mm plug getting pulled out.

Audio is a big deal to me as I used to work in a local radio station, Radio Clyde and the tech boys taught me how to edit tape and one of the engineers, Gerry, taught me about the importance of using the correct mic for the job. I have had to put up with inferior cables and connectors using the Sony 550 along side the Sony MC-50 but the pictures more than make up for any audio short comings.

I have become a major fan of camcorders that look small but produce pictures almost as good as any shoulder mount camcorder, the Sony MC-50 started the ball rolling it’s a great wee tool, especially for blogging, I hope my pal Rick Young is reading this and seriously decides to ditch his Sony EX-1 in favour of the new NX70.

Rick from MacVideo travels all over the place and knows only too well that weight matters when it comes to planes the NX70 might just be the job for him plus the EX-1 will suffer from RED RED, turning some types of black a muddy brown, this was only fixed half way through the run of EX-3s and does not occur in EX1Rs.

Lastly we have MANUAL GAIN, a feature badly missing from the MC-50, admittedly, due to space, it has been assigned to the menu but thankfully it’s part of the feature set. One other major feature of this wee camcorder is the ability to film at 1080 50P…this is a big leap forward and if you are editing with Sony Vegas 10 or Edius then 1080 50P is part of your software package and I hope Final Cut Pro 8 will edit 1080 50P also.

Sony will get a demo camera to me as soon as they are available and I can’t wait…SDHC cards and Sony “V” batteries are all you need to get you started, fortunately if you own the MC-50 you have both !

 

 

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Sony NEX FS100 a day later…”The Aftermath”

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Nigel Cooper had a look at a working FS100 camcorder and did not miss the wall when it came to his conclusions…

Nigel “The cost of the FS100E will have a street price of approximately £5,000 for the body only. The FS100E is the model without a lens. The FS100EK (K standing for Kit) comes with a Sony E-mount 18-200mm F3.5-6.3 lens and will have an approximate street price of £5,500. The FS100E will be available to buy summer 2011 according to Sony UK. Sony are claiming that the target market for the FS100E is Education and Corporate, Event/Wedding and low-budget pop promo and documentary, but I’m sure it will find its way into other areas of video production too; especially the independent low budget filmmaker because of its large sensor and interchangeable lens offerings.”

CONCLUSION :

“All-in-all, the FS100 feels like a very rushed camcorder. The ergonomics are terrible, the fixtures and fittings are pretty much the same, the switches, dials and knobs are too small and they feel horribly plasticky with a vague feel i.e. you don’t really know if you have actually pressed a button; you need LCD menu feedback to confirm. The hand-grip on the side wobbles, even when tightened up, so to does the top handle/mic holder, which feels like it is hanging on by its fingernails. Everything about this camcorder is just so awfully wrong. Sony had the perfect chance to give Panasonic a run for their money, but the FS100 is not the camcorder to do it, in my opinion. Panasonic’s AF101 is a clear winner over the Sony FS100 in terms of build quality, usability, functionality and features. Sure it lags slightly behind in raw resolution and there is a tad more aliasing, but the AF101 is about £1,500 cheaper and generally a much nicer camera to work with and it has none of the frustrations of the FS100. The Panasonic AF101 wins by a country mile and it would be my choice for any kind of work that required a large sensor and the ability to have a lot of control over depth-of-field.

There are just too many things missing from the FS100, no HD/SDI output, no ND filter wheel, only one card slot. Its like Sony have taken the F3 and stripped it of any worthwhile features and functions to keep it well away from the F3’s market. The FS100 is stripped of all the sensible functionality a cameraman actually needs. Sony’s old VX1000 even had a built in ND filter switch and that camera is from the dark ages in the grand scheme of video camcorder technology. I really wanted the FS100 to be a great little camcorder, but it is just not to be. For me, the FS100 is a huge let down. The only thing it has going for it is image quality, which is marginally better than the AF101, but still not as good as Sony’s own EX1/3.”

To read the full review by Nigel Cooper… http://www.dvuser.co.uk/content.php?CID=268

HDW :  Nigel was not impressed in fact it’s interesting that the Panasonic AF101 gets top marks over the FS100, but once again Sony were warned by me back at BVE when I got to see this camera that not having HD SDI was not going to go down well with the pro boys and if they were to compete with the AF101 the feature set as it stood did not “cut the mustard”.

The inclusion of the “E” mount was once again a bad move as most professionals would prefer to use Sony’s far better spec “A” lenses. Sony do claim to talk to “Professional cameramen” when producing new camcorders but I do not know one such cameraman so I can conclude they are taking advice from the wrong people…STOP PRESS…they spoke to 2 cameramen, Den Lennie and Zulqar Cheema.

Lets not kid ourselves by the time Den and Zulqar got involved the basic design template was on the drawing board and the camera could only be enhanced with their inputs as cameramen, I know nothing about Zulqar other than he won an award from the IOV and works on the Sony stand teaching Sony Vegas during trade shows. Den is an accomplished cameraman latterly starting F STOP academy, teaching students etc how to use DSLRs.

During the launch of the PMW-F3 we got to see an early FS100, Philip Bloom spoke to the Sony engineer telling him that if the camera did not shoot 25 and 24p it would be a non starter.

Not having ND filters forces you to buy Vari ND screw on filters or a Matte box, I had the cameras big sister the F3 and with only two filters 1/8th and 1/64th I was struggling to get a good balance between f5.6-f8 which is the sweet spot of any lens, without any ND this camera will struggle in sunlight. Cranking the lens down to f11 and bringing in shutter will look awful, forgetting the sheer sensitivity of the Super 35mm sensor…it eats light !

I was assured by Sony that I was to get an FS100 to produce a video review…time will tell !

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The new SONY HXR-NX70 camcorder

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This is the camera we have all been waiting for the MC50 with Pro XLR inputs and sound controls but Sony have taken the NX70 one stage further and made it rain and dust proof…fantastic.

UPDATE : After some searching I have found the magical words…MANUAL GAIN…finally we have manual gain control which is switched via the menu.

As you can see from the back you can now access the SDHC card rather than it being underneath as in the MC50. We also get a proper on/off switch and a headphone socket.

Looking at the side of the camcorder Sony have brought the battery compartment from the back to the side of the camera which is no bad thing and best news for all MC50 owners is the inclusion of the Sony “V” battery, once again Sony are learning not to bring out a new battery every time we get a new camcorder.

Rain and Dust Proof Performance

You can be confident rainy or dusty shooting environments will not affect the reliable operation of the HXR-NX70E thanks to its IEC60529 IP54 rating. The camcorder’s sealed body design makes sure that harmful sand and large dust particles do not get inside. A waterproof performance rating of IPx4 means that the main camera body is protected against rain showers and water splashes.

A waterproof performance rating of IPx4 means that the main camera body is protected against rain showers and water splashes. However, it should not be submerged underwater or sprayed with pressurised water from a tap or hose. When used with accessories such as an external microphone, a rain cover should be used to protect the accessory and connection. IP5x rating does not guarantee 100% protection against exposure to extremely fine particles.

Ultra-wide Angle 26.3mm G lens

Engineered for superior optical performance, Sony G lenses deliver brilliant, accurate colour reproduction and sharp, amazingly detailed images. In addition, the 26.3mm focal length offers a broader perspective than previous lenses for enhanced wide angle shooting so you can capture more of the scene when close in.

Assignable Lens Ring (Focus/Zoom/Iris)

Get the most out of your camcorder with enhanced manual controls. The assignable lens ring allows for manual adjustment of focus, iris, and zoom settings so you have complete creative control.

Optical SteadyShot image stabilisation with Active Mode

Optical SteadyShot image stabilisation with Active Mode provides superior compensation for camera shake to deliver stunningly smooth video from wide angle to full telephoto shooting. In addition, the innovative 3-Way Shake-Cancelling feature adds electronic roll stability for even smoother video capture.

Back-illuminated Exmor R CMOS sensor for superb low-light video

Journalists rarely shoot under studio lighting conditions and Sony’s back-illuminated Exmor R™ CMOS sensor delivers stunning low-light sensitivity with improved image clarity and drastically reduced grain. Designed for compact cameras and camcorders, the Exmor R™ sensor relocates the photo diodes above the support circuitry, maximising the light gathering area per pixel so you can shoot with better results in low-light conditions. The sensitivity is roughly double that of conventional CMOS sensors of the same size and pixel size.

1920 x 1080 Full HD 50p Recording with 12.3 Mega pixels still image capture

The compact HXR-NX70E shoots in Full High Definition quality (1920 x 1080) with a choice of 50p, 50i and 25p frame rates. It can also simultaneously shoot 12.3 Mega Pixel (4672 x 2628) still images (Note: Dual Rec is not active when recording mode is set to FX or PS.) It also supports playback via HDMI and compatible HDTV, for complete flexibility in reviewing your footage.

96GB* embedded Flash Memory for up to 40 hours of HD recording

Built-in Flash memory provides extra capacity, ideal when working remotely, as well as providing additional workflow options for back-up and sharing content. 96GB embedded Flash memory can record and store up to 40 hours of high definition video footage in HD LP mode.

* 96GB equals 96 billion bytes. A portion of the total storage is used for system management and/or application files.

3.5” touch-screen XtraFine™ LCD display (921K)

The large 3.5” (16:9) XtraFine LCD screen (921K) displays sharp, bright, vivid images, letting you compose a shot more easily and alter setting to best represent the scene, even when outdoors in bright lighting conditions.

XLR adaptor with selectable phantom power and shotgun microphone

The detachable handle has a compact, ergonomic design. Two balanced XLR audio inputs are built in with phantom power and attenuation options that professional shooters require for clean sound quality. Default audio settings for XLR recording are highlighted in green for easy reference in the field in order to reduce operator error under difficult lighting conditions.

The ECM-XM1 shotgun microphone mounted on top of the handle provides audio recording performance similar to larger shoulder-mounted ENG style cameras.

Geotagging with built-in GPS receiver

A built-in GPS receiver makes the HXR-NX70 an ideal choice for professional videographers. The receiver gives you the ability to “geo-tag” shooting locations – making it easy if you need to return to the same location or to create a log when surveying remote locations. Your locations can be tracked on Google maps and all GPS data can be extracted with a PC.

Additionally, the receiver automatically adjusts your camcorder’s clock to the proper time zone when international travel is part of your assignment.

Direct Copy to external HDD without PC

Store content or backup important shots by copying footage directly from your camcorder to an external hard disk drive (sold separately) without using a computer. The HXR-NX70E can also access videos stored on an external hard drive for playback on HDTV, allowing you to utilise the camcorder’s handy playback features.

Additional information: Direct Copy is compatible with USB media that meets the following requirements: USB 2.0 or higher and formatted in FAT32 file system. It is recommended that external HDD is AC powered. The HXR-NX70E must be connected to AC power when using Direct Copy. VMC-UAM1 cable is supplied to connect HXR-NX70 with USB media, however connection via USB hub is not supported. There may be cases when USB media is not compatible with the Direct Copy function.

 

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The new SONY HXR NX70 “Water & Dust proof”

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More details in about an hour (9.45 GMT)

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The NEW Sony NEX FS100 Super 35mm camcorder “First Look”

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Well here it is the AF101 spoiler from Sony, the NEX FS100 Super 35mm camcorder. I don’t think Sony were thinking seriously the day they finally christened their new camcorder the FS100…why have the same number as your competitor, this will cause no end of confusion in the USA.

Not being a fan of HDMI as a connector I would have preferred an HD SDI output, the HDMI outputs 8bit 4:2:2. You do have 2 XLR inputs the other is on the right hand side of the camcorder. We also get one card slot which once again is an unusual choice as most solid state camcorders give you two card slots. You can use Sony’s Memory stick DUO or the more popular SDHC card, you can also use SDXC cards that are faster and larger capacities (64Gig and 128Gig). The one thing I do notice that is sadly missing from the AF101 is the ability to switch your HP monitor between CH1-MIX and CH2.

Sony have decided to go down the “E” mount for their lenses though adapter companies like MTF have various flavours of Sony “E” mount for you to choose from. Unlike the VG-10 we get a gain switch and many pro features that will set this camera well above its competitors.

The LCD is 3.5″ and with the large magnifier clipped on should give us a cracking viewfinder for critical focus, its only a pity the PMW-F3 is left “wanting” when it comes to a decent viewfinder. Your mic controls are here along with the camcorders playback facilities.

This is the camcorder with the lens kit added although the  18-200mm “E” f3.5-6.3 is a sharp lens at f3.5 is a tad dark, lets hope the Super 35mm sensor makes up for this allowing us to switch the gain up to compensate for a dark lens. Lastly Sony have decided not to bring out a new battery for this camcorder and uses the infoLITHIUM “L” batteries (NP-F970).

Exmor™ Super35 CMOS Sensor for Shooting Motion Pictures

Equipped with a large CMOS sensor equivalent in size to Super 35mm film, the NEX-FS100EK enables shooting with the same creative depth of field as the PMW-F3.

The sensor also features the optimum number of effective pixels for shooting HD moving images. At a high 50fps in all-pixel scan mode, this allows images to be captured with less colour aliasing, jaggedness and rolling shutter than DSLR cameras, while providing the sensitivity to shoot at a minimum illumination of 0.28lux*. Another advantage of Exmor™ technology is minimal noise when shooting low-light scenes.

* When using a fixed shutter speed of 1/25, auto gain and an iris setting of F1.4 The SEL18200 lens supplied with the NEX-FS100EK enables shooting in illumination as low as 1.5lux when using a fixed shutter speed of 1/25, auto gain and auto iris

E-Mount Interchangeable Lens System

Sony’s E-mount interchangeable lenses let you enjoy a level of creative freedom unimaginable with camcorders of the past. All feature precision-crafted optics with aspherical glass elements for compact high performance, and circular iris mechanisms for smooth background defocusing. The supplied SEL18200 (E 18–200mm F3.5–6.3 OSS) with the NEX-FS100K boasts 11x zoom power, a quiet AF motor for cleaner sound recording, and Optical SteadyShot™ image stabilisation with an advanced Active mode that lets you take steady handheld shots while walking around — even without a bulky stabilisation rig. An ultra-compact SEL16F28 wide-angle lens and SEL1855 3x zoom lens are also available.

Thanks to the E-mount’s short 18mm flange-back distance, using a mount adaptor allows shooting with a wide range of existing lenses. For example, with the optional LA-EA1 mount adaptor, you can take advantage of the abundant lenses (A-mount lenses). Third-party adaptors enable use of an even wide variety of lenses.

Modular design for a variety of shooting styles

Featuring a compact, lightweight body with detachable grip, handle, and viewfinder, the NEX-FS100EK is ideal for a wide range of shooting situations.

During hand-held shooting, the angle of the grip can be changed as desired, and recording started and stopped with a button on the grip. Recording start/stop buttons are also provided on the top and lower right of the camera.

There are also 1/4- and 3/8-inch screw holes on both the handle and the bottom of the camera body for mounting various peripheral devices. Plus a tape measure hook and an image sensor position index on the body.

XtraFine LCD panel

Located on the optical axis, the 3.5-inch-type XtraFine™ LCD panel enables easier, more intuitive framing, especially during hand-held shooting. And the LCD panel can be rotated for stress-free operation when shooting low-angle scenes and digital signage footage. For easier, more precise focusing in daylight, the viewfinder comes with a detachable 1.2x magnifier.

1920 x 1080P Slow and Quick Motion

Recording images at a different frame rate from that used for playback provides the extra versatility of slow and quick motion shooting. Furthermore, the NEX-FS100EK enables Full HD (1920 x 1080) progressive slow and quick motion. Frame rates are selectable from among 50fps, 25fps, 12fps, 6fps, 3fps, 2fps and 1fps. So, for example, when recording at 1080/25p, if the frame rate is set to 50fps, images are recorded in 2 times slow motion. This means you can create impressive slow motion scenes without the need for troublesome editing.

Note: Shooting in slow and quick motion is possible during HD recording and in the progressive mode. Simultaneous recording to a memory card and the flash memory unit is not possible.

Hybrid recording

Recording to the directly mountable HXR-FMU128 Flash Memory unit allows continuous recording for over 10 hours without changing the recording medium. Simultaneous recording using memory cards and other media is also possible for secure backup when shooting footage that can’t be reshot.

Note: When recording on different media, the resolution must be HD or SD. HD and SD cannot be simultaneously on different media.

NXCAM Recording Format

Like other NXCAM series cameras, the NEX-FS100EK uses the well established AVCHD recording format supported by a wide range of nonlinear editing systems. Better still, it’s ready to shoot with a maximum frame rate of 1920 x 1080/50p (28Mbps) for even higher quality recording. For more flexibility, it’s also possible to record in Standard Definition MPEG-2 format.

Uncompressed 4:2:2 Output with Embedded Time code

When shooting, the NEX-FS100EK can output uncompressed 4:2:2 footage via HDMI (with an embedded SMPTE Time Code) which can be recorded onto external media, such as HDD.

Geotagging with built-in GPS receiver

A built-in GPS receiver makes the NEX-FS100EK an ideal choice for professional videographers. The receiver gives you the ability to “geo-tag” shooting locations – making it easy if you need to return to the same location or to create a log when surveying remote locations. Your locations can be tracked on Google Maps and all GPS data can be extracted with a PC.

Additionally, the receiver automatically adjusts your camcorder’s clock to the proper time zone when international travel is part of your assignment.

Picture Profile™

Six picture profile settings for different shooting conditions are provided as default settings. Selecting a picture profile for a particular scene offers an easy way to creatively change your shoot.

Last Scene Review

Press a single button to immediately review the last recorded scene.

Expanded Focus

Press a button and this enlarges the centre of the displayed image by 2x, a particularly useful feature when making critical focusing adjustments.

Histogram

Onscreen display of a histogram enables easier exposure adjustment. The histogram also shows the point where the zebra pattern appears (the zebra point). This enables confirmation of overall brightness distribution and the brightness level set with the zebra function. As well as preventing overexposure, this is useful as a guide when aiming for optimum exposure of certain parts of an image, such as faces.

Peaking

A peaking function draws a defined line around the subject displayed in the LCD monitor and viewfinder. Peaking sensitivity and colour (red, white, yellow) can be selected to enable more precise focusing.

Markers

Centre, aspect, safety zone, guide frame and other markers can be displayed on the LCD.

Firmware Update

Sony has implemented a firmware update scheme for future functions.

 

 

 

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New Sony Super 35mm NXCAM camcorder

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

Sony PMW-F3 v Panasonic AF101 in Low light…the Results

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I had a good week with the Sony PMW-F3 and coming from my PMW-350 background it was easy to navigate the F3 menu, unlike the unfamiliar AF101 menu system. The main difference between the two camcorders is looks, the Sony looks more like a conventional camcorder, not the square box look of the Panasonic.

As you can see both cameras suffer flare, I don’t know any camera that doesn’t, the F3 came with three lenses the 35mm, 50mm and 85mm T2 (f2) all of them were very sharp and caused less flare than my Voigtlander NOKTON f0.95 lens also set to f2 for a comparison. The F3 as you can see also has far better resolution due to the excellent Sony 35mm Prime lens.

Remember the Sony Prime lenses are made exclusively for the F3 which is why they perform so well.

CONCLUSION : The Sony PMW-F3 with supplied Prime Lenses certainly resolves far better than the AF101 as you would expect and the F3 is the king of low light images at 18dB, this camera excels in low light. What about the 24MBs (AF101) v 35MBs (F3), strangely this seems to be less of a problem as I was expecting the F3 to gain having the 10MBs faster speed advantage but it only proves that you still need 50MBs, 4:2:2, 10 bit to make a significant difference. They both suffer from being 8bit which is no surprise, thats not to take anything away from the AF101, the Panasonic is fantastic for the money and lets be honest did you really expect the £4K AF101 to upstage the £10K PMW-F3.

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“GEMINI” from the makers of the NanoFlash

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Convergent Design today unveiled Gemini 4:4:4, a revolutionary uncompressed video recorder/player. Gemini enables videographers and cinematographers to capture at the ultimate video quality, in a small, low‐power, lightweight package, at a very affordable price. Gemini features a built‐in high‐brightness 5.0” 800×480 24‐bit LCD touch‐screen for monitor and playback, and introduces an industry first ‐ the ability to simultaneously record to two removable solid‐state drives ‐ creating instant backups; an invaluable insurance against lost footage, as well as, opening new workflow options.

Building on, but not replacing, the highly successful nanoFlash, Gemini records 10‐bit uncompressed 4:4:4 / 4:2:2 video in most popular HD/2K/3G formats, including 1080p24 and 1080p50/60, with up to 16‐channels of embedded audio and timecode. Gemini has slots for two removable 1.8” solid‐state drives (SSDs), enabling recording in either parallel mode (instant backup), or spanning mode (longer record times). Sporting a lightweight milled aluminum case, Gemini is about the same size and weight as the popular SmallHD DP6 monitor, but includes Recording, Playback, Image Processing, Dual HD/3G SDI I/Os, HDMI‐Out and consumer level audio I/O; while consuming only 8 to 15 watts of power.

Gemini features S‐Log support, with user programmable viewing LUTs, which can be enabled selectively for either HD‐ SDI output. Flexible recording options, include simultaneously recording native S‐Log video to one SSD (for on‐line), and the same footage with burned‐in LUTs to the second SSD (for faster creation of off‐line proxies and/or H.264 video for mobile devices/internet).

A 3D/Stereo (extra‐cost) option will also be available, enabling dual‐stream recording and playback in a single Gemini unit; creating the world’s smallest, lowest‐power, 3D recorder available anywhere. Gemini will record independent left/right channel files, while providing full synchronized playback of two streams as well as side‐by‐side, 50/50 composite, or anaglyph combinations. Gemini can uniquely output 3D in multiple formats simultaneously (ie side‐by‐ side and 50/50 composite), to aid in camera alignment and monitoring.

Planned future enhancements, include reference image overlay (aka onion‐skinning). Users can capture still frames or create their own reference images (custom grid overlays, for example) to mix with live video, using an opacity slider. This feature will enable directors to check the current on‐set environment against a previous day’s production, assisting in camera setup and easily identifying anything out of place.

Convergent plans to support all major NLE programs, including Avid, Final Cut Pro, Premiere, Vegas and Edius. Editors have the option to edit in full‐uncompressed (transfer time off the SSD to a fast HDD is about 1/3 realtime) or use any of the popular CODECs (ProRes, DNxHD, Cineform, etc). For example, using a modern multi‐core processor MAC, the transfer from the SSD and software encode to ProRes, occurs in about 1⁄2 realtime (60 minutes of video requires a total of 30 minutes to transfer and encode).

The Gemini 4:4:4 Kit, which includes the recorder, 1.8” SSD to eSATA transfer station, AC power supply and cables, housed in a custom‐fitted hard plastic case, is priced at US $5995 (retail). The 1.8” 256 and 512GB SSD drive prices will be announced at NAB. Convergent will be demonstrating Gemini 4:4:4 (mounted on the Sony F3 and on a 3D mirror rig) at their NAB booth, C11126, April 11‐14.


 

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Broadcast Photo Video North

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This will be a good show to see some of Sony’s new pickings, the new NXCAM Super 35mm model for starters, this will be the 1st video show after NAB and it’s in Haydock Park Racecourse on the 12th of May 2011.

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