The Canon XF305 4:2:2 @ 50Mbs onto CF cards $7950

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Introducing the XF305 and XF300: Canon’s New Pro Camcorders

Industry professionals choose Canon video cameras for a wide variety of projects: electronic news gathering (ENG), wedding/special event videography, feature film and commercial productions, and more. A Canon camera is aninvestment in long-term quality; a dependable workhorse that delivers the finest images time and time again in the most challenging environments imaginable, from a wedding on a sandy beach to the International Space Station.
The XF305 and XF300 models are Canon’s first professional camcorders to support file-based recording, and to take advantage of the broadcast-standard MPEG-2 4:2:2 50Mbps MXF codec (Canon XF codec)
Each new camera design is based directly on feedback from you, our working professionals in the field. And now, the Canon XF305 and XF300 models have arrived, fusing unsurpassed lens quality, renowned ruggedness, and user-friendly body design with the latest in CMOS sensor technology and tapeless workflow. From pre-production through post, it’s destined to become a shooter’s new best friend.
Pre-production: Selecting the Right Tool for the Job
Pre-production is a series of choices dictated by the aesthetics and logistics of each project. The Canon XF305 and XF300 cameras assure that those decisions aren’t compromises.
Whether you’re a news reporter in the line of fire or an independent filmmaker striving for big-budget production value, 1080p digital acquisition is the ideal choice. While the term “High Definition” is a buzz-word that refers to the number of lines of resolution, it doesn’t take into account the amount of compression applied to achieve this. The Canon XF305 and XF300 excel here, delivering a broadcast standard long-GOP MPEG-2 codec with a maximum bit rate of 50 Mbps and 4:2:2 color sampling. This ‘Canon XF’ codec brings a high-end level of quality — usually found only in cameras costing 5 to 8 times more — down to a budget level that will please producers while satisfying the critical eye of a professional shooter.
The XF305/300 cameras offers a full range of selectable frame rates:
24p (23.976) Frame Rate
24p matches the frame rate of a traditional film camera giving the same cadence and temporal motion needed for a “film look.”

30p (29.97) Frame Rate 30p is the ideal frame rate for video viewed on the Internet. It is also an excellent choice for frame grabbing during playback.

60p (59.94) Frame Rate (Available in 720p Mode Only)
In addition to the standard interlaced frame rate of 60i, these cameras are able to capture at 60p. 60p is rapidly becoming the standard for fast-action sports.

Optional 25p/50i/50p Frame Rate Upgrade
In addition to the native NTSC 24p/30p/60i/60p frame rates, the XF305 and XF300 can be upgraded to record in PAL frame rates of 25p/50i/50p, for added versatility. This optional upgrade must be performed by a Canon Factory Service Center at an additional cost.
Slow and Fast Motion Modes allow the XF305 to record a different frame rate than the playback frame rate, resulting in either a fast or slow motion effect during playback. Since the camera is recording real frames and modifying the playback rate, there is no quality loss and maximum image quality is maintained. In 1080 mode, fast motion is supported up to 2.5x the normal rate and as slow as 1/2.5x. In 720 mode, fast motion is supported up to 5x the normal rate and as slow as 1/1.25x.
Compared to CCDs, CMOS sensors draw less power while creating less waste heat, and the images typically feature less noise. The Canon XF305 and XF300 boast three 1/3-inch CMOS sensors with a resolution of 1920×1080, delivering outstanding image quality with a compact, lightweight camera optimized for greater mobility and quick shooting.
In even the most extreme shooting conditions, solid-state recording is the surest way to get the shot while streamlining your workflow.
The XF305/300 uses standard UDMA-compliant CF cards for recording media — read more about this new feature here.
The XF305 and XF300 contain two slots for non-proprietary Compact Flash cards, which allow for hot-swapping in the field as well as copying data from one slot to the other. A single 32GB CF card can hold approximately 80 minutes of footage, using the highest quality 50 Mbps setting. For more recording time, the dual card slots can be used as a “relay”: by swapping cards in an alternating fashion, you could capture a single, uninterrupted take that will last as long as your CF cards.
The image that hits the sensor can only be as good as the glass in the lens. Labeling something “HD” doesn’t take into account what happens to the light during its journey down the barrel. Canon lenses are second to none, and the XF305 and XF300 boast a genuine L-series lens with an 18x optical zoom. In 35mm equivalents, the zoom range is 29.3mm to 527.4mm, which is wider at the wide end than previous Canon models and most other competitively priced cameras. For an extra boost at the telephoto end, there is an additional 1.5x digital teleconverter that can be enabled within the menu system. The lens also features a 6-blade metal iris and glass ND filters (1/4, 1/16, and 1/64) which can withstand the hottest daylight shooting conditions without any warping.
Of special note for professionals is the inclusion of end stops and “witness marks” on both the zoom and focus rings. The zoom ring has the focal length measurements etched onto the barrel itself, whereas the fully manual/Full MF mode on the focus ring must be engaged to reveal the focal distance marks in a window on the side of the lens (measured in feet and meters).
This new video lens offers professional camera operators and assistants more control, with hard focus and zoom stops, as well as distance indicators (when lens is in Full MF mode)
This becomes particularly valuable in narrative filmmaking situations, when a camera assistant relies on these marks and “rides” the focus while watching the talent, so the operator can concentrate on executing the perfect shot.
The lens on the XF305 and XF300 adapts to any shooting style by offering three different modes of image stabilization. If you’re in a news or special event application where you need tosmooth out the vibrations caused by the camera operator’s walking, the new “Dynamic Image Stabilization” setting is designed to do just that. For handheld long lens photography, the “Powered Image Stabilization” mode will suppress vibrations at the telephoto end. This will come in handy while shooting nature docs or news events when you find yourself without a tripod, but the situation proves too dangerous to get close. The “Standard” setting is designed to reduce the widest range of different vibrations on every axis. All of the stabilization settings are accomplished optically, and do not result in any degradation of the image.
The 4:2:2 color sampling doubles the vertical resolution of color components compared to 4:2:0, which had been the previous standard for most smaller handheld cameras. This eliminates “jaggies” along the edges of colored objects within the frame, improves overall color reproduction, and therefore becomes crucial if the project involves any greenscreen or bluescreen work. 4:2:2 is essential for pulling cleaner keys.
If your project calls for time-lapse intervalometer photography (such as a flower blooming in front of our eyes) or other off-speed effects, the XF305 (or the XF300) is the right decision to make. By switching to 720p, you can over-crank up to 60fps for slow motion action photography. Interval Recording can be set in 25 levels, ranging from 1 second to 10 minutes. Even stop-motion animation is now possible with Frame Recording, which allows a specified number of frames to be captured at a time: 1, 3, 6, or 9 frames (in 60i/30p mode) or 2, 6, or 12 frames (in 24p/60p mode).
In Pre REC mode, there is a continuous three-second buffer, so you won’t miss a sudden “live” event.
The 4″, 1.23 Megapixel HD LCD panel offers functional, versatile deisgn, whatever your shooting style: It opens to the left or right, as well as rotating and tilting forward 35° — extremely useful for additional crew members who need to check the monitor, and a great safety feature in case the monitor is accidently bumped into on a busy set.
For example, if the shot involves a lightning strike across a desert plain, you can wait until you see the lightning and then hit REC immediately. Not only will it record from that point forward, but the three seconds before you hit REC will also be added to the shot—including the elusive lightning strike.
The comfortable and flexible form factor of the XF305 and XF300 is ideal for all types of productions. Small and lightweight enough to be handheld in front of the body, the new design also accommodates shoulder-mount shooting while monitoring the large, high-resolution LCD screen, which displays 100% of the image. Compared to previous Canon models, the right-hand grip has been moved more precisely into the camera’s center of gravity, since there is no longer a tape storage compartment on the side of the camera—one of the many benefits of moving to a file-based storage medium. For ENG shooters and documentarians, the cameras are small enough to be portable and unobtrusive, yet substantial enough to impress clients. Wedding photographers will appreciate the light weight and perfect balance, for long hours of uninterrupted shooting in the hot sun and crowded reception halls. Independent filmmakers require a camera that’s both substantial and well-balanced, so the operator can pull off a smooth shot with a camera assistant’s hand on the focus, a line out to the director’s monitor, and a wireless transmitter mounted on-board. The XF305 and XF300 will satisfy even the most demanding shooting scenarios.
Production: Canon’s Got Your Back
No matter how much preparation has been done, the actual period of production is a time to hit the ground running. With the clock ticking and the dollars flying, professional shooters have no choice but to trust the people in the trenches with them and the gear at their fingertips. The full and flexible feature set of the XF305 and XF300 have been carefully crafted to put the buttons where you need them quickly, with the least amount of fishing within the main menu system.
Canon’s high-end HD lens features independent rings for focus, zoom, and iris—complete with witness marks and end stops on the focus and zoom rings.
The XF305/300’s controls are clearer, more functional, and more intuitively grouped. Some professional improvements include: A manual/auto Iris switch; an additional REC button below the lens; and an industry-standard ‘OFF-ON-SEL’ Shutter control
Controls relating to the lens functions are neatly and logically clustered together. Closest to the lens, a slider control allows you to select the different levels of Neutral Density Filters (off, 1/4, 1/16, and 1/64). Directly alongside the ND slider, there is a row of buttons controlling: Focus Mode (Manual or Auto, and “Push AF” to utilize Auto Focus even in Manual mode); Iris Mode (Manual or Auto); and Zoom Control (either “Ring” or “Rocker”). The Shutter control is situated below that, as well as the option to “Push Auto Iris”.
The Shutter control allows you to choose “Off”, “On”, or “Select”. The “Off” option reverts to the shutter speed that matches the frame rate you are shooting (for example, 1/24 for 24fps). The “On” option activates the “Auto Shutter” mode, which will adjust your shutter speed to keep exposure constant. Moving the slider into “SEL” mode allows you to choose whichever shutter speed or ‘shutter angle’ best suits your needs, including a Clear-Scan mode (CS).
A series of newly positioned buttons is lined up in a convenient column next to the lens controls. The “IS” button engages image stabilization, activating whatever mode has been selected in the camera’s main menu (“Powered”, “Dynamic”, or “Standard”). The “Peaking” button activates a focus assist function that electronically enhances the edges of objects within the camera’s viewfinder and LCD screen, allowing the operator to see clearly when the desired focus is achieved. The different intensities and colors of Peaking can be finely tuned within the main menu, and two independent Peaking levels can be set. Similarly, the “Zebra” button activates up to two different striped patterns that help determine areas of over-exposure within the frame, adjustable from 70% to 100% IRE.
Of particular note to industry professionals is the XF305’s and XF300’s “WFM” button.
The XF305 and XF300 both offer enhanced display features invaluable to the professional shooter, including Waveform (pictured above), RGB, and Vectorscope monitors, as well as Edge Monitor Focus Assist (also pictured), and Horizontal Inversion for shooting with lens adaptors
Screenshots taken from pre-production model and may not represent final display appearence
This activates a real-time waveform monitor within the viewing area, which serves as a graphic measurement of luminance across the entire frame. This essential tool removes all guesswork and variables when determining the exposure. By reading the waveform monitor, the operator can see exactly which highlights are losing detail due to overexposure and which areas of shadow are falling off into black. Not only does the waveform monitor help determine exposure in news and documentary applications, it also helps cinematographers light the set during narrative production. A second push of the WFM button brings up a vectorscope (measuring hue and saturation of colors) and a third push reveals Canon’s exclusive Edge Monitor Focus Assist, which is a specialized waveform option that incorporates focus and targets specific zones within the frame. This system displays a red and green waveform monitor at the bottom of the LCD, along with three red focus check areas across the LCD. The green waveform shows overall focus while the red waveform shows the status of each focus check box. With this dynamic focus feedback, shooters can quickly tune focus in a specific area, and move between focus points in a scene with a whole new level of accuracy and speed. In the main menu, you can select different parameters and settings for the waveform monitor and vectorscope.
All of the buttons are laid out in an easy, intuitive manner… but the XF305 and XF300 also leave the door open so users can customize the camera for their own particular needs. There are 13 numbered buttons located all over the camera, which can be assigned any of nearly 30 functions. For example, a shooter can assign the three different types of Image Stabilization to three different buttons, or add reference marks into a clip for easy access during review and editing. The “IS”, Peaking”, “Zebra” and “WFM” buttons can even be re-assigned. If there’s a function that’s not where you want it, chances are you can get it there. In addition, all custom menus and settings can be saved onto an SD card, allowing easy camera set-up and sharing of settings between multiple cameras to ensure consistancy of footage.

The XF305/300 offers high quality 16-bit linear PCM 48 kHz in-camera audio. In addition to the built-in microphone, there are dual XLR inputs for external mics
With the XF305 and XF300’s “Custom Picture” feature, you can virtually design your own “film stock”. Individual menu items allow the user to affect Master Pedestal, Setup Level, Black Level, the Knee of the gamma curve, and individual RGM Color Matrices to a degree usually reserved for much more expensive cameras. This menu system has been re-designed from previous Canon models, and is far more intuitive and easy to navigate. It has been wisely arranged so that the user can view the real-time waveform monitor or vectorscope while making changes to the gamma curve and color matrices. In other words, the operator can actually see the changes manifest on the oscilloscopes in the camera, without worrying about whether black levels have been crushed too far, or whether the reds have been pumped too high.
The XF305 and XF300 feature high-quality 16-bit linear PCM audio, at 48kHz. The two XLR inputs are line/mic switchable with the option of phantom power, and can be individually trimmed and/or attenuated within the main menu system. Per usual, the individual audio levels are set by using the two loackable dials on the outside of the camera.
Every on-set monitoring scenario is covered by the outputs on the XF305 and XF300. From traditional BNC and A/V analog ports to HDMI and Component, the flexibility is there to run a camera assistant’s on-board monitor or clamshell while sending an HDMI signal to the director’s monitor, while simultaneously feeding a signal to the sound-cart.
Both camera models offer extensive connectivity, including USB mini-B, HDMI terminal, HD/SD Component Out, a Video Out, and a LANC remote terminal.

The XF305 (pictured above) offers additional terminals, including HD/SD SDI, GenLock, and SMPTE Time Code In/Out.
The XF305 offers the further flexibility of HD/SD SDI, which can be used to export the uncompressed digital signal. There are also Genlock and Time Code (In/Out) ports available on the XF305, which are not included on the XF300.
The new streamlined menu on the XF305 and XF300 offers an intuitive, easy-to-navigate layout. Particularly handy is the “menu memory”. For example, if you delve into the menu to access a specific function (such as going into the “Camera Setup” page to select the type of Image Stabilization), then turn off the menu to test the results, the next push of the menu button will take you directly back to the same place you left, instead of navigating from scratch all over again.
Post-Production: Finishing Strong
The Canon XF305 and XF300 take care of the image even after the shooting is done. By incorporating MPEG-2 4:2:2 50 Mbps codec, MXF container files, non-proprietary CF cards, and full compatibility with the major editing systems, the XF305 and XF300 ensure that your journey down the post-production pipeline can be smooth and worry free.
The XF305 and XF300 ’s streamlined workflow makes on-set editing a reality. Individual clips can be accessed instantaneously, and the footage will be fully supported by major NLE systems including Adobe Premiere, Apple Final Cut Pro, Avid Media Composer, and Grass Valley EDIUS. This means an editor has the ability to create a rough assembly of a difficult sequence before shooting has even concluded for the day. For ENG shooters and documentarians, this non-linear workflow is a great benefit when dealing with a large amount of footage.
When the edit is locked and the sound-mix is complete, final color correction is the last step toward realizing the full potential of any project. After shooting with the Canon XF305 and XF300, this stage can be surprisingly easy. The gamma-and-color controls in the Custom Picture menus—used in careful conjunction with the onboard waveform monitor and vectorscope—can get the image close to perfect during production. If a keen eye is kept on the scopes while shooting, there will be far fewer wildly changing exposures and fluctuating color temperatures. Final color correction will always be faster and less painstaking when you have the right tool for the job during the shoot. However, the high-end Canon XF codec captures robust, accurate color detail that allows for any advanced post-production that may be necessary.
That’s a Wrap
Whether you’re in the business of shooting news, documentaries, weddings and special events, government or military applications, or independent feature films… the XF305 and XF300 are a perfect fit. The high-end feature set presents solutions for every challenge that may arise during the course of any production. With the XF305 and XF300 in hand, a professional shooter will be armed with unsurpassed image quality, a superior Canon ‘L’ series lens, flexibility to choose different frame rates at both 1080P and 720P, three CMOS sensors that are 2-megapixels each, the industry standard MPEG-2 codec with 4:2:2 color sampling wrapped in standard MXF container files, the flexibility of tapeless capture using non-proprietary CF cards, and full compatibility with the major editing systems. Canon takes all of this versatility and delivers it at an unprecedented low price point — under $8,000. From start to finish, the new Canon XF305 and XF300 cameras will prove to be every shooter’s new best friend.

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

Apple delay iPad European sales to accommodate “unexpected” USA sales !!!

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Apple “Citing surprisingly strong US demand, Apple has officially delayed the international launch of the iPad. The device will, as a result, only go on sale in foreign countries towards the end of May, instead of late April as planned. Pre-orders however should open up on May 10th, at which time Apple says it will also reveal pricing in local currencies.”

Tell me Mr Jobbs…the only American I can think of who would get this so wrong is Homer Simpson…you don’t bother telling us what price to expect in Europe and now the iPad is to be delayed till you play catch up with your home market.

“Surprisingly strong US demand…DOH !”  That statement tells me you were not expecting a strong uptake possibly due to a very poor press and surprise, surprise…we see the sneek peek of OS4 for iPhone, iTouch and iPad which addresses the main “BAD PRESS”…muli-tasking.

I reckon no one is playing ball in Europe due to the very negative iPad reviews and Apple are struggling to get the same uptake as they have in the US market, which is why we were given the SNEEK PEEK of OS4….MULI-TASKING….iADD…major tent poles to attract European uptake.

The iPad has been very ill conceived from day one in my opinion…to make a product that looks exactly like an oversized iPhone fit for Desperate Dan is asking for ridicule…and now Europe gets shunted a further month down the line and no pricing is outrageously poor marketing not to mention a public relations disaster !

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

Sony bring out the HXR-MC50E

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Wide Angle G-Lens
Experience Sony’s latest lens technology with the professional-quality G Lens. Engineered for superior optical performance, Sony G lenses deliver brilliant, accurate colour reproduction and sharp, amazingly detailed images. In addition, the 29.8mm lens offers a very wide angle of view. The six bladed iris offers superb shallow depth of field videography.

10x Optical / 120x Digital Zoom
10x optical zoom helps to bring the action close up from far away. In addition, Digital Zoom Interpolation means that digital zooming (up to 120x) is clearer, with less distortion than previous types of digital zoom.

Optical SteadyShot Image Stabilisation with Active Mode
SteadyShot image stabilisation with Active Mode represents the next step forward in Sony image stabilisation technology. Active Mode improves on existing SteadyShot image stabilisation by allowing the camera to compensate for greater degrees of camera shake and deliver a stunning level of image smoothness.

1/2.88″ Back-Illuminated “Exmor R” CMOS Sensor
Experience low-light sensitivity with improved image clarity and drastically reduced grain with the back-illuminated “Exmor R” sensor. “Exmor R” technology captures footage with high resolution and high sensitivity, while the advanced Sony BIONZ Image Processor improves camera response time and screens out noise to help ensure that the signal from each pixel is as pure as possible.

BIONZ Image Processor
The BIONZ Image Processor works in conjunction with the Exmor CMOS sensor with ClearVid array for pristine imaging. The BIONZ Image Processor provides Data Noise Reduction, Fast Image processing, and Data compression. In addition, the BIONZ Image Processor enables Sony’s Dynamic Range Optimiser for both video and still image capture. The higher processing speed also allows Dual Recording to capture still images while recording video footage.

Dynamic Range Optimiser
The D-Range (Dynamic Range) Optimiser function adjusts the exposure and contrast of an image to counter the effects of high-contrast shooting condition, allowing better picture reproduction. The D-Range Optimiser suppresses “blackout” in dark areas such as shadows and “whiteout” in bright areas such as skies. As a result, the footage appears more natural.

1920 x 1080 Full High Definition AVCHD Recording
1920 x 1080i FULL HD resolution gives your production exceptional high definition quality

64GB Internal Flash Memory
The built-in 64GB embedded flash memory can record and store up to 6 hours of high definition video footage (HD FX mode at 24Mbps), or up to 48 hours of standard definition footage (SD HQ mode).

Media Card Slot
The camcorder accepts a wide range of removeable media including: Memory Stick Duo / Memory Stick PRO Duo / Memory Stick PRO-HG Duo media and SD/SDHC media (optional)

3.5″ Wide Xtra Fine TruBlack LCD Plus Viewfinder
TruBlack technology brings remarkably higher contrast and brightness to the camcorder’s 3.5″ Wide Xtra Fine TruBlack LCD display, delivering more natural, realistic colours and easier viewing in bright conditions by reducing glare. An adjustable 0.27″ colour viewfinder (201k) allows you to capture video and frame your shots with the LCD closed.

Assignable Dial
Get the most out of your camcorder with enhanced manual controls. The assignable dial allows for control of focus, exposure, white balance, iris, and shutter speed. Adjusting the iris lets you control depth of field, while shutter speed allows for control motion blur. There are a total of 6 settings available: Focus, Exposure, AE Shift, WB Shift, Iris control, and Shutter speed control.

Geotagging with Built-In GPS Receiver and NAVTEQ Maps
A built-in GPS receiver gives you the ability to view your current location on the LCD map display, as well as “tag” your shooting locations with GPS metadata. This metadata can be viewed using the Map Index function on the camcorder or once downloaded to your PC using the supplied PMB (Picture Motion Browser) software. Additionally, the receiver automatically adjusts your camcorder’s clock to the proper time zone.

Dedicated Shotgun Microphone and Headphone Inputs
The HXR-MC50E offers a supplied professional shotgun microphone and mount which coupled with the headphone input allows acquisition and monitoring of location sound. (Headphones not supplied)

Golf Shot
Building on the slow-motion capture capabilities of Smooth Slow Record on models such as the HVR-Z5E and Z7E, Golf Shot captures a few seconds of motion as a sequence of up to 22 still images, which can be viewed/printed individually or as a composite “sequence shot” image, great for analysing the nuances of a golf swing, tennis serve, and other fast action for sports science teaching and sports tutoring applications.

2x Faster Quick AF
With the improved autofocus (AF) system, Quick AF, the focusing speed is twice as fast compared to other Sony compact camcorders. Whether in bright daylight or in a dimly lit environment, Quick AF ensures fast, accurate, and consistent focus lock, enabling users to shoot in a wide range of scenes without missing any important moments. When shooting night scenes, conventional AF might struggle to focus, but thanks to the much improved AF algorithm in Quick AF, you can get that all important shot.

Intelligent Auto (10 iAuto modes)
Intelligent Auto mode goes a step beyond traditional auto modes by analysing your shot and then automatically selecting the appropriate settings from ten distinct scene modes: Portrait Mode, Smile Shutter, Backlight Control, Scenery, Night Scenery Mode, High Sensitivity Mode, Macro Mode, Baby Mode, Tripod, and Low Light Mode ideal for corporate or video diary applications where non-camera operators are shooting.

Film Roll Index
Film Roll Index helps you easily find desired clips. When using this feature, the camcorder previews the beginning of clips and can create clip indexes set at specified display intervals (3, 6, or 12 seconds and 1 or 5 minutes)

Direct Copy to External HDD without a PC
Store your content in a whole new way with the ability to copy content from your camcorder directly to an external hard disk drive (optional), all without a pc or mac. Your camcorder can also access content stored on the external hard drive for playback on an HDMI monitor or consumer TV, allowing you to use the camcorder’s handy playback features, great for viewing full HD rushes.

Smooth Slow Record
The Smooth Slow Record mode increases the frame rate from 50 frames per second (fps) to 200 fps, allowing you to capture 3 seconds of fast motion and play the video back in 12 seconds. This is a great tool for analysing a golf swing or a natural history applications.

12MP Digital Still Capture
12 megapixel still image capture lets you take stunning, high resolution digital photos while the Dual record capability lets you capture 8.3MP still images while shooting high definition video – so you can capture still images without having to switch recording modes.

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

FreshDV interview Jan Crittenden Livingston of Panasonic USA about the AF100

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freshdv_nab10_Panasonic The Panasonic AF100 looks a lot better in the flesh…the stupid concept picture does not do this camera justice…at $6000 this is going to take the market by storm.

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

Micro Review of the Sony HX5V Cyber shot camera with AVCHD

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[xr_video id=”a1b9b12039ac4c58a792e6c57eb85dd1″ size=”md”]

I was so impressed with the video pictures coming out of the Sony HX5V that I decided to produce a Micro Review. Due to it’s very basic sound (2 holes on top of the camera) you will notice some wind noise.

If you are looking for a low cost way to add HD video for example : input from the general public talking about life experiences etc then look no further than the £300 Sony HX5V. Note. This does not produce good low light video footage.

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

Sony shows a 35mm SDoF camcorder at NAB possibly using the ALPHA mount ?

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Very unusual…Sony letting a cat out of the bag that’s not due out till 2011…no doubt about it, this looks the business though my first impressions it looks to be a tad front heavy, the lens must weigh a ton yet it’s sitting on a very small body but one things for sure it looks the part unlike Panasonics cine camera effort.

UPDATE : The camera has a 35mm sensor and records video on SxS. It seems that the camera has an Alpha Mount and you will be able to use current Sony Alpha Lenses though the lens on this prototype looks nothing like an Alpha lens…thank goodness. On sourcing a blow up of this picture we can see it is using a 65mm prime lens this is fantastic news for the film boys although I do think this will come at a price.

Once again we are seeing a video manufacturer coming out with a film like camera with SDoF, proper video Hi-Rez swivel viewfinder and XLR sound, I reckon the HDSLR has had a good run for it’s money…but the boys who know how to design proper cine like camcorders will take over…not before time !

Sony – New Small Prototype Digital Cinema Camera – NAB 2010 – Playback from camera department on Vimeo.

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

Panasonic AF101 (UK) targeted at film production with micro 4/3″ interchangeable lenses

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Targeted at the video and film production communities, the AF101 delivers the shallow depth of field and wider field of view of a large imager, with the flexibility and cost advantages of use with a growing line of professional quality, industry standard micro 4/3-inch lenses, filters, and adapters. The full 1080 and 720 production camera offers superior video handling, native 1080/24p recording, variable frame rates, professional audio capabilities, and compatibility with SDHC and SDXC media.

The design of the AF101’s micro 4/3-inch sensor affords depth of field and field of view similar to that of 35mm movie cameras in a less expensive camera body. Equipped with an interchangeable lens mount, the AF101 can use an array of low-cost, widely-available still camera lenses as well as film-style lenses with fixed focal lengths and primes.

The AF101 incorporates a 4/3-inch, 16:9 MOS imager. The camcorder records 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p, 50p, 30p, 25p and 24p (native) in AVCHD’s highest-quality PH mode (maximum 24Mbps). Ready for global production standards, the camcorder is 60Hz and 50Hz switchable.

The AF101 maximises the potential of its high-resolution imager with built-in ND filtering and dramatically reduced video aliasing. Standard professional interfaces include HD-SDI out, HDMI, time code recording, built-in stereo microphone and USB 2.0. The AF101 features two XLR inputs with +48V Phantom Power capability, 48-kHz/16-bit two-channel digital audio recording and supports LPCM/Dolby-AC3.

This newest Panasonic AVCCAM camcorder is the first to enjoy the benefits of advanced SDXC media card compatibility in addition to existing SDHC card support. (SDXC is the newest SD memory card specification that supports memory capacities above 32GB up to 2TB). With two SD slots, the AF101 can record up to 12 hours on two 64GB SDXC cards in PH mode

HDW : Personally I think it could look a bit less like a 1970s cine camera but theres no doubt it will be 10x more practicable than ANY HDSLR on the planet today. At least Panasonic are making an effort but I do think it may be pipped at the post if we are not going to see it till late 2010.

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

Panasonic AG-HMC81 (UK) AVCCAM onto SDHC cards

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With a high-resolution 3-megapixel imager, multiple AVCCAM recording formats, DV support, and enhanced professional functions, the HMC81 delivers the full benefits of AVCCAM for schools, event videographers, government facilities, web designers and corporate users who prefer to work with a shoulder-mount camera and need flexible connectivity and format support. The camera, utilising a professional 3-chip imager, can also take 10.6-megapixel still images and store them as standard JPEGs on the solid state card. AVCHD recordings and stills can be directly played back from the SD card on a wide range of low-cost players including Panasonic Blu-ray players, laptop PCs and game consoles.

The camcorder’s full HD resolution 3-megapixel 3MOS imager produces stunning 1920 x 1080 or 1280 x 720 AVCHD video with high sensitivity. Because the AVCHD format-based camcorder uses MPEG-4 AVC/H.264 high profile encoding – which provides a doubling of bandwidth efficiency and improved video performance over the older MPEG-2 compression based formats (e.g. HDV) – recordings look clean and crisp, even during fast motion, without image degradation or dropouts.

The HMC81 records video in all four professional AVCCAM HD recording modes, including the highest-quality PH mode (average 21 Mbps/Max 24Mbps), the HA mode (approx.17 Mbps), the HG mode (approx.13 Mbps) and the extended recording HE mode (approx. 6 Mbps).

At 60Hz, the camcorder supports the following HD formats in PH mode: 1080/60i, 1080/30p, 1080/24pN, 720/60p, 720/30p, 720/24pN; in HA, HG and HE modes, it records in 1080/60i. In standard definition DV, the camcorder records 480/60i, 480/30p, 480/24p.

The HMC81 records standard-definition DV directly onto SD cards in the AVI Type 2 file format and offers squeeze, letter box and side crop options.

Using just one 32GB SDHC memory card, a user can record three hours of full resolution 1920×1080 video and audio in PH mode, four hours at HA mode and 5.3 hours at HG mode. In the HE mode, the camera can record up to 12 hours of 1440 x 1080 HD content on a 32GB SDHC card. Up to 2 hours of DV content can be recorded on a single 32GB SDHC card.

For the first time in an AVCCAM shoulder-mount, the HMC81 includes such high-end professional features as a user-assignable manual focus ring functions (Focus/Iris/Zoom) for added control; time code/UB recording; time/date stamp; and two wired remote control terminals (for zoom, focus, iris, REC start/stop controls). The camcorder’s lens system captures super sharp images at up to 12X optical zoom and features a 40.8mm (35mm lens equivalent) wide-angle setting. It also offers users useful functions including Optical Image Stabilizer (OIS) for smooth stable shooting, Dynamic Range Stretch (DRS), which helps compensate for wide variations in lighting, and a Cine-Like Gamma mode that gives recordings a more film-like look.

The HMC81 comes standard with HDMI output (AVCHD only), USB 2.0 (mini B-type devices), composite output (BNC x 1), analog component (BNC x 3), IEEE 1394 output (DV only), and a built-in stereo microphone as well as a 3.5 mm external mic-in jack. The camcorder features two locking XLR inputs with switches for mic/line, and +48V Phantom Power capability.

The camera offers useful solid-state recording functions including pre-record, interval recording, shot marker and metadata capture. Additional features include waveform monitor display, focus assists such as focus bar display and enlarged display, auto focus with face detection, white balance, mode display, zebra display, colour bar, tally lamps, slow smooth zoom and soft landing, slow shutter and synchro-scan shutter functions, and three programmable user buttons. A wireless remote is also included.

HDW : Once again we get plastic-cam…Panasonic seem intent on bringing out these strange plastic, cheap looking camcorders and hopefully sell them under the name of “shoulder mount”.

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

ADOBE CS5 is here but not shipping yet

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Today was the big introduction of Adobe’s CS5, the Production suite which most of you will be interested in has some new cool features the main feature being 64bit processing …beating Apple hands down…who knows when or if we are going to see a 64bit version of Final Cut Studio.

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

Sony PMW-320K 1/2″ Shoulder mount camcorder $14,800 (August)

Categories: Miscellaneous 1 Comment

The main difference between the 350 and the 320 are as follows…

PMW-350 = 2/3″ chipset 59dB S/N

PMW -320 = 1/2″ chipset 54dB S/N

Now thats got to give Panasonic a kick in the pants not only do Sony bring out the 2/3″ 350 but they also bring out the 320 1/2″ shoulder mount as well…not a sign of 1/3″ chips in sight !

Sadly it does not come close to EX-3 prices but if you really need that full shoulder mount kudos then two thousand pounds is a lot closer than finding £6K for the 350 and by all accounts its still a lot quieter than the EX-3.

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

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