Canon EOS-m4/3 adapter…just on time for the Panasonic AF101

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So how does this work… I order an adapter from HONG KONG to test the Canon L Glass on my G2 six days ago and it arrives today by FedEX…then I order a camera from down south 4 days ago and INTERLINK tell me they have too much of a backlog to process my order which I payed for an overnight delivery.

The EOS to mFT adapter has arrived and I can now confirm that your Canon glass on an AF101 will be as follows 24-70mm f2.8 = 48-140mm f2.8 fortunately it remains a 2x conversion, the good thing is to be able to use L glass and have the extra speed at f2.8mm.

The adapter is made by KIPON, Hong Kong and is better than I was expecting, though the results on the AF101 may be a different kettle of fish.

It had been mooted that it’s not clever to have the iris at the back of the lens but having done sone preliminary tests it does not seem to do any harm, I shot some white card at various iris settings and fully shut down you get vignetting at the corners.

My test baby had one 20W halogen light on her face, the camera a Lumix G2 HD had the EOS adapter and a Canon 50mm f2.5 macro lens, shooting at a 60th of a second @ 200 iso hand held and it looks very good indeed.

As you can see the Kipon adapter is well made with a 14 leaf iris built into the adapter itself and has a locking pin (at 3pm on a clock face) which is a slight mystery to release at first if like me you attach the adapter then the Canon lens without thinking.

So far this adapter has performed admirably with the short amount of testing I have been able to perform but this is a stop gap for me as the USA adapter promises to be better built, electronic and wireless comms to a remote pull focus control. At least I am able to tell you all that your Canon Glass needs to be multiplied by 2 times when using an adapter on the AF101. This brings it’s own problems sourcing a decent wide angle Canon lens.

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A Working model of REDs EPIC light (Scarlet renamed)…”too little to late”

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This is the very first public footage of a working Red Scarlet Fixed Lens camera. I’m currently at Red Studios helping with the Santa Fe 3d Workshop with Geoff Boyle. Just as I am sitting there…in comes Jarred with a WORKING Red Scarlet 8X fixed camera! Naturally I was dying to hold the camera. As Jarred passed it to me, he told me I was the first public person to hold a working Red Scarlet. Let me tell you folks, it is real and is working. The Scarlet I was holding had the 5inch lcd touchscreen. The lens gear ring which can be set to zoom, iris or focus is buttery smooth. QUALITY. The electronic zoom works like a charm. I used the up-down rocker on the camera to zoom in on a Jeep in the parking lot (though I was “Mr. Shakey” due to the sheer excitement of finally getting to hold the Red Scarlet.) Justin O’Neill and I got to see it for a mere brief moment and off it went back to the vault. This should be comforting to those who may fear that RED wouldn’t have time for the Scarlet with all the Epic buzz going on. This gives me more confidence that the Red Scarlet is definitely around the corner. I have been really lucky to have held both the Epic and Scarlet. The Scarlet is lighter in weight than the Epic even with the fixed lens. This is due to the Scarlet body being more narrow. The weight felt very good and the camera felt rugged. Touch screen controls were functional. Enjoy!

HDW : Interesting but I think Panasonic and Sony have taken the lions share of REDs intended market with the very popular AF101 and the F3 due in January 2011, both cameras with interchangeable lenses unlike Scarlet with an 8x fixed lens !

RED have their following but don’t have the production might of Panasonic or Sony, I have my doubts having a fixed lens that Scarlet has the appeal for DPs or photographers, it’s just too limiting, knowing the AF101 was in the offering at £4000 you would think Jim and his team would have changed direction and made Scarlet an interchangeable lens camera.

UPDATE : Jim Jannard has said in the forums that for their most humble camera offering, “the features have changed as has the price. I’ll update in the next two weeks.”It’s now the “Epic Light,” which reflects that it’s really just a compact and differently-spec’ed version of their new digital cinema camera.

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Sony Vegas Pro for $399.95 get Sound Forge Pro FREE

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Click on this link…

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Sony open a new Customer Experience Centre in Basingstoke

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Sony Professional has unveiled its first European Customer Experience Centre at its offices in Basingstoke, UK. The new resource will allow visitors to gain an understanding of the latest broadcast solutions in a relaxed and comfortable setting reflecting the work Sony is doing to ensure that the customer is at the heart of its propositions. The centre boasts a state-of-the-art 3D broadcast training facility, ensuring that stereographers and camera operators are equipped with the skills required to ensure that live broadcast 3D is a success.

The Centre is equipped to demonstrate the Sony ‘lens to living room’ story. The sizable training area contains 3D rigs and camera systems allowing users to learn how to capture the best 3D footage while dealing with issues such as changes in lighting, temperature and speed of action.  A section of the main lounge is set up as a production gallery, enabling visitors to experience the MPE-200 multi format processor box, which is central to the production of high quality live 3D. Customers are then able to view the output of their work in the lounge area where professional 3D monitors and consumer 3D BRAVIA televisions are set up.

Aside from 3D solutions, visitors will also be able to experience a fully functional TV production gallery including the latest switchers and Sonaps system. A further demonstration area will allow customers to get to grips with the latest software offerings, including XDxchange, Media Backbone and Ensemble. As well as the static broadcast solutions, customers are able to visit the Solutions team, who are responsible for large scale broadcast transformation projects as well as the design, fitting out and testing of Outside Broadcast trucks.

David Bush, Director of Marketing, Sony Professional, commented; “Until now our ability to demonstrate a functional broadcast workflow to customers has been restricted due to the space and equipment requirements. This new Experience Centre will change that, allowing us to work with our customers to understand the issues which they face and working collaboratively to solve them.”

Bush, went further; “We know from the Sony 3D Technology Centre in Culver City, USA, that customers are appreciative of being able to experience equipment and improve their skills in a comfortable, relaxed atmosphere. We hope that our European customers will gain the same benefits, from this, our first Customer Experience Centre in Europe.”

An exciting extension to this Centre is the upgrade taking place in the current Studio+ facility.  This area is being transformed into a fully fitted cinema complete with 2K, 4K and 3D projectors.  This project is due for completion in January 2011 and will complete the Sony Professional Customer Experience Centre.

While I was at IBC during the year Sony had a prototype shoulder mount 3D camcorder sitting in a glass case, there was no price or availability, this professional Full HD 3D camcorder features four SxS memory slots, left and right channel HD-SDI outs, and a dial for adjusting the point of convergence, extremely important when shooting professional 3D videos.

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Hi Rez pictures of the Panasonic AF101

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So here we are…finally some good Hi Rez pictures of the Panasonic AF101, the PL mount in this case is the MTF PL to Micro Four Thirds Adaptor. This is proving so popular with customers that Mike from MTF ran out last week but he is expecting to have more from today.

We have not really had a chance to view the business side of the camera in such detail, I am glad to see a small joystick being used on the “FUNCTION” mode, I do hope this is an alternative navigation to the thumb wheel seen at the front of the camera. A nice touch is the removable panel covering the audio level controls. Note the mode button far right just above CH2 and the letters CAM & PB which can only mean “Camera” or “Playback”. Interestingly the OIS button will only work if you have Panasonic Micro Four Third lenses with the OIS switch. The 14-140mm lens has the OIS switch and this in my opinion will be “standard lens” for the AF101. Great to see a decent ND filter ring from 0 to 1/64 ND.

The two SDHC slots are at the top and a nice indication in yellow as to which slot is in use. There is HDMI, SDI and composite out and note where the headphone socket is.

This side is a bit like the dark side of the moon, a side we haven’t seen that often, note we have line and mic switches, the phantom power is switchable on the opposite side of the camera. This camera has grown on me since the early prototype… as one DP called it “an ugly duckling with a swan like picture” thats a perfect description of this camera. As they say it’s not all down to looks, it may be a tad boxy but from all accounts the camera performs and performs well and that’s the bottom line.

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Peter Jackson with his RED EPIC

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The successor to RED’s industry changing RED ONE, the EPIC has 5K resolution, can shoot up to 120 frames per second and has a new HDRx™ mode for the highest dynamic range of any digital cinema camera ever made. Taking everything they had learned from building their first camera, RED designed the EPIC from scratch and have produced a smaller, lighter camera that is an order of magnitude more powerful.

The Hobbit will be amongst the first productions in the world to use the EPIC and at least thirty cameras will be required by the 3-D production. The EPIC’S small size and relatively low weight, makes it perfect for 3-D – where two cameras have to be mounted on each 3D rig.

Jackson has a long history with RED, dating back to when he directed the short film ‘Crossing the Line’ as a very early test of prototype RED ONE cameras. “I have always liked the look of RED footage.” he says, “I’m not a scientist or mathematician, but the image RED produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the EPIC, Jim and his team have gone even further. It is a fantastic tool, the EPIC not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The EPIC gives us back the ability to be totally cable free, even when working in stereo.”

Jim Jannard the owner and founder of RED flew to New Zealand earlier this year with members of his team so that Jackson could test the EPIC and assess its suitability. “Everybody at RED is incredibly proud that Peter has chosen the EPIC” says Jannard, “The Hobbit is a major production, and could have chosen any camera system that they wanted. The fact that they went with us is extremely gratifying.”

The Hobbit will start shooting in New Zealand early 2011.

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Vote for The Footy…please

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My son Scott runs his own football blog and as anyone can tell you there is nothing he does not know about football, he has been entered into a competition and needs votes…your vote…he is currently second place so if you would not mind clicking onto the link below and voting for The Footy…thank you.  PS. The “Blog” he is up against “Inside Left” is no longer blogging !!!


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Stunning Canon 7D footage from Oton Bacar

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7D 2000 fps from Oton Bačar on Vimeo.

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Everyone want’s a Panasonic AF101

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The world has gone AF101 mad, just over a week till we get the first production models from Panasonic and the phones are red hot with orders…the AF101 is going to be an all time best seller for Panasonic and they will need to up production in order to keep up with demand.

DPs from all over the UK are pledging their support with pre orders, some people are paying up front to beat the 20% vat rise due in January. The last time we had such a rush on a camera was about three years ago with the introduction of the Sony EX-1 but we have not seen such enthusiasm for a long time.

The camera has sparked off so many other facets like Micro Four Third lenses, Prime Lenses, 4/3 lenses, Canon & Nikon lens sales, Lens adaptors, Matte boxes, camera bags, spare batteries and even SDHC card sales.

As we draw closer to “AF101 day” people are craving as much information as possible, bloggers like Philip Bloom and Barry Green have been one of the lucky few to actually shoot with almost production models which is why Panasonic are now struggling to make the December due date as they made final tweaks after taking on ideas and comments given to them from Philip, Barry and a small band of lucky shooters.

Everyone has commented on how fantastic the picture is from the AF101, my chap in the USA, Erik, has a model sitting on his desk as I blog and he is very impressed with the camera. Erik is putting the final touches to his Canon adaptor which will have full control over aperture and focus…electronically, pricing and pictures next week.

I am really exited by this “predicted” phenomenon, the Panasonic AF101 is taking the world by storm and is bringing a lot of third party sales with it, in these hard times it’s good to see such enthusiasm and commitment to a variety of products…all for that coveted shallow depth of field in a camera that’s finally fit for purpose.

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A Canon to micro 4/3 mount from Hong Kong (£94)

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Those Hong Kong manufacturers have impeccable timing. Just as Panasonic are about deliver the AF101 out comes the best adapter for Canon lenses on the Panasonic GH2 DSLR yet seen. For the first time this one allows you to control the aperture and it costs £94 including postage to the UK.

The iris in Canon EF and EFS mount lenses is electronically controlled, like on many modern lenses. There hasn’t yet been an adapter which promises a full electronic interface between camera and body although an engineering company in the US is working on one, more info plus pictures next week.

So no auto-focus or OIS yet – but at least now we have aperture control.

Canon lenses are wide open when not connected to a Canon body, so this adapter has it’s own iris – a very nice 14 blade aperture, most lenses have half that number of blades. You will get gorgeous round bokeh with it along with the advantage of a sharper image when stopped down even just a little. Most fast F1.4 EF lenses sharpen up around F2, for example.

This will go well with the 85mm F1.8, the 50mm F1.2 and even help get an extremely deep depth of field on super wides, although it will not work with lenses that have unusual mechanics like the 10-22mm with it’s internal zoom and focus system.

IMPORTANT NOTE : This adapter is not compatible for Canon EF S lens, such as:  EF S 10-22mm; EF S 15-85mm; EF S 17-55mm; EF S 17-85mm; EF S 18-55mm; EF S 18-135mm; EF S 18-200mm and the EF S 55-250mm; EF S 60mm.

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