Sony getting rattled in the USA ?

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After Panasonic announced the EVA-1 camcorder Sony made two announcements to burry the Panasonic news.

Firstly they announced they are working on a full frame sensor ? Fine if you could afford this level of technology, but it will not be anywhere near the $10,000 price mark for this full frame camera.

Then only yesterday announce a $1000 rebate if you buy your FS5 in the USA, thanks Sony Europe ?

Both Canon with the C200 and Panasonic with the EVA-1 have rattled Sony’s cage, but so far only in the USA ? Why ?

This news is good for those of us looking to buy the Panasonic EVA-1 because Panasonic will have to look very hard at the price they charge for the EVA-1 to match the FS5 or indeed beat the FS5 which is $4,749 with the $1000 rebate.

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

Panasonic EVA-1 “Your Questions Answered”

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Panasonic EVA1 “YOUR QUESTIONS ANSWERED”

At Cine Gear Expo 2017 in Hollywood, Panasonic previewed the AU-EVA1 cinema camera. Equipped with a newly designed 5.7K Super 35 sensor and positioned between the Panasonic Lumix GH5 4K mirrorless camera and the VariCam LT 4K cinema camera, the EVA1 generated tremendous buzz since being teased at NAB 2017. Compact and lightweight, the AU-EVA1 is tailor-made for handheld shooting, but also well suited for documentaries, commercials, and music videos.

We asked Panasonic Cinema Product Manager, Mitch Gross, some general questions on the EVA1’s target audience, shooting applications, Dual Native ISO, the 5.7K sensor, and more.

MITCH GROSS: I think you’re going to see a lot of people shooting documentary style work with the EVA1 – talking head interviews and B-roll shots in the field. It’s very convenient for that style of shooting. You’re also going to have people who do news shooting, as well as live event type work such as weddings and sports videography. In addition, there will be people who

will want to rig the camera for specific types of remote work, meaning mounting the camera out on a crane, or jib arm. You want it fully featured yet small and lightweight because the bigger your camera is, the bigger crane you would have to use, just like on a Steadicam. Gimbal devices like a [Freefly Systems] Mo ̄VI or a [DJI] Ronin want a fully featured camera but in a small and lightweight package. With EVA1, you get the dual advantage of having great capabilities while being lightweight and small. Same goes for underwater housings, car rigs, or anytime you need to place a camera somewhere where you want a slimmed down unit that won’t get in the way. You still want to have a capable camera, especially with a Super 35 sensor, and the EVA1 provides just that.

MITCH GROSS: Depending on the type of work you do, EVA1 answers a lot of different needs. It is designed to be a versatile machine that you can plug into a lot of different situations. There are people who have been shooting on smaller cameras such as DSLRs or all-in-one camcorders, and they have felt limitations. At the same time, you have other people who have been shooting on large production cameras and they sometimes have need

for a camera that is slimmed down and more portable. What
we wanted to do was build a camera that could sit in-between those spaces where you could essentially rise up from the small cameras where you want more versatility and you don’t have to fight the machine sometimes. Or you could slim down from a bigger camera for projects where a larger system may be too difficult to deal with or simply too expensive for the production. On the little cameras, you can get amazing work out of these tiny machines but because they’re so small, dealing with the controls can become a barrier and you often must devise workarounds. Shooters put up with the workarounds because these small cameras are so convenient to shoot with. We’ve risen the scale of the camera so now you have these high-end features and easier access to controls in a camera that is a more functional size for most shooters. For users of higher level production machines, we’ve tried to be judicious in keeping as much professional functionality as possible into a compact form factor.

MITCH GROSS: The first thing is that people who are shooting with a [Panasonic Lumix] GH5, is that they are shooting with a Micro Four Thirds sensor and EVA1 contains a Super 35 sensor, which gives you a different look and feel. The larger body size
of the camera, the design of the interface, and where the LCD
is located all give you better access to the controls to make adjustments while rolling. With small DSLR cameras, you can’t comfortably change things as you’re rolling in a run-and-gun style and that’s a problem – you need to be able to adjust on the fly.

In addition, we have proper connectors – real XLR audio inputs, full-size HDMI and locking SDI connectors for video outputs. We have a full-fledged camera that’s designed for video production. It has a removable side hand grip with integrated controls. The EVA1 is designed to be held up to your shoulder as opposed

to way out in front of you, or at your waist. Another example of control you have while shooting video are the integrated ND filters. You have a filter wheel that is built into the camera so you

can adjust exposure as you roll – you don’t have to stop and screw on a filter in front of the lens. The overall design of the EVA1 is to make it more comfortable for video production, as opposed to a stills camera that is doing double duty as a video camera.

MITCH GROSS: Panasonic developed a process to read the sensor’s photosites in a fundamentally different way than it’s traditionally done. More information can be extracted without degrading the image. That effectively gives the imager greater sensitivity and separates the signal from the background noise. It’s essentially a different way of reading the camera sensor
and it gives it two different native ISOs or sensitivities. Whereas in all others cameras, you just dial the gain up to get more sensitivity but you get a lot of noise in the image. You can also do that on the EVA1, but if you just switch between the two native ISOs, they’ll look the same as far as the amount of noise. There are two ways that one might likely want to use this. First, you can shoot with zoom lenses when normally you would have to shoot with primes because zoom lenses generally aren’t as

fast. Instead of having to switch prime lenses, you have more versatility while still getting the right exposure. Another way of using Dual Native ISO is the ability to lower your light levels. In shooting with lower light levels, you will save money, time, and you can shoot with more practical lights in your surroundings. That can be for a high-end production or a more modest production where it can be used for savings, or a stylistic choice.

MITCH GROSS: There are three things. When you start with one resolution and you go to a lower resolution, it always improves the resolving power of the final image. When you start with more and get to less, more information comes through. The result is a more finely detailed image. That can be true when you go from a 5.7K sensor to 4K, UHD, 2K, HD, or 720p – all of which are going to be available on EVA1. Second, there’s more color information. At 5.7K resolution, you have more individual examples of red, green, and blue information – all of which enrich the resulting image in whatever resolution you choose to record. Third, in a future firmware update, there will be an option for a RAW data output from the camera to a separate recorder and that will be available with the full 5.7K resolution. All that data will be made available, which can be used in post in various ways, whether
it’s reframing or gathering extra information to manipulate the image. More is more and it gives you greater choices in what you might do with it in the future.

 

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

Panasonic EVA-1… First Thoughts

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Wow…Panasonic bounce back in style after a five year period of not upgrading the AF101 to 4K in 2012.

Lets look at what we know so far…

Finally a super 35mm sensor which should keep noise down to a minimum.

A Canon EF mount allowing those of us who have Canon or Sigma ART glass to get some fantastic shallow depth of field shots and with electronic image stabilization.

4:2:2 10bit is a major upgrade in quality with V-log and V-gamut. The ability to capture accurate colors and rich skin tones is a must for any filmmaker. Like the VariCam lineup of cinema cameras, the EVA1 contains V-Log/V-Gamut capture to deliver high dynamic range and broad colors. V-Log has log curve characteristics that some would say are reminiscent of negative film and V-Gamut delivers a color space even larger than film. The EVA1 will also import the celebrated colorimetry of the VariCam line.

5.7K sensor with no crop in 4K allowing up to 400Mbps recording to SD cards, similar to the GH5 (after a FW upgrade in the summer).

4K outputs in both HDMI and SDI simultaneously great for monitoring and recording to external recorders.

2K recording up to 240 fps slow motion.

It only ships with an LCD, sadly it does not have a viewfinder though you can get a 3rd party EVF, though it does ship with a sunshade.

Timecode in and out for syncing up external sound recorders or multi camera shoots.

Erik Naso from Newsshooter shows off how small the new EVA-1 is.    ©Newsshooter

I love the size of the camcorder Erik Naso (above) demonstrates this nicely, I also like its looks with the sexy red go faster striping taking it away from the boring regimental black look.

So how does this affect the likes of Sony, Canon, JVC and Blackmagic, firstly JVC does not have a camera at this level.

Sony has the FS5 and the FS7 Mk11 the closest spec. wise being the FS7 Mk11. At £7,614 the FS7 Mk11 is £1,400 dearer and does have the advantage of being out first and becoming a camcorder that everyone is now using from broadcast promos to drama and corporate.

Canon have just announced the C200 but the Panasonic is far superior, spec. wise in every way less the auto focus system.

Blackmagic is the only contender to EVA-1 with their URSA mini Pro priced at £4,919 less EVF (extra £1,434). Panasonic claim the EVA-1 is less than £6,200 ($8,000) to compete with the BM URSA mini Pro it would need to be about £5,200 in my opinion.

I think this is going to be a very popular cine camcorder as it meets all the “wants” from most cameramen and women. With a wide range of EVF’s on the market its a shame you are forced into buying one just to shoot in daylight conditions and find critical focus which cant be done on an LCD without a loupe of some kind.

Panasonic Broadcast have finally redressed the balance with EVA-1, personally I think the GH5 has given them a fright and gone all out to produce a cracking super 35mm camcorder that everyone wants !

Panasonic needs to get the price right on this camcorder so when they quote less than $8,000 (£6,200) and your up against the BM URSA mini Pro at £4,919 incl vat, I don’t think you can genuinely afford to climb beyond £5,200 incl vat and lets be honest its also up against the massive sales of the Panasonic GH5 at £2,000 incl vat (with XLR unit) with very similar specs.

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

NEW…The Super 35mm Panasonic EVA1..Less than $8000

Categories: Miscellaneous 3 Comments

Designed for handheld shooting, the camera is equally suited to documentaries, commercials and music videos. By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down sampled to 4K, UHD, 2K and even at 720p. The increased colour information results in a finer, more accurate finished image, enabling the user to capture true cinematic moments.

Compact and lightweight, the AU-EVA1 is tailor-made for handheld shooting, but also well suited for documentaries, advertisements, and music videos. The compact size and new 5.7K sensor mean that the EVA1 fills that gap for a variety of filmmaking applications.

Sensor

  • Super 35
  • 5.7K
  • Dual Native ISO – Panasonic’s method to extract more information from the sensor without degrading the image
  • Advanced Colorimetry

Lens/Image Path

  • Native EF Mount
  • Electronic Image Stabilisation (EIS)
  • IR Cut In/Out (Panasonic claims that “Unique photographic effects and night vision imagery are possible with this control over infrared”
  • Integrated ND Filter Wheel (2/4/6 stops)

Processing

  • 4K60p / 2K up to 240p
  • 4:2:2 10-bit
  • The camera can record in several formats and compression rates. A complete breakdown of recording formats will be available at the time of the EVA1’s release.
  • Video Codec up to 400 Mbps
  • V-log & V-gamut
  • 4K outputs in both HDMI and SDI simultaneously
  • SD Card Recording
  • 5.7K Raw Output to third-party recorders via a future update.
  • Dual native ISO

Other

  • XLR Audio Inputs
  • HDMI & SDI 4K Video Outputs
  • Removable handgrip (for easy mounting on drones, gimbal rigs or jib arms)
  • Timecode in/out
  • LCD sun shade included
  • Compact form factor and lightweight –  1.2kg/42.3 oz. (body only)
  • 6.69“ x 5.31“ x 5.23“ / 17cm x 13.5cm x 13.3cm (LxHxW)
Our compact and lightweight cinema camera, the AU-EVA1 contains a newly designed 5.7K Super 35mm-sized sensor for capturing true cinematic images. By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down sampled to 4K, UHD, 2K, and even 720p. The increased colour information results in a finer, more accurate finished image.

Night city square in Krakow, Poland

The EVA1 includes dual native ISO like the VariCam 35, VariCam LT and VariCam Pure. Utilising a process that allows the sensor to be read in a fundamentally different way, dual native ISO extracts more information from the sensor without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity without an increase in noise, or other artifacts. Dual native ISO is allowing cinematographers to use less light on set, saving time and money, as well as allowing for a great variety of artistic choices.

The ability to capture accurate colours and rich skin tones is a must for any filmmaker. Like the VariCam lineup of cinema cameras, the EVA1 contains V-Log/V-Gamut capture to deliver high dynamic range and broad colours. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a colour space even larger than film. The EVA1 will also import the celebrated colourimetry of the VariCam line.

Weighing only 1.2Kg (body-only) with a compact form factor (17cm x  13.5cm x 13.3cm) and a removable handgrip, EVA1 can be used for efficient handheld shooting applications and can also be mounted on a drone, gimbal rig, or jib arm for complex yet smooth camera moves. The camera is therfore tailor-made for handheld shooting, but also well suited for documentaries, commercials, and music videos.

The EVA1 records to readily-available, lower-cost SD cards. The camera can record in several formats and compression rates, and offers up to 10-bit 422, even in 4K. A complete breakdown of recording formats will be available at the time of the EVA1’s release.

The camera utilises a native EF-mount, giving shooters access to the broad EF lens ecosystem, including dozens of cinema-style prime and zoom lenses from numerous manufacturers. Electronic Image Stabilisation (EIS) is employed to compensate for camera shake and blurring, which will help smooth out handheld or shoulder-mount shots on documentary or run-and-gun projects. Behind the lens mount, an integrated ND filter wheel in 2, 4, and 6 stops allows for precise exposure control. The EVA1 also allows the IR Cut filter to be swung out of the path to the sensor at the push of a button. Unique photographic effects and night vision imagery are possible with this control over infrared.

As a professional video production tool, the EVA1 offers dual balanced XLR audio inputs and 4K-capable video outputs in both HDMI and SDI.

Here is a video from the boys at Cinema 5D

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

Travel Scotland with a DJI Mavic Pro

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John Johnston, no relation, shot over 6 months with the DJI Mavic Pro, capturing some of Scotlands best landscapes from the air.

HDW : Some nicely shot drone footage, taking time to think about his shots, having seen and used the DJI Mavic Pro first hand last weekend on a non paying job I am more than impressed with this drones footage.

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

Canon’s new EOS C200 £7699

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The Canon C200 is a compact cinema camera capable of shooting 4K 50p, or continuous 120p in full HD without crop. The C200 also features internal Cinema Raw Light capture – the first camera in the EOS range to support this new RAW format. This can all be seamlessly recorded internally to a CFast 2.0 card, and is powered by dual DIGIC DV6 processors.

Key Features: Canon C200 4K Camcorder

  • The first Cinema EOS camera to support Cinema RAW Light: Cinema RAW Light offers the same flexibility and quality as Cinema RAW while outputting far more manageable file sizes
  • High frame-rate recording: The C200 offers 4K capture at 50fps and 1080p capture up to 120fps internally, all without a crop
  • Up to 13 stops of dynamic range: While shooting in RAW or C-Log the C200 can capture an impressive 13-stops of dynamic range, allowing greater flexibility when capturing highlights and shadow details
  • Wide ISO range: An ISO range of 100-102,400 ensures impressive performance even in low-light conditions
  • Built in neutral density filters: Built-in ND filters provide up to 10-stops of light transmittance, providing even greater flexibility when control the light in a shot, and depth-of-field control

Cinema RAW Light A new flexible codec that offers all of the benefits of shooting RAW without the excessively bulky file sizes. Canon have worked with their partners to provide a codec that pushes the boundaries of what’s possible, while ensuring it remains compatible with the major colour-correction applications.

Ergonimically designed for maximum usability Featuring a next generation Dual Pixel CMOS autofocus system, connectivity, and reliability all in a compact 1.4kg package, the C200 was engineered to meet the needs of the modern videographer.

Powered by Dual DIGIC DV6 processors The C200 boasts enough power to record high frame-rate 4K internally at 150mbps and even 2K at 35mbps to SD card in MP4 format.

Specications:

  • Sensor: Super 35mm type CMOS
  • System: RGB primary colour filter
  • Total pixels per sensor: 4306 x 2340
  • Dynamic range: 13 stops (Canon Log3)
  • Processor: Dual DIGIC DV6
  • Lens mount: Canon EF Mount
  • ND Filter: Clear, 2, 4, 6, 8, 10-stop
  • Focus control: Manual, Auto (Dual Pixel Approximately 80% vertical, 80% horizontal)
  • Iris control: Manual via camera body, fine, ½ or 1/3 step increments, Auto, Push auto
  • RAW recording options:Cinema RAW Light, MP4
  • Recording time (CFast 2.0): 128GB 15 mins (4K Cinema RAW Light 1Gbps VBR)
  • Recording time (SD Card): 128GB 110 mins (MP4, 150mbps) 485mins (MP4, 35mbps)
  • Frame rate:
    • 59.94 Hz mode (59.94/29.97/23.98P)
    • 50.00 Hz mode (50.00/25.00P)
    • 24.00 Hz mode (24.00P)
  • Slow/Fast motion: Yes
  • Interval record: Yes
  • Frame record: Yes
  • Pre-record: Yes, 3 seconds
  • Relay recording: Yes, SD only
  • Double slot (simultaneous): Yes, SD only
  • HD-SD conversion: No
  • Monitoring: Wave form, Colour bars (SMPTE / EBU / ARIB), Peaking, Zebra, Markers
  • Built in EVF: Yes, 1.77m dots
  • Display panel: 4 inch diagonal LCD monitor 1.23m dots
  • Audio in:XLR x 2, 3.5mm audio, AES/EBU digital or Analog Audio input, Line, Mic, +48V Phantom Power
  • Headphone output: Yes
  • HDMI: Yes, HDMI 2.0
  • USB: Yes, Mini-B Hi-Speed

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

Manfrotto recall their new Nitro N8 fluid head

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At Manfrotto we take product quality and customer safety very seriously.

During the review of a pre-production Nitro N8 Fluid Video Head by a leading industry magazine, we identified an opportunity to further improve the Counter Balance System (“CBS”) when operated under excessively demanding conditions.

Operating a Nitrotech head according to product instructions is perfectly functional and safe, however, as quality and customer service are top priorities for Manfrotto, we have decided to perform a slight revision to the CBS system to avoid the possibility of product breakage resulting from potential product misuse.

While we have not been informed of any product failures by any users, Manfrotto has decided to voluntarily replace all Nitrotech video heads shipped to date with heads featuring the improved CBS system at no cost to the end users.

Customers receiving replacement Nitrotech video heads will also receive a complimentary Spectra LED light to further enhance their video making experience.

Marco Pezzana, CEO of Manfrotto commented:

“Manfrotto products are manufactured to the highest standards and rigorously tested, and we are committed to ensuring that the product performs perfectly every time and in every situation. While none of our tests have ever indicated an issue and while we have not been informed of any failures by any users, we have decided, as quality and customer service are top priorities for us, to voluntarily replace all Nitrotech video heads shipped to date, implement a slight revision to the CBS system, and provide a replacement to those affected customers”.

Customers who have purchased a Nitrotech video head are invited to contact Manfrotto at:

We expect Nitrotech replacement heads to be available from the second half of July 2017.

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

Interview with cameraman Mark McKillop filming BBC Drama “River City”

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Mark and I worked for the same video company (Flashback Video) over 30 years ago and this is almost the first time we have met in all this time.

I got to film in the Oyster cafe for the afternoon with my two GH5s running at 4K 50p, I had my FZ2000 filming a wide shot of both of us, seen below.

Between Mark and myself is the first camera we ever used in out careers the three tube JVC KY1900.

Surprisingly they were using Sony PXW-X500 XDCAM camcorders using three 2/3-inch type Full HD CCD sensors. I thought it might have been Sony FS7’s or F55’s for a more filmic look.

Mark with his dog Timber.

Mark with second cameraman Ray Houston another friend from my freelance days at STV.

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

End of the week preview…A Taste of NEW YORK

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Peter “This is the third episode of our independent “A Taste of New York“ time lapse series. In September 2016 we visited this awesome city to try out some new time lapse stuff.
It took us 10 days, a lot of burgers and one helicopter ride to produce this video. 10 days is very little time to discover this city of endless opportunities, so we hardly slept anything and shot day and night for this time lapse film. The city that never sleeps indeed!”

The Taxi shot:
Over the 10 days we took photos of yellow cabs whenever we had time to from as many different angles as possible. So we gathered 2000 (!) photos in total we had to sort afterwards and compile to a hyperlapse around a cab in post production. It took us 5 whole days in post production to get this one shot.

Technical Details:
In 10 days we shot 65.000 Photos taking up 2,6 TB of our hard drives. The final 3 minute video took 36h to render on the best equipped iMac available.

Equipment used:
+ Sony a7rII
+ Sony a6300
+ 2x Canon 6D
+ Canon 11-24mm F4
+ Canon 24-105mm F4
+ Tamron 150-600mm
+ Tamron 24-70mm F2,8
+ Zeiss 24-70mm F4
+ Emotimo Spectrum
+ Pocketslider
+ Edelkrone SliderPlus
+ Came TV Single
+ several tripods from Sachtler, Manfrotto and Togopod

A Taste of New York from FilmSpektakel on Vimeo.

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

River City behind the scenes coming soon on HD Warrior

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I was invited by Mark McKillop to visit behind the scenes of one of BBC Scotland’s long running soaps, River City.

I actually worked with Mark in 1982 at a company called Flashback Video.

I managed to use the well known “Oyster Cafe” for my interview with Mark, everything you see has been built from the ground up as a permanent set to film River City.

The interview was produced on two GH5’s running at 4K 50p and a third wide camera the FZ2000 running in HD 200Mbps. It will be edited on an HD timeline.

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

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