IBC 2014

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IBC-2014

Amsterdam RAI is the place to be from the 12th of September if you want to see all the new gear from Sony, Panasonic, JVC, Canon, BlackMagic to mention a few.

RAI

PanaVARI

Panasonic will be showing off their new 4K VariCam as well as the new HC-X1000 which I am told comes from Panasonic consumer as well as the GH4.

4K-Panasonic

 

PXW500

Sony will have the new PXW-X500 broadcast camcorder and the PXW-X70 hand held 1″ camcorder as well as the A7s and the new FS7 4K camcorder more details later today.

pxwx70_side_one

 

850-full-pic

JVC will be showing their new GY-HM850 camcorder with live streaming capabilities.

More news and details to follow from IBC 2014.

 

 

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

Ikegami HC-HD300 camera

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Ikegami-HC-HD300-front

 

Ikegami has chosen IBC2014 as the venue for the introduction of the HC-HD300, a compact and aggressively-priced high-definition camera designed for a wide range of applications. These include satellite and cable television presentation studios, independent programme-making, training studios and religious television channels.

The HC-HD300 is equipped with a 1/3 inch bayonet lens mount and employs three 1/3-inch CMOS progressive-scan sensors, each with 2.2 million pixels, in RGB prism formation. It delivers high quality pictures in all commonly used HD video formats: 1920 x 1080/59.94i, 1920 x 1080/50i, 1280 x 720/59.94p, 1280 x 720/50p and 720 x 480/59.94i (NTSC), 720 x 576/50i (PAL).

Typical performance characteristics of the HC-HD300 in 1080/59.94i output mode are 1,000 television lines horizontal resolution, 58 dB signal-to-noise ratio and 2,000 lux sensitivity (89.9 per cent white reflection) at F10 aperture. Equivalent aperture in 1080/50i mode for this light level is F11.

Camera gain be attenuated from mid level to -3 or -6 dB, or increased by +3, +6, +9, +12 or + 18 dB. Integral neutral density filters (100 per cent, 25 per cent, 6.2 per cent and 1.6 per cent) can be switched in as required, plus operator-selectable 3,200, 4,300, 6,300 and 8,000 kelvin electronic colour conversion. An electric shutter can be set to 1/100, 1/120, 1/250, 1/500, 1/1,000 or 1/2,000 second speed.

The HC-HD300 weighs 4.5 kg including FA-300 fibre adapter and measures 139 x 270 x 337 mm (width x depth x height). Operating voltage range is 11 to 16 volts and power consumption (excluding FA-300) is 19 watts. The camera is designed for use within an ambient temperature range of -20 to +45 Celsius and 30 per cent to 90 per cent non-condensing operating humidity.

Available options include the newly-developed FA-300 fibre adaptor and BSF-300 base station. The HC-HD300’s output cable is fitted with a Neutrik opticalCon Duo connector to provide efficient protection against dust. Up to 250 metres of cable can be connected direct to the camera, extendable to 10 kilometres by using external power.

Supporting features of the HC-HD300 include the focus assist and lens aberration correction functions employed in Ikegami’s established UnicamHD range of cameras.

The Ikegami HC-HD300 will be deliverable from December 2014.

Details of the full Ikegami range of broadcast cameras can be seen at http://de.ikegami.co.jp/products/broadcast/camerasystem/

Ikegami’s Broadcast and Professional Video Division will exhibit on stand 11.A31 at IBC2014, RAI Amsterdam, September 12-16. Company representatives will include Masanori Kondo (President, Ikegami Europe), Peter Grimm (General Manager, Broadcast Business Development) and Michael Lätzsch (Broadcast and Professional Video Division Manager).

Ikegami-HC-HD300-rear

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

Five figure sum for using copyright music online !

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Joe-v2

Copyright infringement can be a costly exercise and for one young American wedding videographer it nearly cost him his business…

Ron Dawson of Dare Dreamer Magazine…

“One of the first questions a “new born” wedding videographer will undoubtedly ask is “I have this bride who wants to use [insert popular music artist of the day] for her wedding video. Can I use it if she gives it to me?” Or, “Can I use it if I buy it on iTunes?” Or some version thereof. Just for the record. The answer is unequivocally “NO!”

Well. Maybe I’m being a tad melodramatic. But, I am not embellishing when I tell you that on one Facebook group, there are hundreds and hundreds of posts about this topic.

Shannon_Steven-slide

Hi Joe. Was this super viral video the straw that broke the camel’s back?

I can’t discuss the details of the suit, but it is real. I did have a video that went viral, we had used a very popular song on it, someone saw it and brought it to the attention of the labels legal team and from there they came after us. Getting that letter in my inbox and as a fax was super scary. You always here “they’ll just send you a cease and desist letter and you take it down” and I always thought that would be true. But the letter that came through and they wanted a lot of money for damages, it the tune of $150,000 for one song. If that didn’t scare you straight I don’t know what would. I spent the next month or so going back in forth with the label to reach a settlement, it was a huge stress on my business and my life and I would never wish this on anyone else. I can’t say what we settle for but it looked like this $XX,XXX , which is a LOT of money for a small business.

What are the top 5 tips or things you’ve learned, that you can teach those wedding videographers out there when it comes to using legally licensed music?

1 – Read the fine print for the sites you are buying music from, each is very different and you want to make sure you are not violating their restrictions. Because if you do you are right back where you started, using music illegally.  Some have only one year licenses and others 5 year licenses. Always read the fine print.

2 – Educate your clients about the laws of music copyright.

3 – If you are using multiple music licensing sites make sure to check them all, they may have the same song and one could be cheaper than the other.

4 – Don’t just settle for the popular songs on the licensing sites, dive deeper into it and find the more obscure songs that will have the best impact on your audience.

5 – Make suggestions to the music licensing sites, they would love the help in finding music that you love to use and chances are they can get the songs for you! They can’t read your mind, help them get better music for all of us.

Read the full story at Dare Dreaming.com

http://daredreamermag.com/2011/12/07/the-music-licensing-chickens-have-come-home-to-roost-in-wedding-and-event-videography/

PRS

On the back of this I decided to phone PRS, PPL and MCPS to get a handle on this problem…

PRS told me that a wedding is a personal event and so is the music played on the day, the key information here is that no one pays to watch a wedding but if you use copyright music i.e. over the photographers section it only becomes a problem if it is posted online.

That sent out some very strange signals to me but remember there are two further companies involved in this copyright music mess.

A children’s dance show hits a different set of criteria because the parents pay to watch the show you will need to buy a licence from MCPS.

PPL

If you want to record music being played at a wedding you must have one of these licenses…A PPL licence can be purchased from the Institute of Videography (IOV)

IOV “This licence is issued on behalf of the Record Company and the Performers, and enables you to record their music in actuality (such as that being played by a DJ at a wedding reception) and to dub music on to the wedding video in post production.  The licences are in the form of holographic stickers which must be applied to all DVD copies of the video.”

For a five DVD wedding you are looking at £20.50

For a 50 DVD dance show you are looking at £62 per show !

MCPS

IOV “This licence is issued on behalf of the Composers and Publishers, and enables you to record and dub their works (music score and lyrics). Each event or production will require a separate licence, and the cost is governed by the number of copies being made of the original – and the duration of music included.”

For a five DVD wedding you are looking at £15.32 up to 25m of music used per production.

For a 50 DVD dance show you are looking at £85.79 for a two hour show.

So there you have it a 2014 up to the minute look at keeping your video production company legal especially if you produce live events like weddings, dance and stage shows. My advice is to stick to non copyright music at all times unless you have a good reason or a client who is willing to pay big bucks for copyright music, especially on corporate videos and anything online.

The Institute of Videography give special pricing for PPL and MCPS licenses  http://www.iov.co.uk/showarticle.pl?id=4202;n=918

 

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

The NEW Panasonic HC-X1000 4K camcorder

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4K-Panasonic

Panasonic’s HC-X1000 4K DCI/Ultra HD/Full HD Camcorder can help ease your transition, or allow you to jump right into 4K. The camera shoots and records cinema 4K at a true 24p, and UHD at broadcast compatible frame rates, so it fits smoothly into your existing broadcast workflow. The HC-X1000 features a 1/2.3″ MOS sensor that is always shooting at 4K resolution, and uses its two built-in Venus processing engines to scale the 4K image for Full HD delivery.

The built-in 20x Leica Dicomar lens features four lens groups, and electronically linked geared iris rings for manual control. The camera supports two optical image stabilization modes, one for 4K, and a different mode when shooting in HD, Two viewfinders provide you a choice when operating the camera with either a traditional tilt up color EVF, or a pull out LCD high resolution touch screen. The LCD touchscreen is positioned above the lens for a more natural viewing experience when shooting handheld.

The camera records in .mp4, .mov, or AVCHD codecs, and features dual SD media card slots. Please note that Panasonic recommends using SDXC cards rated as UHS-1 U3 for recording at the highest bit rates. The camera incorporates two SD card slots, allowing you to use relay recording, simultaneous recording and when recording HD you can use Panasonic’s background recording mode.

In 4K recording mode the camera utilizes Power O.I.S., checking and compensating for handshake up to four thousand times a second. In HD mode the camera employs 5-axis hybrid O.I.S. compensating for side-to-side, up-down, forward-back handheld shake.
The HC-X1000 features electronically linked zoom, focus, and iris rings on the lens. The rings are textured for better tactile feel, and the movement and control of the rings simulate the feel of mechanically linked lenses.
The camera features built-in selectable physical filters, a clear, 1/4, 1/16, and 1/64th ND for exposure control when shooting outdoors.
The camera records in either MP4, MOV or AVCHD Progressive. It will only record in 4K/UHD using the mp4 codec, however, all codecs support recording in full HD. MP4 & MOV recording support a 200 Mb/s all intra frame codec, which requires less computing power to playback.
A built-in IR emitter and IR recording mode allow you to shoot at 4K, and HD, in complete darkness without any visible light, although your images will have that familiar greenish IR look to them.
An illuminated ring lets your subject know when you are recording by changing from blue to red. Although this is pleasant in appearance, this feature can be disabled in the camera’s menu.
side
Camera Assist Functions:

  • Histogram: Displays the image as a brightness graph.
  • Zebra: indicates areas of overexposure by overlaying a striped pattern on the overexposed portion of the image.
  • The built-in electronic color bars allow you to calibrate your monitors, and can be recorded for playback.
  • You can activate a level indicator overlay, which can be useful to check the camera is level when shooting handheld or with a stabilizer.
  • Intelligent Auto: Two modes, iA and iA Plus allow the camera to select the appropriate scene mode for the scene you are shooting. In iA Plus mode you can adjust the brightness and color, while allowing the camera to control the other settings.
The camera incorporates a built in microphone, and two 3-pin XLR audio inputs for line or mic level input. Manual adjustments are via dials set into the side of the camera so you can adjust the levels during the shot without having to pull up a menu function. The dials are inset, making it less likely to accidentally change the settings.
Control and monitor the HC-X1000 in real time from a distance by using the Panasonic Image App on a smartphone or tablet device. With the camera’s NFC capabilities you can easily connect to your NFC enabled smartphone or tablet. If your smartphone or tablet is not NFC enabled, you can use QR codes to make the connection.
The 4K images that are taken by the HC-X1000 are compatible with a wide variety of nonlinear editing software, such as Apple Final Cut Pro X, that are available separately. Plus, the included HD-Writer XE2.0 software also supports the 4K video files for editing and file management, and is available for download.

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

RUMOUR… A new 4K Sony camera has been spotted

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Sonys-new-camera

Picture from www.filmaker.cn

Eh…seemingly this strange looking camera is the replacement for the Sony FS700.

Nevertheless, the FS700 was a ground-breaking camera with its high-speed HD capabilities (240 FPS at HD 1920 x 1080). And it has steadily gained a great reputation for its images – easily rivaling much more expensive cameras in the right conditions. Perhaps the biggest weakness was its codec, which was AVCHD.

Sony Alpha Rumours says that it will have the “same sensor size” as the F55. That wouldn’t be surprising. What wouldbe surprising is if it were exactly the same sensor as the F55, which would mean that it would have a global shutter. We don’t think this is likely.

According to the Chinese Site www.filmaker.cn the new FS700 will have Sony Raw and S-log 3. It will also support 180 fps continuous. What we don’t know is at what resolution.

In fact, what we don’t know is anything at all, with certainty. But we strongly believe that this is real.

Nor do we know when it will be launched, but given the proximity of IBC (starting next week in Amsterdam), we wouldn’t be surprised if it were officially revealed then.

Eclair

One of my readers compared the back end to looking like an ARRI mag which I had not seen even though I had recently played with a 16mm Eclair.

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

How times have changed “When film was preferred over video”

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Me-and-Eclair

Firstly I must thank David Doré of SILK PURSE FILMS for sending me this PDF of a set of instructions he typed out over 30 years ago. Isn’t it funny how trends go full circle.

old-film-log-1b

Studio-1980

During the early 1980’s studio cameras were like the one’s above big and bulky as was the first portable video tape called U-Matic tape.

U-Matic

Why-Film

Eclair

The 16mm Eclair ACL with a 12-120mm manual zoom lens f2.2 Angenieux lens…Pierre Angenieux of Paris invented the zoom lens !

Me-and-Ian

Typical news crew during the mid 1980’s with a Hitachi Z31 Camera attached to a Sony High Band Umatic recorder which needed a crew of 2 in this case myself and Ian Bodie working for Clyde Cable Vision.

last-part

Film is still unique in ambiance, texture and mood, todays large sensor cameras are more “cinematic” but its not film.

stefan_falling-eclair

This cameraman is using an Eclair NPR 16mm film and the lens is the Angenieux 12-120mm zoom.

Due to the bulkiness of early video cameras, its really interesting that film was being touted as a more compact way to shoot, sadly today film is loosing favour to the large sensor cameras like the Sony F55.

Sony-F55

There is no going back we now have a blend of video/film from the DSLR upwards that satisfies many budgets from student to professional that was not available during the 1980’s.

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

“The Last Goodbye” a film made in Glasgow with a Sony FS100

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Last-Goodbye

Photography © Corinna Kidd

I saw a link to this film on Facebook recently and asked my good friend Allen (DoP) what camera he had used to make this internet film “The Sony FS100, it was just out and Sony gave us a demo model to use on the film. We were very impressed with the picture quality and how cinematic the picture looked”.

The film reminds me of one of those early 1980’s feel good films “Gregory’s Girl” by Bill Forsyth. The film runs 51 minutes but stick with it its a good storyline.

Hugh Creaney”It began in October 2010. Whilst working away from home, I found myself stuck in a hotel with not a lot to do. Instead of spending my time in the pub, I decided to turn my hand to writing a script I had been thinking of for a while. This is where “The Angels’s Share” was born, soon to be renamed The Last Goodbye.

Tired of the usual portrayal of my home town of Glasgow in the movies and television, I aimed to throw some new colours and angles at no mean city. For years the city has had an identity of hard men and drug addicts. Of gang fights and drinking yourself stupid. Not everyone in the city is like this and I was determined to show a softer side of the dear green place that is Glasgow.

Allen

Over a few nights, I developed a small tale of two people meeting and spending a day together across various locations in Glasgow. Inspired by hip, indie romantic films and music the couples relationship flowered over dialogue which I hoped people found natural and just like how normal people talk to each other.

Taking cues from my own life, I had always had James and Helen in mind to play the central roles. The characters are even named James and Helen. Having worked with James before, I knew how great an actor he was and wanted to give him a chance to shine. Luckily he and his wife Helen both liked the roles and agreed to take part. It was a challenge for them too, having never acted together before.

From here, I needed to hone the script. I asked a director friend to look over the script and give me some feed back to improve it. After reading the script and giving me some pointers, Michael asked if he could help out in any way. I asked if he would help me direct it and teach me along the way.

With most of the cast and crew on board I started scouting locations and found most people really helpful. Explaining what we were doing, why and how seemed to curry favor with most contributors. They liked the idea of not another grim Glasgow story.

We aimed the production for the September weekend 2011 and started rehearsing with James and Helen. The cast and crew agreed to work for free. Most locations accommodated us for nothing, some with a small donation. Equipment was given and borrowed from various places.

crew

Close to filming dates, James and Helen both got paying acting jobs. This meant that production dates had to shift. After a lot of phone calls, explaining and begging, the dates pushed right back to the next year.

February 2012 we find ourselves out on the streets of Glasgow with 4 days to capture a little love story. 2 actors and 6 crew members filming on the hoof on the mean streets and in the great locations in Glasgow.

From Kelvingrove Art Gallery to the Lighthouse, pubs and coffee houses to the legendary Barrowland Ballroom everyone was so welcoming of our wee crew. Especially as we didn’t swamp the locations with loads of crew.

Weather proved our toughest counterpart, with a few exterior scenes hastily relocated to interiors with a few phone calls and unscheduled visit to a record shop.

With the main parts filmed and after a day picking up general views of Glasgow, I decided not to jump straight into post production. Leaving the film on the shelf for a few months would give most helping out a small break and hopefully fresh eyes when we started.

This was when three major stumbling blocks occurred to the film. The first was a problem editing and syncing sound. It seemed that the method we planned to use was very cumbersome and would take a long time to achieve. I enlisted the help of another friend, this time editor. Martin came to the rescue. I done some rough cuts of each scene for Martin to work to and he then plowed on in his own time, chipping the film into shape.

light

The second thing was that I discovered that Ken Loach was bringing out a new film. It was called “the Angels’ Share”. I was so disappointed and and could only hope that it was just a name. After watching a trailer, I saw the story was different, but it did include a scene explaining to the viewer what the Angels’ Share was. It was very similar to a central scene in my film when James explains it Helen.

I decided to start thinking of a new name, much to my sadness as I loved that name and had sat on it for a while. I kept the scene in the film though. It was an important scene and is crucial to Helen seeing James’ romantic, poetic side. It was too beautiful to lose. For me, the Angels’ Share is an explain action of what happens that day, something that just happens and is then gone forever. I had started to think of it embodying Helen’s character, something fleeting, heavenly, but ultimately unattainable.

FS100

The third hurdle was copyright for music in the film. Most of the music in the film wasn’t an afterthought, with most scenes written with the music in mind. It was used mainly as I’m a fan of the bands and musicians. I wanted to use it to bring them to a wider audience, to show them off too. It was never intended to make money from others’ craft and art, it was to score and evoke emotions that I hope the musicians can appreciate. I had a lot of negative emails from copyright holders which meant that some music here isn’t cleared. I have contacted the musicians and/or management and some were very helpful, even happy that I liked their songs and wanted to use them. That’s good enough for me. For now, I have to hope that record companies don’t insist I change and can see what I’ve done for what it is and the good intentions I had doing it as a fan of their music.

Most of 2013 was spent editing in spare time and making small changes here and there. Eventually in October 2013 we had a finished piece and showed it to cast, crew, friends and family.

Allen-FS100

Why did we make it? Probably because we could. For friendship. for love of the story. to show what we can do with little to no money. To show what we can do without the major crews and upheaval that most productions bring. We worked hard, but we had a great bond that made it come together”.

We can do it again too. 
If we put our minds to it.
Maybe it won’t take 3 years this time.

Now renamed The Last Goodbye, I hope you enjoy it.

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

The independent model in Media Coverage

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Ind-title

The last few weeks have been taken up with the YES, NO vote in Scotland so I decided to see if the independent model within our own industry fits a similar criteria, in other words does independence lead to a better quality of programming.

I take the BBC as an example because it is run out of London and has many stations throughout the UK versus the smaller independent company profile in this case based in Scotland.

VJ

Lets start with news…The BBC have moved down the path of VJs which are self shooting reporters while the independent company like myself have a cameraman, sound man\assistant and reporter and come supplied with the latest technology. On health a safety alone the independent approach is far safer even in this case (below) we have a cameraman, reporter and assistant.

crew

The independent approach within news offers a safer environment and in most cases a better end result because the person behind the camera is a professional camera person giving the client far greater confidence during the shoot.

On the other hand the BBC are “streamlining” their resources for daily news, cutting corners to the extent that health and safety is now being breeched in a daily basis…why ?

Video Journalists don’t have anyone looking out for them…safety in numbers…nor their equipment, they have to rely on a single bag of kit, camera and usually a lightweight tripod.

I as an example have spare mics, radio and shotgun, cables, lights, sturdy carbon fibre Miller tripod and usually a portable OLED Sony SDI monitor if I use an LED panel light I also have lighting sand bags for the legs, this level of kit cannot be afforded by a single operator.

Filming-with-MP

Channel 4 news sent us up to the Scottish Labour Conference during March this year to get an interview with Chuka Umunna this was recorded in HD and output in SD to a satellite truck, I had to configure the camera via the menu to output SD, VJs do not work at this level of sophistication.

Right away the independent news scenario gives extra employment, better standard of filming and a safer environment to work in.

Ah but the broadcasters are all using XDCAM camcorders, Scottish Television have only recently replaced their (DVCPRO) with Sony PMW-400’s which are now being superseded this week with the new PXW-X500.

STV

Scottish Television had their DVCPRO camcorders for just under 20 years, now some may say that was a testimony to Panasonic but it’s the broadcast mentality …run the kit into the ground, this attitude only leads to a poor end result with kit that soon becomes unreliable.

The indépendant freelance market replace their camcorders at least once every 2-3 years giving the client the best and most up to date reliable kit.

One last thorny topic I will cover is if you own your own kit you are ten times more likely to look after it and make sure everything it spot on the night before a shoot…like renting in general if the kits not yours you are far less likely to care about a camera if you have not had to spend 10K upwards to buy one…sad but true.

iPad

During the Commonwealth Games this year I noticed this newspaper journalist using an iPad to interview the Renick sisters but as you can plainly see its a very impersonal way to interview someone.

Newspapers are fighting to get content on their websites no matter how…send someone to a presser and come back with pics and a half baked interview, this is worst than a VJ, at least the VJ has had some training.

How could the independent media sector help the “no money” newspaper, by getting better video content for their web pages, we are set up to film, edit and upload.

Not one newspaper has ever approached me to enquire about video content yet we are the obvious first port of call they insist on making 3rd rate video footage and complain when no one spends time on their web space.

That’s just two examples of how independent producers excel in filming content for news but news is a small part of a big production marketplace but also proves the point that if you want quality rather than quantity the independent model is the better road to go down.

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

NEW Camcorders from SONY

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PXW500

Sony has today introduced the PXW-X500, a solid-state memory XDCAM camcorder that combines sensitivity of picture capture with a proven, comfortable ergonomic design and support for a wide variety of recording formats. The PXW-X500 delivers superior picture quality thanks to its unique three-chip 2/3-inch type new CCD image sensors, serving to remove issues associated with motion artifact and rolling shutters. The camcorder, which succeeds its well-received predecessor, the PMW-500, is ideally purposed as an outstanding acquisition tool on a 1080 progressive platform for a broad range of HD production applications, such as ENG, sports productions, live productions and documentaries.

Key features of the PXW-X500 XDCAM shoulder camcorder

  • High sensitivity and high signal-to-noise ratio with B4-mount HD lenses. Three newly-developed 2/3-inch-type Power HAD™ FX CCDs produce high-quality pictures with high signal-to-noise ratios (60dB), while maintaining the high sensitivity levels (F11 at 1080/59.94i and F12 at 1080/50i) that the XDCAM range is best known for.
  • Multi-format recording for versatility of workflow approaches. The PXW-X500 offers a wide array of traditional and new recording formats, including SD formats such as MPEG IMX and DVCAM, HD formats such as MPEG-4 SStP and MPEG HD422, plus XAVC Intra 4:2:2 1080 59.94/50i and XAVC Long 4:2:2 1080 59.94/50p. In early 2015, the PXW-X500 will also support Apple ProRes[i] and Avid® DNxHD®[ii] as further options.
  • Powerful Slow & Quick motion up to 120p frame rate. The PXW-X500 offers a powerful ‘Slow & Quick Motion’ function. By utilising the XAVC codec, the X500 can record at a maximum frame rate of 1080/120p, which is a slow motion effect five times higher than the industry standard frame rate of 23.98p[iii]. The newly developed CCD image sensors and the camcorder’s outstanding image processing abilities enable this spectacular performance.

side

  • Unique built-in wireless module supports seamless file transfer and remote operation, helping broadcasters be ‘first to air’. The PXW-X500 can be operated remotely from compatible Wi-Fi devices such as tablets and smartphones, via a supplied IFU-WLM3 USB wireless LAN module. Proxy video files can be created onto SD cards in four different proxy XAVC settings to help users adapt to field constraints, while proxy file transfer and hi-res file transfer are also possible across Wi-Fi or Long Term Evolution (LTE) networks.
  • Future upgrade to enable remote live streaming functionality. By upcoming upgrade in early 2015, the X500 will also offer live streaming of proxy content over Wi-Fi or LTE[iv]. The streaming function will also become available for Sony’s PXW-X180 XDCAM handheld solid-state memory camcorder that was launched to the market in August 2014[v], and will be compatible with the CBK-WA100 and CBK-WA101 adapters, which allow XAVC proxy files to be created and saved on an SD card housed within the adapter.
  • Other key features of the PXW-X500:

o   Compatible with a direct two channel slot-in portable digital wireless receiver, available as part of the Sony DWX Series, providing superb digital audio quality and full digital workflow with the XDCAM range

o   Pool-feed input with 3G/HD/SD-SDI

o   Simultaneous recording onto two SxS cards

o   Flexible camera system operation with CA-FB70 or CA-TX70 camera adapters

o   GPS functionality records GPS data in an MXF file and a log file automatically, when activated

hxrmc2500_

Sony today announced the HXR-MC2500E, a new addition to its High Definition (HD) range of memory camcorders. The HXR-MC2500E offers an ideal balance of performance and functionality in the digital era with a wide variety of features necessary for serious videographers, all well within their reach at an affordable price point. Sony has designed the HXR-MC2500E with several enhancements over its existing HXR-MC2000E camera model, including an improved Exmor™ R CMOS sensor and new features such as a built-in LED light, OLED viewfinder, Wi-Fi functionality, DV memory recording and a Multi-Interface (MI) Shoe. With these enhancements over previous models, the HXR-MC2500E is an ideal cost-effective solution for event videographers, who desire strong low-light performance, high picture quality, operational flexibility and reliability.

“The HXR-MC2500E is a prime example of how we’ve combined advanced imaging technologies with a host of operational features that the market today needs,” said Robbie Fleming, Product Marketing Manager, at Sony Professional Solutions Europe. “Our customers now enjoy a more comprehensive product offering from Sony, with this model providing practical functions that professionals need, such as wireless connectivity and longer recording time.”

Key Features of the HXR-MC2500E

 Highly-sensitive Exmor™ R CMOS sensor and built-in LED light

The HXR-MC2500E is capable of shooting clearly even in low-light or indoor environments. Its highly-sensitive Exmor™ R CMOS sensor adopts a back-illuminated technology that enables the image sensor to utilize incidental light more efficiently, helping to achieve rich image quality even during low-light shooting situations. The HXR-MC2500E is also fitted with a convenient built-in LED light for extra illumination when needed.

Wide angle view, high contrast 1.44 million dots OLED viewfinder and 0.92 million dots 3-inch wide LCD panel for easy framing of shooting objects

The new camera is equipped with an OLED Tru-Finder™ electronic viewfinder, offering a high resolution of approximately 1.44 million dots with high contrast levels. Sony’s proprietary viewfinder technologies allow for better tonal reproduction and more detailed picture information when shooting. In addition, there is also the built-in 3-inch wide high resolution LCD panel (approximately 0.92 million dots) for crisp and bright images.

Wi-Fi/NFC functions for seamless connection to smartphones

The HXR-MC2500E can connect to mobile devices such as smartphones or tablets via a Wi-Fi connection, enabling monitoring and remote control functions such as start/stop recording, zoom control, iris control and touch auto focus. Furthermore, it is also NFC-capable (Near Field Communications) to allow easy, one-touch wireless connections to compatible mobile devices.

Ideal for long event shooting thanks to embedded 32GB internal flash memory and low power consumption

A 32GB internal flash memory storage system on board of the HXR-MC2500E enables longer duration recording of more than 150 minutes. In addition, by using a combination of the internal flash memory and the MS/SD memory card slot, recording functions such as “Relay” and “Simultaneous” for backup can be available. When Sony’s L-Series InfoLithium battery NP-F970 (optional) is used, the HXR-MC2500E is capable of continuous recording of up to 14 hours. This is a critical feature for important occasions where operators may not have the luxury to stop the camera, such as during the filming of wedding ceremonies or other live events.

More Professional Features for Event Shooting

  • 26.8mm Wide-Angle Lens – one of the lenses with the widest angles in this class of camera, which enables wide-angle shooting even in small places
  • DV Memory – in addition to AVCHD Full HD format support, SD format support includes DV memory
  • Multi-Interface (MI) Shoe – expands options to use accessories without cables, such as the UWP-D11 wireless microphone receiver and XLR audio input by XLR adapter
  • BNC Composite Terminal – enables the use of BNC cables which prevents cable disconnect during critical shooting occasions such as live recording
  • TC/UB Implementation – Time Code and User Bit are included for situations like multi-camera shoots

 

The HXR-MC2500E will be available from November 2014.

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

Start the day with a laugh

Categories: Miscellaneous No Comments

 

Cinesite

Love this advert from Cinesite although it’s a year old it”s the first time I have seen it…start your day with a laugh !

Beans is the first animated short film to be made at Cinesite. It takes the form of a mock-commercial. We see this movie as a fantastic opportunity for us to showcase the quality of Cinesite artists’ work.

The film was written and directed by animator Alvise Avati and produced by Cinesite’s Animation Director Eamonn Butler.

Alvise approached Cinesite with an idea for the film. He says, “Working in visual effects, it’s usually other people’s visions and creatures that you’re creating. This was an opportunity to take some creative control and make a film of our own.”

The look of the lunar environment is based on NASA film footage and actual lunar photography. Eamonn says, “At the start, the film is quite serious in tone and then it develops, becoming more dramatic as it progresses before ending on a surprise. To support this, the environment needed to be photo-realistic. We also wanted to push the animation and effects as far as we could to make the film as dramatic as possible before the payoff.

Eamonn says, “In terms of the creature design, we worked in a very collaborative way. Alvise brought some great artwork and ideas as starting points which we developed through modelling, rigging and animation. We brought on more talented artists as we went to help develop the look of the film through textures, lighting and compositing.”

Because the creature would be seen so briefly, it was important for him to stand out and be scary. Alvise says, “I wanted the creature’s eyes to glow. We also added bioluminescence effects to parts of his head to make him stand out.”

“Beans is Cinesite’s first in-house, content-creation project,” says Eamonn, “and I’m sure it won’t be our last. This has been an invaluable and fun way for us to show what we’re capable of.”

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

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