NEW…JVC GY-HC500 and HC550 4K 50p camcorders…2995 Euros

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Newly announced at IBC 2018 are two new models in the CONNECTED CAM range – the GY-HC500 and the GY-HC550 – which offer unparalleled IP connectivity in a handheld camcorder form factor.

Both models feature a 1” 4K CMOS sensor which is combined with a newly-developed 20x lens with 3-ring control, resulting in excellent imaging performance and shooting flexibility. And with a high-resolution viewfinder, imaging framing and focus control is easily achieved. The GY-HC500/550 can achieve up to 12 stops of dynamic range, with support for BT709, BT2020 and BT2100 HLG colourspaces. 

Using the latest generation codec that’s also used in the GY-HC900 shoulder mount CONNECTED CAM, the GY-HC500/ HC550 can record to SSD media in a wide variety of formats, including 10-bit ProRes 422 at 4K resolution and 50/60p frame rates. A number of other codecs and recording formats are also available, including H.264 and MPEG-2, ensuring a wide range of workflows can be supported.  

Both the GY-HC500 and GY-HC550 deliver an advanced, class-leading set of IP connectivity functions, with both models offering live streaming, FTP file transfer and remote camera control over IP. The latest CONNECTED CAM technology now adds return video over IP, high-quality IFB audio return, and the ability to stream at up to 1080p50/60 at 20Mb/s, giving a uniquely high-quality contribution stream over IP, directly from the camera.  

The GY-HC550 furthermore adds in an additional range of features, including Wireless LAN antennas, built-in broadcast graphics overlays, and Zixi protocol support for streaming applications.   

The GY-HC500 and GY-HC550 add to the first model in the CONNECTED CAM range, the GY-HC900, which is a high-quality shoulder mount camcorder, ideal for a wide range of live production applications. The GY-HC900 has 3 x 2/3” CMOS sensors offering outstanding low high capability, and supports an industry standard B4 mount, allowing a wide range of broadcast lenses to be utilised. The professional shoulder mount form factor of the GY-HC900 will appeal to those users requiring a highly reliable, flexible ENG solution, with all the benefits of the CONNECTED CAM IP technology. The GY-HC900 can also be easily adapted to use as a studio camera, through its unique docking system for fibre studio connection. 

The new GY-HC500 and GY-HC550 are scheduled to ship in early 2019 and add to the CONNECTED CAM range of products, with the GY-HC900 shoulder mount model shipping in October 2018. 

  • 1” 4K CMOS sensor which is combined with a newly-developed 20x lens with 3-ring control, resulting in excellent imaging performance and shooting flexibility.
  • High-resolution viewfinder
  • Can achieve up to 12 stops of dynamic range, with support for BT709, BT2020 and BT2100 HLG colourspaces.
  • Can record to SSD media in a wide variety of formats, including 10-bit ProRes 422 at 4K resolution and 50/60p frame rates.
  • A number of other codecs and recording formats are also available, including H.264 and MPEG-2, ensuring a wide range of workflows can be supported.
  • Delivers an advanced, class-leading set of IP connectivity functions, offering live streaming, FTP file transfer and remote camera control over IP.
  • The latest CONNECTED CAM technology now adds return video over IP, high-quality IFB audio return, and the ability to stream at up to 1080p50/60 at 20Mb/s, giving a uniquely high-quality contribution stream over IP, directly from the camera.
  • Wireless LAN antennas, built-in broadcast graphics overlays, and Zixi protocol support for streaming applications.

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

NEW…Canon XF-705 4K 50p camcorder £7,000

Categories: Miscellaneous 3 Comments

Finally we get a 4K 50p camcorder with 10bit 422 from Canon and with the added bonus of a 15x servo zoom lens. At a hefty £7,000 including vat it won’t be flying off the shelves.

Canon XF705 (XF-705) HD Camcorder – MPEG-4, 160Mbps, H.265/HEVC Codec, 15x Optical Zoom Lens and 4K UHD CMOS Sensors (p/n 3041C007). Canon UK has launched the newest addition to its XF range of camcorders – the XF705. Equipped with the next-generation XF-HEVC format, XF705 offers 4K UHD 50P 4:2:2 10-bit recording to SD cards, with impressive image quality and superior levels of detail. Combined with a 1.0 type CMOS sensor and DIGIC DV6 processing, the XF705 delivers vastly improved noise performance, sensitivity and cinematic depth of field. With a host of enhanced HDR capabilities, including an advanced 12G-SDI interface and IP streaming, the XF705 is poised to revolutionise UHD HDR production workflows for the better.

Versatile file formats to transform workflows:
Underpinned by High Efficiency Video Codec (HEVC) video compression, and leveraging the industry standard Material eXchange Format (MXF) as the container, Canon has developed the XF-HEVC file format. HEVC offers a newer encoding technology that is about twice as efficient as mainstream H.264/AVC.

Specs

  • 4K UHD 50p 4:2:2 10-bit Recording
  • Dual Pixel CMOS AF
  • 1.0 inch CMOS Sensor
  • Dual DIGIC DV 6 Image Processors
  • HDR Recording in Hybrid Log Gamma (HLG) or Perceptual Quantization (PQ) formats
  • Live IP Streaming
  • 15x Optical 4K Zoom Lens with 5-axis Image Stabilisation
  • Built-in 3 Density ND Filter
  • Vari-angle LCD Touchscreen
  • 0.46 inch OLED EVF
  • Wide DR Gamma
  • Canon Log 3
  • 4 Channel Digital Audio
  • Dual SD Card Slots

Sadly the video Canon have produced does not show the camcorder off at its best…

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

ADVERT…H. Preston Media

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Call Andy or John on  01684 575 486

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The Gunfighter, a great start for a boring Tuesday morning.

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Just another period western meta comedy short film. Featuring the mellifluous voice of Nick Offerman.
I hope you enjoy it!

The Gunfighter from Eric Kissack on Vimeo.

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Canon EOS-R at a glance £2349 body only

Categories: Miscellaneous 7 Comments

Another full frame mirrorless camera that can’t produce 4K 50p nor 422 10bit internally, did they not read the specs for the Panasonic GH5 at 4K 25p producing 422 10bit internally at 150 Mbps !!!

Ask the majority of camera operators if they enjoy using an external recorder the answer is NO as its a further link in the chain that can go badly wrong and is cumbersome. External recorders are fine in studio environments but not for run and gun.

Mini HDMI is no longer acceptable for serious video work in my opinion when Panasonic prove that with a bit of design savvy you can get a full size HDMI socket on a small camera body. How many times does the mini HDMI connector break after a only few shoots.

How much are you willing to spend on a mirrorless camera for video work certainly not £5,398 if you include the RF 28-70mm f2 lens.

The one thing going for this camera is the fast autofocus.

Canon PROS:
– World’s fastest autofocus
– Full compatibility with existing EF lenses
– A new adapter with drop-in filter
– The new EOS-R lenses are focus by wire and have an extra customizable ring
– SD card slot

Canon FLAWS:
– lack of IBIS
– single slot card
– Low battery life: 370 shots
– The EOS R does have eye-AF but only S-AF.
– It uses the same 30MP sensor from the 5D IV (with more phase detection pixels added)
– The new lenses are very expensive: RF 50mm f/1.2L £2,349, the RF 28-70mm f/2L £3,049
– The dial on the left is just an ON-OFF button
– Canon will not be opening up the RF mount specs to third parties
– No AF-C in continuous high drive (slower FPS compared to Sony cameras)
– Still a huge crop in 4K recording. Looks the same as 5D IV. Heavy rolling shutter as well.
– 1080p does 60fps and not 120fps
– It has 10 bit 4:2:2 output only.

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Canon’s new full frame EOS R…$2299 body only

Categories: Miscellaneous 1 Comment

The EOS R system featuring the newly designed RF mount. Recognizing the need to advance optical design, the Company sought to create a versatile and powerful new system that supports all current EF, EF-S, TS-E and MP-E lenses[i], and also provides the optical advancements and engineering flexibility to build upon for years to come.

When Canon set forth to develop a new interchangeable lens camera system, they focused on three core optical principles: high-image quality, high-specification performance, and compact design. Recognizing that optics is the foundation for any camera system, the RF mount was conceived to open new doors in optical design. Canon’s new RF mount features the same size diameter as the EF mount (54mm) and shorter back focus distance. This allows for lenses to sit closer to the sensor (the focal plane) and allowed Canon optical engineers to reimagine lens design utilizing larger rear lens elements to produce an image on the full-frame sensor. This new optical formula has paved the way for higher performing lenses. In addition, the Canon RF mount features a high-speed 12-pin communication system that provides faster and more in-depth communication between the camera and lens over existing Canon mount systems.

The EOS R system is designed for full, uninhibited compatibility with all existing EF, EF-S, TS-E and MP-E lenses through the use of mount adapters[ii]. In addition, through the use of the optional Drop-In Filter Mount Adapter or Control Ring Mount Adapter these lenses, in fact, gain functionality.

“There has never been a time in history in which visual expression has been so prolific. Imaging, both still and video, are the communication mediums of today’s society. Much in the same way we learned to type in the past, today’s youth are skilled in shooting, editing, and visual storytelling in ways that only the masters of each craft were decades ago,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Knowing this, we needed to step back and design a system that delivers all the creative expression and functionality today’s youth crave, now and in the years to come.”

The First in a New System: The EOS R

The new Canon EOS R full-frame mirrorless camera features a 30.3 megapixel CMOS sensor that is powered by the Company’s latest image processor, DIGIC 8, enabling shooting at up to 8.0 frames per second[iii]. The new camera inherits a lot from Canon’s legacy in both EOS and Cinema EOS. Video storytellers can capture stunning 4K UHD video up to 30fps and record in 10-bit 4:2:2 (with an external recorder). The EOS R also comes with the ability to shoot Canon Log, providing 12 stops of dynamic range, minimal loss of detail in shadows and highlighted areas and an increased range of choices when color grading. Users with an existing collection of Canon lenses will be excited to know that all EF and EF-S lens are compatible with the camera. In order to do so, photographers and videographers can choose between using one of three new mount adapters, each uniquely designed to meet the individual needs of the user.

The new Canon EOS R camera features Dual Pixel CMOS Auto Focus with 5,655 manually selectable AF points[iv], supporting AF at up to f/11 with a 384 zone (24×16) real-time metering system. With f/1.2 lenses, the camera astonishingly boasts AF sensitivity in low light in as little as EV-6. When using the RF 24-105mm F4 L IS USM lens with the EOS R, the camera can focus in as little as 0.05 seconds with Dual Pixel CMOS AF[v], making it the fastest autofocus speed in the world[vi]. These features provide photographers and videographers with Canon’s most advanced AF system to date. The EOS R also features a silent shutter setting when shooting in single-shot mode; an important feature for those who need to capture imagery without disrupting the scene. An upcoming free firmware update will enable silent shutter in continuous shooting mode as well.

“The EOS R system is not just a new camera or a new lens mount, it is a new design that will allow us to produce visual tools that were previously impossible, and allow our customers to tell their stories with greater depth, richness of color, and creative flexibility, in optically stunning ways.” states Kazuto Ogawa

Thoughts From the First Users

“I think every camera system has its place and it’s all about having the right tool for the job,” reported acclaimed outdoor photographer and Canon Explorer of Light Jimmy Chin. “The new EOS R system for me in particular is very useful for the kind of shooting that I do in the mountains, where I need to worry about the size and weight. Having the option to use the new RF lenses or the EF lenses is really great.”

“I was instantly impressed with how quickly the EOS R was able to focus,” remarked celebrated fashion photographer and Canon Explorer of Light Lindsay Adler. “Whether my subject was moving or I was shooting in near-complete darkness, I had no problem getting tack-sharp focus in every shot. It was a relief to know my gear wasn’t going to hold me back from executing my vision, but instead it would really help me to execute this vision.”

“For us, it’s all about getting the shot no one else can get, and a lot of this has to do with the camera,” says Devin Graham, director and filmmaker behind YouTube’s DevinSuperTramp. “The new EOS R will become one of our main cameras. It has a very small footprint, yet is able to create amazing images. As for the lenses, the new RF 28-70mm F2 has just become one of my all-time favorites. I’ll be bringing it on every project.”

Conveniently placed just to the right of the EVF, Canon has introduced a new Multi-Function Bar that will allows users to more easily access their customizable settings, such as AF, ISO and White Balance. Users will have the option to either slide or tap the bar to gain access to the settings and adjust on-the-go as they deem necessary depending on each particular shooting situation.

Answering the demand for enhanced mobile editing of RAW image files, Canon is also announcing a new application, Digital Photo Professional Express (DPP Express). In combination with an updated Canon Camera Connect App, DPP Express enables users to send, view, edit and process CR3 RAW files on their iPad[vii]. A free download of the app will be available October 2018.

Additional noteworthy features of the EOS R Camera include:

  • RF Mount Compatible with RF Lenses and EF/EF-S Lenses
  • Built-in EVF with 3.69 Million Dots, Vari-angle Touchscreen LCD and Dot-matrix LCD Panel
  • ISO range of 100-40,000, expandable to 102,400
    • USB 3.1 in-camera charging support
  • Built-in Bluetooth and Wi-Fi® providing easy sharing to compatible smart devices and social media sites
  • Single UHS-II SD card slot
  • CR3(RAW/C-RAW) and Dual Pixel RAW Support
  • Dust and weather resistant

Availability and Pricing

The Canon EOS R full-frame mirrorless camera is scheduled to be available in October 2018 for an estimated retail price of $2299* for the body only. It will also be sold as a body-and-lens kit with the new RF 24-105mm F4 L IS USM lens for $3399*.

[i] When attaching an EF-S lens via any of Canon’s new R-series mount adapters, the new EOS R automatically switches to APS-C crop mode.

[ii] When attaching an EF-S lens via any of Canon’s new R-series mount adapters, the new EOS R automatically switches to APS-C crop mode.

[iii] Continuous shooting speed may vary depending on the shutter speed, the aperture, the lens being used, the battery charge and various camera settings.

[iv] Available AF points may decrease when shooting with AF cropping or in movie mode, or depending on camera settings or lens attached.

[v] Based on results of AF speed tests in accordance with CIPA guidelines. Results may vary depending on shooting conditions and lens in use. Relies on internal measurement method.

  • Brightness at time of distance measurement: EV12(regular temperature, ISO 100)
  • Shooting mode: M
  • Lens in use: RF 24-105mm F4 L IS USM, with focal distance of 24mm and live-view mode on(with manual shutter button operation
  • AF mode: Live single-point AF(central) and AF operation: One-shot AF

[vi] Among interchangeable lens digital mirrorless cameras incorporating 35mm full frame equivalent image sensors with phase-difference detection AF on the image plane and contrast detection AF, available in the market as of September 5th, 2018 (Based on Canon’s Research).

[vii] Compatible with iPad models utilizing iOS 11 or later and equipped with at least 2GB of onboard RAM—specifically, iPad Pro (all models), iPad (5th generation), iPad (6th generation), iPad mini 4 and iPad Air 2.

*Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

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The race for Full Frame is ON

Categories: Miscellaneous 4 Comments

Nikon entering the frame with the Z7 has opened the race for full frame mirrorless video cameras, fortunately Nikon produce a lot of full frame F mount lenses with an adapter. The new camera uses a new Z mount which I assume is more dedicated electronic lens. The two points I don’t like about the Z7 is the use of expensive XQD cards and it only films up to 4K 30p and not 4K 50p as seen on the Panasonic GH5.

Panasonic are seemingly intending to sport a full frame GH5 type camera at Photokina later this month but not with a Leica SL mount I am glad to report.

Panasonic don’t produce full frame (FF) lenses, yet, but assuming they do go down this road I predict you will see at least 3 new FF Panasonic lenses at the time of launch.

The EVA large sensor camcorder uses the Canon mount but I think this would be hard for Panasonic to swallow to give Canon an open lens market again.

I do hope we are finally going to see some decent servo zoom glass for mirrorless cameras as this has been badly neglected in recent years.

Canon are also producing the full frame EOS R camera with what looks like a small touch bar (zoom control) on the back full details on the 5th of September.

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The Jump Cut follow on from the Wrong Camera

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From the makers of the Wrong Camera comes the edit called the Jump Cut. Making lite of Final Cut 10, 4K and a
mention for Philip Bloom.

You can see the Wrong Camera here…http://www.hdwarrior.co.uk/2017/03/25/the-wrong-camera/

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DJI Mavic 2 Pro and Mavic 2 Zoom

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DJI have done it again with the new Mavic 2 Pro and Magic 2 Zooom but why spend time reading when their video tells the full story.

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Finishing off a Speedway film I made 26 years ago

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26 Years ago I made a documentary called Steve Lawson the Story so Far and brought it out on VHS video tape.

Back then 26 years ago we were filming with Panasonic F10 camcorders with a 15x zoom lens, one of the first commercially available CCD cameras on the market. The cameras were attached via an umbilical cord to a portable S-VHS recorder that hung at the side on your left shoulder.

This was Steve Lawson and his family 26 years ago down at Maryport in Cumbria.

Simon, Steve, Kath and Richard

Since this picture was taken Simon Lawson has become a major paralympic competitor after paralysing himself in a motocross bike accident.

Simon Lawson

Richard Lawson 3rd from left © Ian Adam (Glasgow Speedway)

Wee Richard has also become a speedway rider, like his father before him riding for the Glasgow Tigers last season.

This brings me onto the reason why my Speedway footage has now been resurrected from the archives, stored on Super VHS (S-VHS) video tape my ultimate criteria for all my work is quality.

S-VHS had a resolution of 460 lines almost 100 lines more than VHS at that time. S-VHS was the best you could edit and master onto 23 years ago if you were not using Hi band Umatic.

Colin Mackie from a frame from the original 4:3 SD footage

One of my interviewers back then was my speedway friend Colin Mackie who recently as last year 2017 lost his son Greg, in tragic circumstances.

Colin son Greg was also a speedway rider and Colin wants Gregs name to be carried on in the Greg Mackie Speedway Academy.

When I discovered Greg had died (Not speedway related) I jumped at the chance to help my old friend Colin. I immediately decided to finally re-introduce the Steve Lawson Story on DVD and film an updated interview with Steve.

I had been keeping my end of season tapes aside always meaning to bring them out on DVD but as usual sat on them.

We now film in 4K 50p with Panasonic GH5 cameras, possibly not the best for a fast moving sport like speedway but as we are not filming the sport every second week I don’t have to worry about it.

At the end of the 1992 speedway season I was given an ultimatum from the people running Glasgow speedway at that time, it went from a nominal sum to almost 5 times or they get someone else. Glasgow speedway were not aware that this sport was taking a heavy toll on my brand new cameras, Panasonic F10s especially the lenses, they were being slowly destroyed by the red shale dust. Also that was the year Steve Lawson decided to retire and that would mean a big loss in sales during the 1993 season so I gracefully retired from filming speedway, never to return till about 3 years ago when I decided to produce a review of the JVC GY-LS300.

I was asked if I would like to come back but politely refused as I new the damage it would have on my video equipment.

Ken and Chris Malcolm at the under 21s recently

Don’t get me wrong speedway is a fantastic spectator sport full of great friendly fans and a brilliant family day out in fact my interviewer Chris still goes to speedway with his own children and his father.

To this day I don’t think Glasgow Speedway realised what they had let slip from their hands, we were the best at what we produced far ahead of the competition and still are from what I gather. Sadly I am a lot older and no longer have the energy or the drive to start producing speedway again. I loved popping into the 2018 version of the sport finding the promotion very friendly and a great bunch of people to deal with.

The DVD, Steve Lawson the Story is being distributed by Colin Mackie for £15, collected, probably at the Glasgow track shop but thats still to be finalised.

Below is a taster from todays DVD though on the whole its 4:3 SD footage upscaled to 1280 x 760 to accommodate todays 4K downscaled footage.

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