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

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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

Sony E Series 18-110mm F4 G Lens Review from Cinema 5D

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HDW : This should have been the standard kit lens on the Sony FS7 from day one in my opinion. It was only through users moaning to Sony that this lens was eventually produced.

Sebastian Wöber is a director and DP, studied at Filmacademy Vienna and is passionate about harnessing the potential of filmmaking tech to create powerful cinematic work with limited resources. He is co-owner of cinema5D.

Sebastian “Pros and Cons I found during my Sony 18-110mm review”

Pros

  • Stunning 4K at F/4 – Very good optical quality with Sony cameras due to lens compensation
  • No focus shift during zoom
  • Lens elements are internal
  • Almost no breathing
  • Manual operation of focus, zoom and aperture
  • Good optical image stabilizer
  • Quick-release tripod mount is convenient
  • Cinema-standard gearing on focus ring
  • Lightweight and robust
  • Very small in comparison to other lenses with similar functionality

Cons

    • Near limit of 0.95m (37.4″) is very inconvenient
    • Servo zoom rocker is flimsy and not smooth enough

You can see Sebastian’s full review here https://www.cinema5d.com/sony-18-110mm-review-versatile-video-cine-zoom/

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

ADVERT…Blackmagic Design Mini Ursa Pro £3875 plus vat

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We’re excited to offer you this VERY special deal on a new Blackmagic Design Ursa Mini Pro.  Stock is extremely limited and when they’ve gone – they’ve gone.  As well as offering this amazing price on the stunning Ursa Mini Pro we have teamed up with Hitachi Personal Finance to offer you 12 months buy now pay later.

If you missed out on this offer earlier in the year don’t worry – we’re brining it back whilst LIMITED stocks last.  Get yourself a Ursa Mini and a 512GB CFAST 2 card for the low combined price of £3875 +VAT – you’ll need to call us today on 020 8275 1070 for this deal as stocks genuinely are very limited!

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

3 camera shoot at Celtic Park

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Recently we produced a 3 camera interview at Celtic Park with Celtic supporters liaison officer John Paul Taylor. We used two GH5s set to 4K 50p and a wide shot from the FZ2000. The final production was produced on an HD timeline taking advantage of the 4K footage for cut in shots.

This was produced for zero budget as it was a company project but we are open to doing similar work for all media outlets with a budget. Email us at smallvideo@mac.com

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

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