The Blackmagic Pocket Cinema Camera 4K uses the same Blackmagic OS as URSA Mini. That means you get the world’s most advanced camera operating system and many of the same professional features found on larger cameras! If you’re just getting started, you can learn how to use the Pocket Cinema Camera 4K today and move up to an URSA Mini when you’re ready! If you already use an URSA Mini, there’s nothing new to learn!

You get a modern touchscreen interface that uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. The Blackmagic OS gives you incredible control of advanced camera features including 3D LUTs for both recording and monitoring, HDR output via HDMI, metadata entry, custom presets, extended video format, Bluetooth remote control, external timecode from the audio input, RAW recording and more!

Shooting Resolutions

4096 x 2160 (4K DCI), 3840 x 2160 (Ultra HD), 1920 x 1080 (HD).

Frame Rates

Maximum sensor frame rate dependent on resolution and codec selected. Project frame rates of 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps supported.
Off-speed frame rates up to 60 fps in 4K DCI, 120 fps in HD windowed.

Blackmagic Pocket Cinema Camera 4K – Newsshooter at NAB 2018 from Newsshooter on Vimeo.

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Come to H. Preston Media’s Canon Open Day tomorrow (Tuesday 10th April) at Malvern from 10am till 4pm and see the new C200 firmware.

H. Preston Media 103 Worcester Rd, Malvern WR14 1EP

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Sony PXW-Z280 (PXWZ280) 4K CMOS Sensor Camcorder with Variable ND Filter. Sony’s PXW-Z280 4K CMOS Camcorder has superb picture quality thanks to its cutting edge CMOS technology. It also has 4K Resolution, high sensitivity, a newly developed Variable ND Filter, an instant HDR workflow (HLG) and dual MI shoe and 4CH audio recording making this your ideal camera for shooting. The Sony PXW-Z280 also comes equip with face detection AF and newly developed ‘face only’ AF Mode and an enhanced network functions for use with XDCAM Air. Media using ExpressCard/34 slot (x2) Sony SxS type cards.

High quality XAVC Intra and XAVC Long GOP recordings

Sony PXW-Z190 (PXWZ190) 4K CMOS Sensor Camcorder with Variable ND Filter. Sony’s PXW-Z190 4K CMOS Camcorder has superb picture quality thanks to its cutting edge CMOS technology. It also has 4K Resolution, high sensitivity, a newly developed Variable ND Filter, an instant HDR workflow (HLG) and dual MI shoe and 4CH audio recording making this your ideal camera for shooting. The Sony PXW-Z190 also comes equip with face detection AF and newly developed ‘face only’ AF Mode and an enhanced network functions for use with XDCAM Air. Media MS/SD cards x2

XAVC Long
XAVC-L QFHD 150 mode:
3840×2160/59.94P, 50P, 29.97P, 23.98P, 25P
XAVC-L HD 50 mode:
1920×1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P 1280×720/59.94P, 50P
XAVC-L HD 35 mode:
1920×1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
XAVC-L HD 25 mode:
1920×1080/59.94i, 50i

DVCAM
DVCAM mode:
720×480/59.94i, 29.97PsF 720×576/50i, 25PsF

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The FS5 II offers several new features and refinements over the original FS5. First among these is a re-tuned color science leaning heavily upon the color science incorporated in the flagship Venice camera.

Sony claims this will result in a more fresh and vivid look with softer tones and more accurate skin tone reproduction.

In addition it will support 4 second bursts of 4K/UHD video at 120fps or continuous 240fps in 2K RAW. These framerates and formats both require output to a compatible external recorder.

Internal SD card recording will support HD 10bit 4:2:2 at 120fps continuous or 8 seconds of 240fps.

XAVC QFHD: MPEG-4 AVC/H.264
4:2:0 Long profile
XAVC HD: MPEG-4 AVC/H.264
4:2:2 Long profile
AVCHD: MPEG-4 AVC/H.264
AVCHD 2.0 format compatible

XAVC QFHD (3840 x 2160) @29.97p, 25p, 23.98p,
100 Mbps/60 Mbps
XAVC HD (1920 x 1080) @59.94p, 50p,
50 Mbps/35 Mbps
XAVC HD (1920 x 1080)@59.94i, 50i,
50 Mbps/35 Mbps/25 Mbps
XAVC HD (1920 x 1080)@29.97p, 25p, 23.98p,
50 Mbps/35 Mbps

Instant HDR workflows are supported by the addition of HLG gamma with BT.2020 gamut. The addition of these HDR options increase the number of built-in picture profiles to 10.

Shipments will start in May with the camera body priced at $4750 US and $5250 with the 18-105mm f/4 kit zoom.

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Apple is introducing a new update to Final Cut Pro X, the most popular version of its professional video editing software, with more than 2.5 million seats. Final Cut Pro 10.4.1 introduces a groundbreaking format from Apple, ProRes RAW, which combines the visual and workflow benefits of RAW video with the performance of ProRes. The update also adds advanced closed captioning tools that allow video editors to easily view, edit and deliver captions from right within the app. Apple is also adding complementary new features to Final Cut Pro companion apps, Motion and Compressor.

ProRes RAW

ProRes RAW is a new format from Apple that offers the quality and workflow advantages of RAW with the stunning performance of ProRes. With ProRes RAW, editors can import, edit and grade pristine footage with RAW data from the camera sensor, providing ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows. And with performance optimized for macOS, editors can play full-quality 4K ProRes RAW files on MacBook Pro and iMac systems in real time without rendering. ProRes RAW files are even smaller than ProRes 4444 files, allowing editors to make better use of storage while providing an excellent format for archiving.

Final Cut Pro editors can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. The format will be available as a free update for owners of Atomos Sumo 19 and Shogun Inferno devices. The format will also be available as part of a forthcoming upgrade package to users of the DJI Inspire 2 drone and Zenmuse X7 Super 35mm camera system designed for aerial cinematography.

Closed Captioning Tools

As closed captioning becomes increasingly important around the world, Final Cut Pro now includes powerful closed captioning tools for professional filmmakers, YouTubers and students looking to add captions to their projects without the need for expensive third-party software or services. Users can import closed caption files directly into their project or create them from scratch. Captions appear in the viewer during playback and can be attached to video or audio clips in the timeline, so they automatically move with the clips to which they’re connected. An all-new captions inspector makes it simple to adjust caption text, color, alignment, location and more. Users can even create captions in multiple languages within the same timeline and easily share captioned videos to YouTube and Vimeo. And in the share window, a new Roles tab displays titles, video and audio roles in a single consolidated interface, making it easy to configure roles and closed captions when sharing.

Motion 5.4.1 and ProRes RAW enable motion graphics artists to take full advantage of RAW image quality with superb performance and flexibility when designing graphics and effects. Compressor 4.4.1 gains support for closed captioning with comprehensive controls to view, adjust and deliver captions as part of a batch or iTunes Store package. This is due to happen on Monday the 9th April and is a free update.

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JVC has announced the GY-HC900 ‘CONNECTED CAM’ broadcast camcorder, which features three 2/3-inch CMOS image sensors for full HD imagery, as well as enhanced connectivity for a complete news-over-IP workflow solution in the field.

When paired directly with the optional ProHD Dockable Bridge or via Wi-Fi with any ProHD Bridge unit, the new GY-HC900 allows on-air talent to conduct a two-way interview with return video while streaming live to air without any external boxes or backpacks. It is JVC’s first camera featuring a new communications engine that optimises both image processing and IP performance. The engine enables simultaneous recording, low latency streaming and simultaneous decoding for return video with embedded audio and IFB. Latency can be as low as 500ms for both outgoing and incoming video.

“JVC’s CONNECTED CAM takes connectivity to the next level and sets a new benchmark for ENG cameras,” said Gustav Emrich, European Product Manager. “Its integrated communications engine truly makes news-over-IP a reality, with amazing images and a cost-effective, streamlined workflow.”

The GY-HC900’s complete IP workflow includes streaming performance up to 20 Mbps and built-in Wi-Fi (2.4Ghz/5GHz) with dual external antennas. The camera features Zixi™ error correction with automatic repeat request (ARQ) and SMPTE 2022 forward error correction for reliable transmission. 

Beyond ENG, the GY-HC900 is an ideal choice for high-end EFP and studio applications. It works with the FS-900 camera module, which attaches seamlessly to the camera via a 68-pin interface, and feeds 3G-SDI signals, control, audio, sync, and intercom to a base station via fibre.

Equipped with an industry-standard B4 lens mount and four-position optical filter, the GY-HC900 delivers excellent sensitivity (F12 at 60Hz, F13 at 50Hz in extended mode) and high 62dB signal-to-noise ratio (in standard mode). The advanced 2/3-inch CMOS sensors, each with 1920×1080 pixels, combine with an F1.4 prism to produce full HD images. The camera also offers an HDR mode for creative flexibility, as well as up to 120fps 1080p slow-motion recording.

The GY-HC900 supports native recording of both MPEG-2, at up to 35 Mbps, which is widely used by broadcasters, and H.264 (.MOV), which provides production-quality 10-bit, 1080/60p 4:2:2 footage. Plus, the camcorder records in Sports Exchange Standard formats, so sports organisations can produce HD video with rich metadata that specifically addresses the workflow needs of sports production and video coaching applications. 

With dual memory card slots for SDHC/SDXC media, the GY-HC900 offers redundant, relay and backup recording modes. It also records proxy resolution video clips for off-line editing or online posts. The camera includes a 3.26-inch OLED colour viewfinder, as well as a 3.5-inch LCD panel for menu navigation.

An integrated 3G-SDI pool feed input allows the GY-HC900 operator to capture video and stream it live simultaneously. Camera functions can also be controlled via web browser or the JVC RM-LP100 remote camera control. The camera also boasts an IPX2 water resistant rating for operation in challenging conditions. Other features include a genlock input, time code in/out, dual 3G-SDI outputs and an HDMI output, three XLR audio inputs, ethernet and USB ports, wireless audio module slot and an additional slot for future expansion. 

The GY-HC900 CONNECTED CAM will be available in June.

The camera is being demonstrated at the 2018 NAB Show (Booth C4315), which runs April 9-12 in Las Vegas. 

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Using Panasonic’s EVA1 Super35 cine camera, now users will be able to unlock the true potential of this camera and its low noise sensor by combining it with the Atomos Shogun Inferno HDR monitor/recorder, thanks to the release of Panasonic’s free RAW output upgrade. The results take the camera to another level of performance, giving you images with maximum dynamic range in pristine quality.

Users will soon be able to capture stunning 5.7K RAW imagery direct from the sensor at up to 30 fps over the 6G SDI connections and record it to reliable, affordable SSD media. Full details will be revealed by Atomos at the NAB 2018 show this month.

In 4K resolution you can record up to 60fps from the RAW output in production ready Apple ProRes, Avid DNxHR,or CDNG RAW up to 2Kp120 or 4Kp30. The resulting frames are super clean, detailed and capable of withstanding heavy grading.

The Shogun Inferno also supercharges the EVA1’s slow motion performance. It can record the RAW output at up to 240fps in 2k/HD, direct to Apple ProRes or Avid DNxHR. Perfect for sports, wildlife and a wide range of other uses.

All these features will come in an AtomOS upgrade for the Shogun Inferno and Sumo19 to be released at NAB April 2018. This will be offered for free as part of our continuing commitment to our users.

“Panasonic and Atomos have combined to deliver an astonishing set of features for end-to-end RAW production – 5.7K, 4kDCIp24-60, 2KDCIp240 in 10-bit V-Log recorded on our Shogun Inferno or Sumo 19. This is the best RAW solution for the price point on the market today,” said Atomos CEO Jeromy Young.

Of course, recording is only half of the equation, accurate monitoring is also essential. Luckily, the Shogun Inferno also offers state-of-the-art monitoring for both HDR and SDR recording with its 7” 1500nit high brightness panel with the Sumo19 at 19” and 1200nits.

Take the guesswork out of exposure in HDR or Log with Atomos’ unique AtomHDR system which shows a massive 10+ stops of dynamic range on either screen. The display is colour accurate and can be calibrated over time using a X-rite i1Display Pro probe. Benefit from AtomoOS’ full range of monitoring tools like waveform, vectorscope, false colour, audio level meters and pixel-to-pixel magnification.

Users can also load and store LUTs directly into Shogun and Sumo for complete creative control, production to post. With HDMI or SDI users can output their footage in 4K PQ (HDR 10) or HLG HDR direct to a compatible television or monitor for instant preview using our AtomHDR engine – great for on-set use or client review.

When used with the EVA1 no other external monitor recorder will give users the extensive range of options available from the Shogun Inferno and Sumo19. It remains the most versatile, flexible and cost-effective solution for high end external monitoring and recording on the market today.

If you are attending the NAB Show then be sure to come and check out the EVA1 and Atomos RAW capabilities live at Booth C9425.

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Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the EOS C700 FF, the Company’s first full-frame cinema camera. The beauty and majesty of full-frame digital cinema is now becoming a new creative reality. Since the introduction of the EOS 5D Mark II DSLR camera in 2008, Canon has been a part of the full-frame video movement, and the introduction of the C700 FF has reinforced Canon’s commitment to this market. At the heart of the camera is a novel Canon-developed CMOS image sensor having a total of 5952 (H) x 3140 (V) photosites with a digital cinema 17:9 aspect ratio, which gives it the same image circle size as the full frame EOS 5D camera series. This supports a wide range of shooting options.

Available in both PL and EF Mount, the EOS C700 FF provides users with the same outstanding performance, operation and modular design as the EOS C700 (released in December 2016). The camera is being shown publicly for the first time at the Canon booth (C4325) at the NAB Show 2018 in Las Vegas from April 9-12.

“Since the launch of Canon’s Cinema EOS line of products in November 2011, the goal was to one day develop a cinema camera worthy of being the ‘A’ camera on major Hollywood productions, and Canon met that goal with the introduction of the EOS C700,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “After listening to our customers and closely monitoring market trends, Canon set forth a new goal: to launch a full-frame cinema camera. With this introduction, we are very excited to see the C700 FF in the hands of industry professionals as they shoot their latest projects.”

Existing owners of Canon’s original EOS C700 cinema camera will be pleased to know they can have their Super 35mm sensor upgraded to the new Full-Frame sensor for a fee*. Authorized Canon facilities such as Canon Burbank are ready to process C700 upgrades as well as lens mount swaps, and offer equipment drop off, on-site repairs and upgrades, as well as equipment testing and demonstration.

The Sensor

The newly developed sensor featured in the EOS C700 FF has an active image area of 38.1 x 20.1mm and supports readout at full size, as well as Super 35mm, Super 16mm and anamorphic modes. In addition to full-frame lenses, it can be used with conventional Super 35mm lenses to originate 4K / UHD standardized production formats and Super 16mm lenses (with an adapter) to originate 2K / HD production formats in crop modes. The sensor captures wide tonality exceeding 15 stops of dynamic range and a wide color gamut meeting ITU-R BT.2020 standards. This offers broad latitude when grading, providing outstanding effectiveness in HDR video production.

Recording

The EOS C700 FF embodies a choice of two high-performance codecs for on-board recording –Canon XF-AVC or Apple ProRes. Like other cameras in the 4K Cinema EOS family, the EOS C700 FF uses CFast cards to capture 4K / UHD or 2K / HD. A striking feature of the C700 FF is the Oversampling 4K Processing that processes a 5.9K image capture to produce 4K (DCI or UHD) having enhanced image sharpness, curtailed moire, and a lowered visibility of noise at the higher ISO settings. This is especially advantageous for on-board anamorphic image capture. Low-rate 2K/HD proxy data including metadata, can be recorded to SD cards, ideal for offline editing. The camera also allows high-frame-rate recording of up to 168fps in 2K crop and relay or simultaneous recording onto both CFast cards. In addition, the C700 FF can shoot at a Full HD high-frame-rate recording at a maximum of 168 fps. Additional formats are planned with future firmware updates.

To further complement the features of the EOS C700 FF, Canon has turned to its trusted partner Codex to provide a fully integrated (no cables) recording and workflow option. The combination of the optional Codex CDX-36150 recorder docked onto the back of the EOS C700 FF enables 5.9K 60 fps RAW recording, 4K RAW up to 72 fps (in 24p mode), 4K ProRes up to 60 fps and 2K ProRes up to 168 fps (in Super 16mm mode).

The C700 FF also supports the latest version (1.0) of the ACESproxy, the ACES (Academy Color Encoding System) color management transmission standard.

HDR

For users looking to create High Dynamic Range (HDR) imagery, the EOS C700 FF is an excellent solution, providing 15 stops of latitude (with Canon Log2 only), along with Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Canon Log2 is recommended when originating HDR imagery containing both highlight details and deep shadowed details. In comparison with Canon Log, Canon Log3 offers a wider dynamic range while retaining performance in darker regions.

Additionally, these cameras seamlessly integrate with Canon’s latest professional 4K UHD Reference Displays for on-set review and color management that conforms to SMPTE ST 2084 standards of HDR display.

The look of a cinematic production begins with the lens, and the EOS C700 FF offers both PL and EF lens mount options which are interchangeable at a Canon authorized service center. For full frame imaging, the EF lens mount version of the new EOS C700 FF is compatible with Canon’s family of seven Cinema Prime lenses, including the newly announced CN-E20mm T1.5 L F lens, as well as the diverse lineup of over 70 interchangeable EF lenses. The EF mount supports Canon’s Dual Pixel CMOS AF technology and Dual Pixel Focus Guide. The Focus Guide assists operators with a precision visual indicator in the viewfinder when pulling focus. Alternatively, for certain demanding shooting situations the reliable capabilities of Dual Pixel CMOS AF can be deployed. The EOS C700 FF PL mount version is also compatible with Cooke’s /i metadata communication technology.

The EOS C700 FF EF and EOS C700 FF PL are scheduled to be available in July 2018 for an estimated retail price of $33,000.00. For more information on the EOS C700 FF please visit, usa.canon.com/provideo.

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A new set of effects from idustrial revolution for a limited time at $39

XEffects Smooth Glass Slideshow enables the creation of beautiful dynamic, glossy slideshows. Combine media with self animating glassy bar titles & transitions. Add information with customisable text elements with built in colour palettes and on screen controls.

A highly customisable set of 39 plugins, each element can be layered up to produce some stunning animations.

The glossy bar titles have a range of sizes, width animations, directions & acceleration, brightness & tint, bevel edge, opacity and colour.

The transitions are similar with matching customisable bars either side of the revealing wipe.

Text elements have over 30 built-in colour selections or choose your own to match a corporate colour scheme or theme. Text move matches the motion of the image or video underneath.

 Features

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If this isn’t the best reason for producing 8K 360° VR footage. A Brilliant timelapse video lasting just over 1m.

Photographer William Briscoe captured this spectacular 360° 8K timelapse on January 31st near Fairbanks, Alaska.

“Here is a 360 video of the Lunar Eclipse, Alaska style, which I filmed on January 31st near Fairbanks. Lady Aurora, being the Diva she is, just couldn’t let the moon have all the attention that night, so she made a nice showing as well.”

The full video is only a minute and ten seconds long, but that doesn’t mean it was easy to shoot. Responding to a comment on YouTube, Briscoe revealed that it was -31°F (-35°C) out that night, so just getting his 360° rig (a custom-built array of numerous 35mm DSLRs) to work was a challenge.

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