A video produced in Hamburg, Germany using the Panasonic AF101

Categories: Miscellaneous 1 Comment

We had the opportunity to make a test shoot with Panasonics new AG-AF101 in order to see what this baby can do. We shot on a cold and snowy hamburg day in an old, dark factory with a small crew. We had about six hours of shooting and a hell of a time!
Thanks to the whole crew!! Thanks to the BMX guys: Sas Kaykha, Sören & Nils!!
Studio Hamburg for the support and Panasonic for providing us with this new camera.

Enjoy and please let us know what you think!

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

The “CROP CONFUSION” of micro Four Thirds

Categories: Miscellaneous 5 Comments

It’s all about “CROP” and this topic is very confusing, people who market Nikon DX cameras will have you believe you are getting more magnification using a full frame FX lens onto a DX camera but in fact what you are witnessing is nothing more than the middle of the lens being used by the smaller sensor so it looks like you are getting a 1.6x magnification when you are actually getting the same picture as a full frame camera but a cropped version.

You would swear P2 was indeed 2x bigger than P1 but in reality you are getting the same picture but the smaller sensor in the micro Four Thirds camera is only using the centre of the lens if I were to now crop P1 I could make it look the same as P2.

A 10mm lens on a 35mm camera will have a field of view 1.6 times greater than it does on a camera with an APS-C sensor.  The reason the Nikon DX lenses offer good value is because it will only give full sensor coverage on a APS-C sized sensor (F3 users beware!!!), so on a 35mm senor you would have a solid vignette around the outside of the image. Nikon do not adjust the focal length stated on the lens to suit different sensors, in the just the same way as Sony don’t. So at the end of the day a 10mm DX lens will have the same FOV as a 10mm lens from any other product line.

The crop factor is exactly the same. What happens is the smaller sensor CROPS you image and creates an image that would be the same as if you used that lens on a full frame but since you lose the edges of the picture it makes an image that appears to be magnified.. The magic word is cropping, the rest of the image spills over the sides. The image size on the sensor is the SAME for either sensor. This is why these new small sensor lenses dont do well on full frame since the lens design does not have to support the increased area of the large sensor.

We are all looking for the perfect fast lens to use with the AF101 and yesterday I thought the 17-55mm f2.8 was indeed that lens but alas we are just going to have to wait for the camera to arrive and do some hands on tests to determine a good all round f2.8 lens for the Panasonic AF101. I must thank a few of my readers for pointing me in the right direction.

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

The Review of 2010…Coming soon

Categories: Miscellaneous No Comments

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

BIRGER engineering-Canon adapter $700 “the queue for ownership has just got longer”

Categories: Miscellaneous 2 Comments

The rumors are true!  Birger is coming out with a lens control system for EF mount lenses on the Panasonic AF100. Control for the iris, both auto and manual, will be from the camera.  Continuous (video-style) auto-focus will be supported on most Canon “L-series” lenses.  Power is provided by the camera for most lenses.  Image stabilization is supported on “IS” lenses, and this feature can be turned on or off from the lens.  Ships 14 February 2011.  MSRP $700 for the adapter.  Optional cinema-style remote control, available at additional cost, to be announced January 2011.  Sign up for the “General News” email list to receive updated announcements.  Photo below is a prototype on an engineering sample of the AF100, and a Canon EF 17-40mm f/4 lens.

This is the news all Canon “L” glass owners have been waiting for the Rolls Royce of electronic adapters, this in conjunction with the wireless remote will finally allow professional pull focus on the Panasonic AF101 making this a fantastic camera for drama, interviews, commercials and pop promos…the queue for ownership has just got longer.   PS. You can pre order the mount at H Preston Media for an expected January release.

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

Canon EOS-m4/3 adapter…just on time for the Panasonic AF101

Categories: Miscellaneous 1 Comment

So how does this work… I order an adapter from HONG KONG to test the Canon L Glass on my G2 six days ago and it arrives today by FedEX…then I order a camera from down south 4 days ago and INTERLINK tell me they have too much of a backlog to process my order which I payed for an overnight delivery.

The EOS to mFT adapter has arrived and I can now confirm that your Canon glass on an AF101 will be as follows 24-70mm f2.8 = 48-140mm f2.8 fortunately it remains a 2x conversion, the good thing is to be able to use L glass and have the extra speed at f2.8mm.

The adapter is made by KIPON, Hong Kong and is better than I was expecting, though the results on the AF101 may be a different kettle of fish.

It had been mooted that it’s not clever to have the iris at the back of the lens but having done sone preliminary tests it does not seem to do any harm, I shot some white card at various iris settings and fully shut down you get vignetting at the corners.

My test baby had one 20W halogen light on her face, the camera a Lumix G2 HD had the EOS adapter and a Canon 50mm f2.5 macro lens, shooting at a 60th of a second @ 200 iso hand held and it looks very good indeed.

As you can see the Kipon adapter is well made with a 14 leaf iris built into the adapter itself and has a locking pin (at 3pm on a clock face) which is a slight mystery to release at first if like me you attach the adapter then the Canon lens without thinking.

So far this adapter has performed admirably with the short amount of testing I have been able to perform but this is a stop gap for me as the USA adapter promises to be better built, electronic and wireless comms to a remote pull focus control. At least I am able to tell you all that your Canon Glass needs to be multiplied by 2 times when using an adapter on the AF101. This brings it’s own problems sourcing a decent wide angle Canon lens.

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

A Working model of REDs EPIC light (Scarlet renamed)…”too little to late”

Categories: Miscellaneous 2 Comments

This is the very first public footage of a working Red Scarlet Fixed Lens camera. I’m currently at Red Studios helping with the Santa Fe 3d Workshop with Geoff Boyle. Just as I am sitting there…in comes Jarred with a WORKING Red Scarlet 8X fixed camera! Naturally I was dying to hold the camera. As Jarred passed it to me, he told me I was the first public person to hold a working Red Scarlet. Let me tell you folks, it is real and is working. The Scarlet I was holding had the 5inch lcd touchscreen. The lens gear ring which can be set to zoom, iris or focus is buttery smooth. QUALITY. The electronic zoom works like a charm. I used the up-down rocker on the camera to zoom in on a Jeep in the parking lot (though I was “Mr. Shakey” due to the sheer excitement of finally getting to hold the Red Scarlet.) Justin O’Neill and I got to see it for a mere brief moment and off it went back to the vault. This should be comforting to those who may fear that RED wouldn’t have time for the Scarlet with all the Epic buzz going on. This gives me more confidence that the Red Scarlet is definitely around the corner. I have been really lucky to have held both the Epic and Scarlet. The Scarlet is lighter in weight than the Epic even with the fixed lens. This is due to the Scarlet body being more narrow. The weight felt very good and the camera felt rugged. Touch screen controls were functional. Enjoy! tonacitran.com

HDW : Interesting but I think Panasonic and Sony have taken the lions share of REDs intended market with the very popular AF101 and the F3 due in January 2011, both cameras with interchangeable lenses unlike Scarlet with an 8x fixed lens !

RED have their following but don’t have the production might of Panasonic or Sony, I have my doubts having a fixed lens that Scarlet has the appeal for DPs or photographers, it’s just too limiting, knowing the AF101 was in the offering at £4000 you would think Jim and his team would have changed direction and made Scarlet an interchangeable lens camera.

UPDATE : Jim Jannard has said in the Reduser.net forums that for their most humble camera offering, “the features have changed as has the price. I’ll update in the next two weeks.”It’s now the “Epic Light,” which reflects that it’s really just a compact and differently-spec’ed version of their new digital cinema camera.

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

Sony Vegas Pro for $399.95 get Sound Forge Pro FREE

Categories: Miscellaneous 2 Comments

Click on this link…  http://www.sonycreativesoftware.com/buy/vegaspro?keycode=64412

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

Sony open a new Customer Experience Centre in Basingstoke

Categories: Miscellaneous No Comments

Sony Professional has unveiled its first European Customer Experience Centre at its offices in Basingstoke, UK. The new resource will allow visitors to gain an understanding of the latest broadcast solutions in a relaxed and comfortable setting reflecting the work Sony is doing to ensure that the customer is at the heart of its propositions. The centre boasts a state-of-the-art 3D broadcast training facility, ensuring that stereographers and camera operators are equipped with the skills required to ensure that live broadcast 3D is a success.

The Centre is equipped to demonstrate the Sony ‘lens to living room’ story. The sizable training area contains 3D rigs and camera systems allowing users to learn how to capture the best 3D footage while dealing with issues such as changes in lighting, temperature and speed of action.  A section of the main lounge is set up as a production gallery, enabling visitors to experience the MPE-200 multi format processor box, which is central to the production of high quality live 3D. Customers are then able to view the output of their work in the lounge area where professional 3D monitors and consumer 3D BRAVIA televisions are set up.

Aside from 3D solutions, visitors will also be able to experience a fully functional TV production gallery including the latest switchers and Sonaps system. A further demonstration area will allow customers to get to grips with the latest software offerings, including XDxchange, Media Backbone and Ensemble. As well as the static broadcast solutions, customers are able to visit the Solutions team, who are responsible for large scale broadcast transformation projects as well as the design, fitting out and testing of Outside Broadcast trucks.

David Bush, Director of Marketing, Sony Professional, commented; “Until now our ability to demonstrate a functional broadcast workflow to customers has been restricted due to the space and equipment requirements. This new Experience Centre will change that, allowing us to work with our customers to understand the issues which they face and working collaboratively to solve them.”

Bush, went further; “We know from the Sony 3D Technology Centre in Culver City, USA, that customers are appreciative of being able to experience equipment and improve their skills in a comfortable, relaxed atmosphere. We hope that our European customers will gain the same benefits, from this, our first Customer Experience Centre in Europe.”

An exciting extension to this Centre is the upgrade taking place in the current Studio+ facility.  This area is being transformed into a fully fitted cinema complete with 2K, 4K and 3D projectors.  This project is due for completion in January 2011 and will complete the Sony Professional Customer Experience Centre.

While I was at IBC during the year Sony had a prototype shoulder mount 3D camcorder sitting in a glass case, there was no price or availability, this professional Full HD 3D camcorder features four SxS memory slots, left and right channel HD-SDI outs, and a dial for adjusting the point of convergence, extremely important when shooting professional 3D videos.

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

Hi Rez pictures of the Panasonic AF101

Categories: Miscellaneous 1 Comment

So here we are…finally some good Hi Rez pictures of the Panasonic AF101, the PL mount in this case is the MTF PL to Micro Four Thirds Adaptor. This is proving so popular with customers that Mike from MTF ran out last week but he is expecting to have more from today.

We have not really had a chance to view the business side of the camera in such detail, I am glad to see a small joystick being used on the “FUNCTION” mode, I do hope this is an alternative navigation to the thumb wheel seen at the front of the camera. A nice touch is the removable panel covering the audio level controls. Note the mode button far right just above CH2 and the letters CAM & PB which can only mean “Camera” or “Playback”. Interestingly the OIS button will only work if you have Panasonic Micro Four Third lenses with the OIS switch. The 14-140mm lens has the OIS switch and this in my opinion will be “standard lens” for the AF101. Great to see a decent ND filter ring from 0 to 1/64 ND.

The two SDHC slots are at the top and a nice indication in yellow as to which slot is in use. There is HDMI, SDI and composite out and note where the headphone socket is.

This side is a bit like the dark side of the moon, a side we haven’t seen that often, note we have line and mic switches, the phantom power is switchable on the opposite side of the camera. This camera has grown on me since the early prototype… as one DP called it “an ugly duckling with a swan like picture” thats a perfect description of this camera. As they say it’s not all down to looks, it may be a tad boxy but from all accounts the camera performs and performs well and that’s the bottom line.

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

Peter Jackson with his RED EPIC

Categories: Miscellaneous No Comments

The successor to RED’s industry changing RED ONE, the EPIC has 5K resolution, can shoot up to 120 frames per second and has a new HDRx™ mode for the highest dynamic range of any digital cinema camera ever made. Taking everything they had learned from building their first camera, RED designed the EPIC from scratch and have produced a smaller, lighter camera that is an order of magnitude more powerful.

The Hobbit will be amongst the first productions in the world to use the EPIC and at least thirty cameras will be required by the 3-D production. The EPIC’S small size and relatively low weight, makes it perfect for 3-D – where two cameras have to be mounted on each 3D rig.

Jackson has a long history with RED, dating back to when he directed the short film ‘Crossing the Line’ as a very early test of prototype RED ONE cameras. “I have always liked the look of RED footage.” he says, “I’m not a scientist or mathematician, but the image RED produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the EPIC, Jim and his team have gone even further. It is a fantastic tool, the EPIC not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The EPIC gives us back the ability to be totally cable free, even when working in stereo.”

Jim Jannard the owner and founder of RED flew to New Zealand earlier this year with members of his team so that Jackson could test the EPIC and assess its suitability. “Everybody at RED is incredibly proud that Peter has chosen the EPIC” says Jannard, “The Hobbit is a major production, and could have chosen any camera system that they wanted. The fact that they went with us is extremely gratifying.”

The Hobbit will start shooting in New Zealand early 2011.

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

Pages: Prev 1 2 3 4 5 Next

%d bloggers like this: