MOVI the future of live multicam is in your hands ($399 after April launch)

Categories: Miscellaneous 1 Comment


Movi title2

2016 starts with a bang…here is a small unobtrusive 4K camera that will set the heather alight when it becomes available. This is what 4K was made for, cutting in and out of a 4K sensor via HD. Now you don’t have to be an expert to see the quality when close up isn’t what true video professionals would produce but as a quick live streaming tool with all the production capabilities its brilliant. Education, theatre use, video conferencing for starters.

Up to its launch date of April you can order the camera for $199 which is only £135, you would think I was earning out of this !

This is used to great effect on the JVC GY-LS300 and the Sony FS5 where you can electronically zoom 2x with no artefacts. This is where this MOVI concept may let itself down if it goes beyond the 4K sensors capabilities of a 2x zoom within an HD environment.


This is where 8K, 16K will make gigantic strides when used with cameras as an electronic zoom giving us 4x and 8x with no degradation in picture quality.

To get a true feel for this watch the video…now no one is saying this will take over an HD multicam shoot but the concept is revolutionary and with time can only get better.

For more details and that half price deal go to

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

Sony FS5 showing Artefacts in UHD mode is “NORMAL” Update

Categories: Miscellaneous 12 Comments


Many Sony FS5 users are experiencing artefacts in UHD mode which they seem to think is a processing problem but 3200 ISO with standard gamma is +9dB gain so its noisy and on top of the 8 bit codec its compressed 32:1…you can’t avoid artefacts.

Alister Chapman ” I believe the edge tearing artefact reported by some is due to the temporal noise reduction that the camera uses. As you pan or tilt the camera the areas around edges will change from frame to frame while large more solid areas of the picture change little. Because of the differences from frame to frame you won’t get any noise reduction in these areas so edges can become coarse and “fuzzy” or jittery as there is on the one hand a marked increase in noise on the edges and at the same time a ghost image from the adjacent frames. At 0db this is barely visible and certainly not an issue with real world shots but ramp up the gain and this increases rapidly. These are fairly typical side effects of temporal NR.”

“The FS5 is a great little camera, I really enjoy shooting with mine and I think the results I am getting are great. I know that I can get a technically better 4K/UHD image from my FS7 or F5, but sometimes it’s not just about getting the best technical quality. The FS5 allows me to shoot more freely, it’s a breeze to carry around or travel with, I can throw it on a gimbal, on the end of a microphone boom pole, chuck it and a bunch of lenses in a small back-pack, it’s fun to use! As a result I’m getting shots that I just can’t get with the FS7 or F5.”

See more about this issue at XDCAM-USER

Andrew v2

Andrew Reid from EOSHD counter claims Alister Chapman and reckons the edge tearing is a bug that Sony need to fix, Andrew also owns the Sony FS5.

You can read Andrews response here

HDW : I will be running my own tests today as I am probably one of the few not to rush in and update my FS5 to firmware 1.10 though there is no indication that the new FW is to blame.

Sony seriously need to address this ASAP by making a statement via Japan from the people who know this camera inside out, I do feel Alister’s +9dB scenario a bit hard to grasp as I have always tested most of my review cameras up to 9dBs and the majority of large sensor cameras cope well at 9dBs, especially super 35mm sensors.

It does not help that the “Native” ISO changes dependent on wither you are in standard gamma or Slog !


Confuse v2

Here is a video which clearly shows the 8 bit UHD compression artefacts…

Sony FS5 Artifacts in UHD from Glass Ink Media on Vimeo.

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

Finally we get to the truth about commissioning in Scotland.

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BBC-front copy

Director General Lord Hall of Birkenhead is due to appear at the Scottish Parliament later this month as part of the inquiry into BBC Charter Renewal.

With the SNP and its allies calling for BBC Scotland to be replaced with an independent broadcaster, Lord Hall will be braced for a hostile reception.

However, the most serious claims he must answer relate to a deliberate attempt to “subvert” the BBC’s Home Nations funding quota.

For the past seven years, the Corporation has voluntarily agreed to commission 17 per cent of its network programmes from Scotland, Wales and Northern Ireland.

However, according to Glasgow-based production company Matchlight, BBC bosses have devised a way to get around their own rules – at a cost of up to £50million a year to the Scottish economy.

In an explosive statement to the inquiry, Managing Director David Smith says: “Since 2008 the BBC has deliberately worked with non-Scottish production companies… to undermine and frustrate the purposes of the Scottish quota on an industrial scale.”

He said the practice is known as ‘Lift and Shift’, where London-based companies set up tiny branch offices north of the Border in order to qualify for the Scottish quota.

Since the quota was introduced, TV producers such as 12 Yard, Shed, Lion TV, Mentorn, Victory, IMG and ITV Studios have all opened or expanded Scottish offices.

According to Ofcom, more than 60 per cent of programme hours classed as Scottish by the BBC were made by production companies headquartered outside Scotland.

Mr Smith said: “Without adding 1p to the BBC’s network content budgets the Corporation could add between £30million and £50million to Scotland’s creative economy simply by moving away from Lift and Shift.”

Stewart Maxwell MSP, the SNP convener of the Education and Culture committee, has now written to Lord Hall to ask him to explain the damning allegations when he comes to Edinburgh on January 12.

He writes: “Please respond to points made in a written submission to the Committee from Matchlight regarding how the BBC’s commissioning practice has operated to subvert the spirit of the current Nations quota.

“Specifically, is it appropriate to set 100 per cent of a project’s budget against the Scottish/Nations quota when a lesser share of the overall budget is actually spent in Scotland on that production?”

The inquiry papers also reveal an extraordinary range of demands, warnings and predictions about the future of television north of the Border.

John Archer, chairman of Independent Producers Scotland and a producer with Glasgow’s Hopscotch Films, said: “Up until the mid 1990s the budget for network drama made from Scotland was in Scotland.

“Head of Drama Scotland proposed how it was spent, and commissioning was a discussion. There were many network dramas made in Scotland, telling Scottish stories in Scottish voices. But then the money was centralised (ie went to London). TV drama from Scotland has been in decline ever since.”

Dramas produced by BBC Scotland before the mid 1990s include Tutti Frutti, which launched the careers of Robbie Coltrane and Emma Thompson; The Crow Road, with Joseph McFadden, Peter Capaldi and Dougray Scott; the award-winning Just Another Saturday, with Jon Morrison and Billy Connolly; Takin’ Over The Asylum, which introduced viewers to a young David Tennant; and Hamish McBeth, with Robert Carlyle.

Mr Archer is one of several senior figures backing the SNP’s demand for an independent Scottish BBC, although he admits that viewers would “probably have to switch to BBC England to watch Eastenders”.

He also predicts that the relative success of Outlander, which has been popular in the USA, could lead to a golden age of historical adventures set and made in Scotland.

He writes: “Alongside the contemporary stories, the new genre of Scottish historical ‘westerns’ with Tartan, claymore, dirk and pistol has come of age.”

The inquiry, which will open at Holyrood on Tuesday, will even hear calls for BBC Scotland to cancel its River City soap opera.

The Scottish Media and Communication Association said: “Some [members] thought that BBC drama production is poor, because River City takes up most of the drama budget, yet it is only shown in Scotland.

“With the same resources original plays could have been commissioned and some believe that the decision to invest all drama resources in River City was wrong.”

The BBC submission highlights popular and award-winning Scottish programmes such as Katie Morag, Shetland and Stonemouth, but acknowledges that more can be done.

It states: “However, popular as such programmes may be, the BBC knows there is a growing need to see the full diversity of the UK’s cultures and communities better reflected on screen and on air.”

Taken from,

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