Product Announcements
Fujifilm Announces Fujinon Cabrio XK6X20 Zoom Lens
FUJIFILM has announced that it will release the FUJINON XK6x20 as a new addition to its lineup of 4K-compatible digital cinema camera Cabrio zoom lenses in late June. Equipped with a PL mount*2, the most common format for cinema cameras, the XK6x20 is a standard zoom lens that delivers T3.5*1 brightness for the entire zoom range from 20mm to 120mm. The XK6x20 will be showcased for the first time at NAB 2016 to be held in Las Vegas at the LVCC from April 18 to 21, 2016. Designed for the video production and PL cine markets, this 20-120mm Cabrio features industry-proven Cabrio flexibility - at an affordable price. It is also equipped with a unique detachable servo drive unit, making it suitable for use as an ENG-style or standard PL lens. The 20-120mm Cabrio is also fitted with a nine-blade iris, to capture the most natural looking imagery possible. It comes equipped with all the lens data outputs that are required by today’s cine-style shooters. LDS and /i Tech metadata compatibility are very useful when users need to record the position information of zoom, iris, and focus for computer animation and similar postproduction operations. The digital servo on this new lens has 16-bit encoding, so operators can be assured that the lens data outputs are extremely accurate. The 20-120mm Cabrio XK can be controlled using cinema industry standard wireless controllers, as well as existing FUJINON wired units. Meanwhile, the zoom’s barrel markings are luminous for visibility in dark shooting situations - a nice-to-have touch that reflects the company’s deep understanding of real-life cinema shooting conditions. In recent years, the need for employing visual content that utilise mild bokeh created with high image quality and shallow depth-of-field lenses that are unique to cinema cameras has increased for shooting various scenes for commercials, concerts, documentaries and dramas. Fujifilm released FUJINON Cine Lenses compatible with digital cinema cameras in 2002. Since then, it has provided high-resolution, high-quality lenses for digital cinema camera customers in various production sites in the cinema and broadcasting industries. The XK6x20 digital cinema camera zoom lens offers high optical performance compatible with 4K cameras and covers a wide focal length range from 20mm to 120mm. It also realises T3.5 brightness throughout the entire zoom range. There is no T drop*3 and it offers comfortable operation enabling various scenes to be shot with this single lens. It also features 0.8mm gear pitch*4 for compatibility with standard cine accessories.
Check out the Atomos Flame Series in more detail with the Product Walkthrough Video
The Atomos Flame Series enables you to shoot in log from the camera and for the first time, thanks to the AtomHDR engine, reproduce the vibrant colors & brightness of HDR in post production on a field monitor. The Shogun Flame is a 7” 10bit 1500nit Field Monitor with the AtomHDR engine, connections for HDMI / SDI / XLR and recording for both Video and Raw (Sony & Canon) to 4K/HD 10bit ProRes/DNxHR. The Ninja Flame overcomes the display challenges of shooting Log, displaying the full brightness range on a field monitor for the first time, with truetolife vibrant colors. It has a 7” 10bit 1500nit panel with the AtomHDR engine and HDMI connections to record and playback video to 4K/HD 10bit ProRes/DNxHR.
Atomos Ninja Flame and Shogun Flame Ignites HDR & High Brightness in the Field.
In the same way that the original Atomos Shogun helped fast track the transition from HD to 4K filmmaking, Atomos are intent on delivering 4K HDR to everyone with the launch of the Shogun Flame and Ninja Flame. The Atomos Flame Series delivers the world’s most advanced 7” field monitor, accurately displaying 10 stops of the luminance detail of Log with 10 bit HDR Post Production color accuracy, for the first time in a field monitor. The AtomHDR engine not only resolves HDR brightness detail (dynamic range), with 10-bit color accuracy it also resolves 64 times more color information than traditional 8-bit panels. For Rec709 standard dynamic range scenes, the 1500nits brightness aids with outdoor shooting as does the upgraded continuous power management system that will keep you shooting longer in the field. Of course you also get the professional 4K/HD ProRes/DNxHR Recording, Playback and Editing that has made Atomos famous. Shogun Flame and Ninja Flame are available for sale in quantity week of March 28th, from the authorized Atomos reseller network. “HDR is simply amazing, it’s the next revolution for filmmaking, once again Atomos are first with the technical solution to make it quicker, easier and more affordable for filmmakers” said Atomos CEO and co-founder Jeromy Young, “Anyone that sees HDR, from content creators to consumers are immediately sold, - more life like shots and real world detail. Our job is to open up HDR to all filmmakers by removing the technical and affordability hurdles that might slow its progress.” The Flame series of monitor-recorders are equipped with the AtomHDR engine, utilising the power of the 1500nit panel in tandem with Atomos’ patent pending image processing to resolve the brightness detail of Log camera signals with the color accuracy of 10 bit HDR images mastered in post production. This means that the usual complications of exposing Log signals on a washed out image are eliminated – with AtomHDR you simply frame, expose, focus and shoot. All major camera makers log formats are supported - Sony, Canon, Panansonic, Arri, Red and JVC. The monitor itself is a calibrated 7” 1920x1200 325ppi IPS with upgraded 10-bit color accuracy, resolving 1.07 billion colors compared to the 16.7 million colors of traditional 8-bit panels. This all but eliminates the color branding seen on traditional panels and in tandem with AtomHDR lets you see images as you would with your own eyes. For existing SDR, Rec709 delivery or scenes that do not have the wide brightness variation required for HDR shooting, switch to traditional video mode (Rec709) and activate a Brightness slider that lets you take advantage of the impressive “Daylight Viewable” 1500nits of brightness emanating from the Flame units. This adds huge versatility for the Flame series – if you have scenes that call for HDR, activate the AtomHDR mode. If you don’t, switch to High Bright mode for outdoor monitoring hood free. Shogun and Ninja Flame have a rugged built in armour ensuring it is battle-ready for the field and also now inherits the Atomos patented continuous power system pioneered on our HD range. The hot-swappable dual battery system automatically swaps to the second battery when power is low, allowing hot swapping to new fresh batteries. This coupled with our new improved battery charger which is 3 times faster means that power is always taken care of. The addition of AtomHDR, the 1500nit brightness, 10-bit colour accuracy and Continuous power genuinely positions the Flame Series as the best 7” Field Monitors in the world, but as we know with Atomos they are much more than monitors alone, featuring advanced recording, playback and editing capability as well. Both units record 4K/HD direct from the sensor to 10-bit 4:2:2 Apple ProRes or AVID DNxHR/DNxHD onto affordable yet reliable SSD’s from the world’s leading media brands. They also feature on the fly 3:2 and 2:2 pulldown removal and advanced recording features such as Timelapse & Pre-roll. Playback with controls is possible on screen or out to larger monitors and you can even use the built-in focus, framing and exposure tools to judge the shot and then start tagging to make decision making in Post faster and easier.
The Ninja Flame is a HDMI only model with all of the above features and ships with a host of accessories including a HRPC hard case, a snap-fast HDR sunhood, fast battery charger, control cable, 2 x NP-F750 4 cell batteries, USB 3 Docking Station, D-Tap Cable, 5 x Master Caddy Cases and a 12 V 3A AC-DC Power Adapter. The Shogun Flame is a HDMI & SDI model with bi-directional SDI/HDMI conversion, Raw to ProRes/DNxHR recording for select Sony and Canon cameras, balanced XLR audio input/output and LTC/Genlock connectivity. It features the same above accessories as well as the XLR breakout cable. Flame Series Key Features:- With a Dynamic range to match that of a 10-bit camera LOG footage, AtomHDR monitors deliver the detail in highlights and shadows usually clipped on traditional monitors.
- A highly advanced field monitor even in non-HDR scenarios with 1500nits brightness for outdoor shooting, native full HD resolution and optional calibration to ensure natural LCD colour drift can be corrected over time.
- Record direct from the sensor in pristine 4K UHD (up to 30p) or record high frame rate HD (up to 120p)
- long with recording the high pixel density of 4K, the Ninja and Shogun Flame also record higher resolution 10-bit colour information and more precise yet efficient 4:2:2 colour encoding.
- Recording to Apple ProRes and AVID DNxHR visually lossless edit-ready codecs ensure you capture full individual frames like film, providing more flexibility and creativity in post. Can be delivered to any standard – never worry about having your footage technically rejected due to the format again.
- Ready for real-word conditions with built-in armour protection, dual battery hot-swappable continuous power system to ensure you always have power and a raft of included accessories including a new fast charger and snap-fast sun hood.
- Our patented hot-swappable dual battery system for continuous power is backed up with the included power accessories (2 x 4-cell batteries, D-Tap adaptor and blazingly fast battery charger)
- An arsenal of creative weapons including focus and exposure tools, 3D Custom Looks, Waveforms (LUMA and RGB) and Vector Scopes ensure you set the shot up perfectly every time.
- XLR audio via breakout cables for Shogun Flame or 3.5mm line level input with audio delay, level adjustment and dedicated audio meters with channel selection for Ninja Flame.
- We support affordable, readily available SSDs from the world’s most trusted media brands.
Sony introduces PXW-Z150 compact professional camcorder
Sony has announced the PXW-Z150, the latest addition to its XDCAM range of lightweight, easy to use professional camcorders with new functionality to enable wireless operation and 4K*1 high quality shooting. The flexible, effortless set-up capabilities of the portable PXW-Z150 enables content creators of all experience levels to deliver impressive imagery for content and events shooting scenarios, no matter how tight their brief. The PXW-Z150 features a 1.0 type stacked Exmor RS CMOS image sensor, providing users with spectacular 4K recording and impressive 5x slow motion in Full HD - essential functionality for content creators looking to deliver corporate or personal productions to the highest quality. Go beyond what’s been traditionally possible with a camcorder. Catch every moment in up to 120 frames per second (fps) High Frame Rate continuous recording, in full HD quality. The Clear Image Zoom technology operates at 24x zoom and 18x zoom in HD and 4K modes respectively, in addition to the standard optical 12x zoom. The single 20 megapixel*2 1.0 type large sensor size offers clear pictures even in low light, giving filmmakers superb clarity and sharpness, opening up opportunities for flexible shooting in a variety of environments. In response to rising expectations in the fast paced corporate industry, users can now enjoy live streaming capabilities and FTP wireless connectivity with built-in Wi-Fi. Ensuring creative expression isn’t subject to an extensive set up; the PXW-Z150 is ergonomically designed to facilitate shooting with ease. The compact, lightweight body includes integration with advanced features, removing the need for multiple external accessories. The built-in 4-step ND filter is included to offer the flexibility of exposure and depth-of-field control, and the Multi-Interface (MI) Shoe avoids cabling with easy integration between the PXW-Z150 and Sony’s peripherals, such as the UWP-D series wireless microphones. The PXW-Z150 can be easily controlled by a smartphone or tablet using a Wi-Fi connection, and has a battery life which delivers a remarkable 400*3 minutes continuous recording time – allowing you to always be on hand to capture what’s needed. High visibility is delivered with the wide view-angle and high contrast 0.39-type 1440K OLED viewfinder, alongside the 3.5-type 1550K LCD panel. The PXW-Z150 lends itself to a variety of environments and editing requirements, supporting the conventional broadcasting format MPEG2HD (50Mbps/35Mbps) in addition to Sony’s advanced XAVC (Long GOP) format. The PXW-Z150 provides a wide variety of built-in connectivity options including professional standard 3G-SDI, dual XLR inputs, HDMI, USB, REMOTE and composite (phono), eliminating the need for adapters. To extend recording times and workflow flexibility, the camcorder is equipped with two memory card slots and is compatible with SDXC and SDHC cards. The dual media slots enable various recording options such as backup, simultaneous and relay recording. “We wanted to introduce a portable camcorder which supports our customers in demanding situations, where there is the need for a solution that provides a quick set-up and high quality creative options,” said Anthony Kable, Senior Product Manager, Sony Australia. “The compact, lightweight camera body coupled with high quality creative features and 4K capability gives filmmakers the tools needed to take their work to the next level, whether it’s corporate, event or online videography. Clients’ expectations within the creative landscape are constantly evolving and content creators need solutions that can not only provide high quality images, but also deliver this in a timely and professional manner. The effortless set-up ensures flexible shooting, while the Wi-Fi integration means you can take advantage of live streaming, ensuring the PXW-Z150 is ready when you are.” Key features of the PXW-Z150
- 4K high quality shooting with a 1.0-type Exmor RS image sensor and premium G lens
- Use on a wide range of applications with 120fps slow motion, rich recording formats and network functions
- High operability and rich interface, within a compact and lightweight body
Now Available! Media Composer 8.2.6
Avid is pleased to announce the release of Media Composer v8.2.6. This release was made available via the Avid Download Center (login and password required) on Tuesday, January 19.
New AJA Video Systems - Ki Pro® Ultra
Big on quality - but not on file size.
Avid Everywhere Extends Openness to Third-Party Editing Systems
Industry-leading Avid media management and shared storage systems now support a wide range of third-party video editing systems, providing editors with greater workflow flexibility Avid® has announced that Interplay® | MAM asset management and Avid ISIS® shared storage systems now support a wide range of third-party video editing systems, giving editors greater choice in how they deploy their creative workflows. Delivering on the openness of Avid Everywhere™, Avid now enables video professionals to benefit from the industry’s most flexible, collaborative, and efficient media management and shared storage solutions, powered by the Avid MediaCentral™ Platform, regardless of the editing application they choose to use. “Avid is committed to providing media professionals with the collaborative workflows they need to create, manage, and deliver the highest-quality content, regardless of the tools they choose to use,” said Dana Ruzicka, Vice President and Chief Product Officer at Avid. “Now, editors using third-party non-linear editing systems including Final Cut Pro, Premiere Pro, and EDIUS can benefit from the flexibility, efficiency, and enhanced collaboration that Avid media management and shared storage systems provide.” Avid Interplay | MAM asset management systems now support Adobe Premier Pro and Apple® Final Cut Pro®, enabling editors to choose the editing applications which best suits their experience. Editors can integrate editing systems already being used in their business, eliminating the need for new investments in specific applications. By uniting editing workflows under an industry-leading Avid media asset management system, editors can easily manage any type of asset, automate non-creative production tasks, and reduce operational costs throughout the production process. Avid ISIS |1000, ISIS | 5500, and ISIS | 7500 shared storage systems now support a wider variety of editing applications, enabling editors to collaborate efficiently at any resolution, turnaround projects faster, and operate with greater cost efficiency. Editors can now eliminate complex configuration or performance compatibility issues when mixing Adobe Premiere Pro CC, Apple Final Cut Pro, Grass Valley EDIUS Workgroup 8, and other editorial applications on the same ISIS system. This seamless integration builds on the support for Premiere Pro CC introduced earlier this year, and allows even more editors to benefit from the performance, scalability, and capacity of the industry’s leading shared storage solution. “One of the key challenges post-production facilities and editors face is managing and integrating different solutions from different vendors,” said Ruzicka. “Thanks to the openness of the Avid MediaCentral Platform, video professionals can now collaborate to edit and deliver rich media from offline all the way through 4K in faster, more efficient ways.” For more information about Avid solutions and services, give us a call at Videocraft - Melbourne (03) 9888 8511 or Sydney (02) 9436 3050 or visit www.avid.com, connect with Avid on Facebook, Instagram, Twitter, YouTube, LinkedIn, or subscribe to Avid Blogs.
Sony introduces the new 4K compact Super35 PXW-FS5 professional camcorder
Providing ultimate handheld shooting and complete creative control to a wider audience. Enabling professionals to shoot in any style, at any angle, anywhere Sony has announced the PXW-FS5, the latest addition to its rugged range of professional camcorders that combine flexible shooting with superior creative features. The versatile “grab and shoot” style PXW-FS5 enables unsurpassed on-the-go shooting in the most demanding of conditions. Complementing the successful PXW-FS7, this compact camcorder delivers high quality imagery suitable for a range of professional applications, from event videography to corporate and online video production. The PXW-FS5 is ergonomically designed with the user in mind - the light 0.8kg body has excellent weight balance ensuring reliability and comfortable all-day handheld shooting, for almost any location, even airborne mounted on a drone. Ease of use for a variety of shooting applications is possible with the one-touch rotatable grip - all of the key controls are at the user's fingertips allowing for ultimate shooting flexibility and fast switch-over between low or high angle shooting. In response to user demand for more ergonomic flexibility, the 3.5-inch type LCD panel can be attached to different positions on the handle or the compact camera body, further supporting easy handheld operation and offering customisable shooting. On-board 4K and HD XAVC recording combined with a Super35 Exmor™ CMOS sensor incorporating 11.6 million pixels and 8.3 million effective pixels allow capture of detail and image texture that even HD sensors cannot see. The high sensitivity and large size of the sensor delivers background defocus, increased low-light sensitivity and lower image noise coupled with stunning picture quality. High quality imagery is further ensured by High Frame Rate cache recording at 10-bit 4:2:2 in Full HD with an incredibly high frame rate of up to 240fps, in 8 second bursts, making 10x Super Slow Motion possible without sacrificing bit depth or loss of image quality. The PXW-FS5 is the world’s first* Super35mm camcorder to feature built-in electronic variable ND filters, further supporting the use of shallow depth of field with the large-format sensor and enabling flexible exposure control, encouraging the user to reach their full creative potential. Professionals can push their work to the next level with a high-end cinematic look to footage, coupled with the mobility of the camcorder. Integrating easily with other camera lenses, the α Mount System offers unsurpassed compatibility with both Sony and third-party lenses. The PXW-FS5’s E-mount can take virtually any lens – from Sony’s E-mount and A-mount lenses to a whole world of other SLR lenses via adaptors, ensuring the camcorder can be used in many shooting environments. The PXW-FS5 is available body only, or as the PXW-FS5K kit model which includes a compact 18-105mm F4 E-mount power zoom lens (SELP18105G), enabling single-handed zoom operation and allowing ease of framing, even in difficult shooting locations. The camcorder offers enhanced interfaces include 3G-SDI, HDMI output and SD dual card slots for recording. Equipped with Wi-Fi and a wired LAN terminal, the PXW-FS5 features enhanced network functions such as file transfer and streaming transmission. Furthermore, a future firmware update will provide RAW output. “At last year’s IBC we launched the PXW-FS7, which changed the way many television programmes, documentaries and film productions could be made. With that in mind and building on the great success of the PXW-FS7, we’re introducing a lighter more compact camcorder, the PXW-FS5,” said Nick Buchner, Senior Product Manager for Content Creation with Sony Australia and New Zealand. “The PXW-FS5 presents unrivalled flexibility coupled with complete creative control, equipping professionals with all the tools needed to exceed any brief. It stands apart in the current market as a comfortable handheld, lightweight camera, which at the same time delivers high quality imagery for content creation spanning genres such as corporate shooting, indie production, cinematic wedding videography, online and event videography. Users will have all the practical and creative functionality at their disposal, leaving them without any limits to realise their full potential.” *as a Super35mm camcorder with integrated electronic variable ND filter, based on Sony research. Key features of the PXW-FS5• Flexible handheld shooting with a compact 0.8kg lightweight body The lightweight body with excellent weight balance ensures comfortable handheld shooting as well as an easy fit with a drone or gimbal. The one-touch rotatable grip makes it quick and easy to switch between low or high angle shooting. Shooting parameters can be changed with one hand even during recording thanks to the multi-functional grip. In the same way a power zoom lens can be operated with a single hand. The detachable handle, one-touch rotatable grip and flexible LCD panel support varied shooting styles. • Creative expressive performance, including 4K shooting and 240fps high-speed shooting The camcorder is equipped with an 11.6 million pixel Super35 Exmor™ CMOS Sensor, enabling 4K XAVC long GoP video shooting. It is the world’s first Super35mm camcorder with a built-in electronic variable ND filter, supporting linear control from 1/4ND to 1/128ND and further expanding the creative use of depth of field. 10x times Super Slow Motion capture is possible thanks to the 10-bit 4:2:2 Full HD 240fps High Frame Rate, with no sensor cropping. Low light capabilities and background defocus are heightened by the high sensitivity and large sensor size. On top of this, the 14 stops of exposure latitude deliver strong grayscale rendition without crushing shadows or blowing-out highlight details. • Variety of shooting applications and rich network functions The camcorder is equipped with enhanced interfaces including 3G-SDI, 4K HDMI output, Multi-Interface shoe, dual SD memory card slots, integrated Wi-Fi and wired LAN terminal, supporting various system configurations. The Clear Image Zoom feature allows users to zoom in up to 2x, even with a fixed focal length lens. There is a great collection of videos on the Sony You Tube Camera Channel you can view them by clicking here
Sony launches new HXR-NX100 handheld NXCAM pro camcorder
- 0” type Exmor® R CMOS Sensor and Sony G lens for stunning picture quality. High sensitivity and fantastic resolution with 20 megapixel sensor and sophisticated Sony G lens deliver striking detail, colours and wide dynamic range, even in low light conditions (minimum illumination 1.7 Lux*)
- Maximum 48x zoom for more shooting options. The lens offers a 12x optical zoom from 29mm angle of view at wide end, which can be increased to 24x with Clear Image Zoom while retaining full resolution thanks to By Pixel Super Resolution Technology. Zoom performance can be doubled at any point with a Digital Extender up to 48x.
- Breadth of recording format capabilities. The camcorder provides multiple choices including AVCHD and DV which are suitable for conventional workflows, and the newly implemented XAVC S 50Mbps codec, which delivers better image quality particularly for professional needs.
- Three independent manual lens rings, built-in 4-step ND filter and other professional functions. Manual lens rings ensure intuitive control of zoom, focus and iris and the built-in 4-step ND filter helps to control exposure in bright scenes. Other professional features include 0.24” type 1,550K dot EVF and 3.5” type 1,550K dot LCD for easy monitoring, and a wide variety of professional interfaces including HDMI, Multi/Micro USB, XLR audio inputs, REMOTE, Composite (BNC) and Multi Interface (MI) Shoe, delivering a seamless integration for video light and wireless audio.
- Dual media slots for recording flexibility. Two memory card slots enable various recording options such as backup, simultaneous, relay and independent recording. The camcorder is compatible with SDXC and SDHC cards as well as Memory Stick PRO Duo (Mark 2) and Memory Stick PRO-HG Duo. “SIMUL” mode permits simultaneous recording to two memory cards, while “RELAY” mode automatically switches recording from the first to the second memory card when the first is full. The user can also use buttons on the camcorder to independently start and stop recording on different memory cards.
Ross Video Introduces Carbonite Black
Convergent Design makes an Odyssey of announcements for 7Q+ and 7Q models
Convergent Design Odyssey7Q+ and Odyssey7Q Will Support Canon C300 MKII With 4K60p in both RAW and Apple ProRes, HD120p Support in Apple ProRes
Convergent Design announced support for the new Canon C300 mkII camera. The Odyssey7Q+ and the Odyssey7Q with the new Odyssey RAW Bundle, allow recording in 4K & UHD in RAW up to 60p as well as 4K & UHD processed and converted to Apple ProRes up to 60p. 4K "half RAW can also be recorded up to 120p. Without the Odyssey RAW Bundle, the Odyssey monitor/recorders can record 1080p video up to 120p, as well as 12-bit or 10-bit 4:4:4 RGB video in Uncompressed DPX up to 60p. Direct capture of 4K & UHD ProRes is also possible up to 30p. So What’s this RAW bundle?, well Convergent Design has combined All Odyssey7Q+ and Odyssey7Q RAW Record Options Into Odyssey RAW Bundle. Convergent Design announced at NAB, all of the five separately available RAW Record Options for the Odyssey7Q+ and Odyssey7Q will now be combined into the Odyssey RAW Bundle. While the individual RAW Record Options totalled USD$6775 when purchased individually, the Odyssey RAW Bundle is only USD$995. A daily rental rate of just USD$99 is also available. Cameras covered by the Odyssey RAW Bundle include the ARRI ALEXA, Canon C500 and soon to be released C300 MK2, Sony FS7 and FS700, IO Industries Flare 2KSDI, Indiecam indieGS2K, and upcoming support for the AJA CION and IO Industries Flare 4KSDI. As new RAW cameras are supported by the Odysseymonitor/recorders, they will be added to the Odyssey RAW Bundle. Convergent Design Introduces Dual-Stream Functions on Odyssey7Q+ and Odyssey7Q Monitor/Recorders Convergent Design also announced that it will soon introduce Dual-Stream monitoring and recording functions on Odyssey7Q+ and Odyssey7Q monitor/recorders. Dual-Stream monitoring with the option to record a single stream will be included as a free update in our April 2015 firmware release. The two HD video signals can be viewed as a pair of equally sized Side-by-Side images, as overlapping large and small images in a Picture-in-Picture configuration, or the two signals can be switched between full screen. HD video signals up to 1080p60, 1080i60, or 720p60 SDI or HDMI can be accepted. Frame rates and resolution must be matched between the two sources, but genlocking is not required. In a future firmware update, the Dual-Stream Record Option will be made available. This Record Option will allow capture of two HD video inputs of the same resolution and frame rate to a pair of separate Apple ProRes files. Genlocking of the two inputs is not required. The Dual-Stream Record Option is scheduled to be available for purchase for USD$995 or rental for USD$99/day. Later Convergent Design will also offer a Quad-Stream Record Option, which will allow recording of up to four HD video inputs, along with other functions such as Live Switching. Clients who purchase the Dual-Stream Record Option who wish to expand to the Quad-Stream Record Option when available will be able to do so without penalty, only paying the difference in price. Convergent Design Introduces Custom 3D-LUT Display and Routing to the Odyssey7Q+ and Odyssey7Q Monitor/Recorders The upcoming April 2015 free firmware update for the Odyssey7Q+ and Odyssey7Q will include fully integrated custom 3D-LUT functionality. 3D-LUTs allow viewing of material with sample color, contrast and exposure corrections, while recording files in RAW or flat Log modes for the greatest range in post adjustment. Clients will be able to generate LUTs using the free version of DaVinci Resolve. By using a free App that will be available on the Convergent Design website, the .CUBE LUTs are converted to a secure binary file, protecting a client’s personal designs. The converted LUTs are loaded into the Odyssey7Q+ and Odyssey7Q via Odyssey SSD or Odyssey Utility Drive. A cinematographer can use an Odyssey7Q+ as an operating monitor with LUT applied, while sending a "flat" signal to an engineer over SDI 1 and a LUT-ted image to the director over SDI 2, and a LUT-ed image to the clients over HDMI. A DP could view a scene with the LUT applied while simultaneously viewing a waveform display in the corner showing the source signal. A window may appear blown out with a LUT applied but the source signal that is recorded shows detail in the highlights, so the DP knows that this part of the frame can be "pulled back" in post. Time, money and momentum are conserved on set by not stopping to adjust lighting and exposure. The update is free and the custom 3D-LUT functions will apply to the Odyssey7Q+ and Odyssey7Q models. A future firmware update will allow the 3D-LUT to be "burned-in" and recorded onto Apple ProRes files. Odyssey Monitor/Recorders to Support Certain 3rd Party SSDs Convergent Design today announces that Odyssey monitor/recorders will support the use of two models of Samsung SSDs. The Samsung 850 EVO 500GB and Samsung 850 EVO 1000GB SSDs will be allowed for use in the Odyssey7, Odyssey7Q, and Odyssey7Q+. Features such as fast & consistent read & write speeds, both across the entire memory and across the lifespan of the SSDs, exceptionally long-life usability of the media, built-in power-loss protection, low power draw and robust reliability of construction are the hallmarks of the Odyssey SSD design. Convergent Design’s extensive testing of the two supported Samsung SSDs has found them to share in these qualities. Access to the use of these two Samsung 850 EVO SSDs is expected to be made available with the May 2015 free Odyssey firmware update. Only the Samsung 850 EVO 500GB and EVO 1000GB SSDs, along with the Odyssey 256GB, 512GB, and 1TB SSDs, will function in the Odyssey monitor/recorders. SSDs load and mount into the Odyssey monitor/recorders with a latching handle. Odyssey SSD handles will be made available for purchase through the Convergent Design dealer network. Convergent Design to Expand Odyssey7Q+ and Odyssey7Q Apple ProRes Record Frame Rates to 4K/UHD 60p, 2K/HD 240p Apple ProRes 4K/UHD will be possible up to 60p and 2K/HD will be possible up to 240p. The new capabilities will be available for all currently supported Apple ProRes formats, Apple ProRes 422 (HQ), Apple ProRes 422, and Apple ProRes 422 (LT). The first input format scheduled to be made available with the higher frame rates are the RAW data signals from the Sony FS7 and FS700 for clients utilizing the Sony FS Record Option on the Odyssey7Q and Odyssey7Q+. This will allow the recording of 4K RAW -> 4K/UHD/2K/HD Apple ProRes up to 60p, 2K RAW -> 2K/HD Apple ProRes up to 240p, and 4K RAW Burst -> 4K/UHD Apple ProRes up to 120p (available on the FS700). The new capabilities will be made available in a free future firmware update to all users who have purchased the FS700 record option. Future support will include Canon C500/C300 MK2 4K RAW, Canon C500/C300 MK2 HD video (up to 120fps), Sony F5/F55 4K/UHD video, and others. All Apple ProRes frame rate expansions will be provided via free firmware updates. Current owners of Record Options will receive increased capabilities within their Record Options at no additional cost.Atomos go Bare Bones and Big at NAB with a 4K Theatre Dome, and lots of upgrades for Shogun
Atomos go big in Las Vegas with a 4K Theatre Dome A 4K Theatre Dome housing a mammoth Sony 4K projector, premium AV kit and comfortable theatre seating within a 45ft diameter inflatable dome has been the centre of attention in Central Hall, especially with free popcorn on entry. The entire 4K production is of course be driven by the Atomos 4K Shogun ... although the dome is a sight to be seen so are their Shogun announcements for both hard and firmware upgrades for both new and existing Shogun users. ‘Bare Bones’ comes to the entire Atomos Monitor Record Line
The Atomos Shogun has contributed to making 4K affordable, manageable and accessible to more filmmakers all while making production simpler and more affordable. A new variant of the Shogun called Shogun ‘Bare Bones’ will soon be available at an even cheaper price point of USD$1695 that removes all accessories except an SSD media case, soft carry case and AC power supply The complete suite of accessories will also be available for USD$395.This allows customers customers to utilise legacy Atomos accessories they already own or decide what makes sense for their first and second 4K camera rig. The “Bare Bones” option has also been applied to the full range of Atomos Monitor/Recorders. Ninja 2 at USD$395 is a steal, it is our original flagship product and our most successful, Ninja Blade and Samurai blade have the 5” SuperAtom IPS 325PPI monitor, calibration, WFM, Apple ProRes and Avid DNxHD and are bare bones for USD$795. Atomos expect Atomos Shogun Bare Bones to be available from resellers in May 2015. Shogun has 7 new hardware features available over the coming months which are free to both new and existing registered users. Shogun users will receive 7 significant hardware enhancements, in addition to the 4 OS feature improvements, all of which have been announced at NAB 2015. Available via free download over the coming months, Shogun users will gain the following: Anamorphic de-squeeze 2x, 1.5x and 1.3x. With a free firmware update due at the end of May 2015, Shogun users will be able to de-squeeze monitored anamorphic content to their true 2.39:1 ratio. In addition to 2.39:1 anamorphic, Shogun will also de-squeeze the Panasonic 8:3 format. These translate into commonly used terms of supporting 2x 1.5x 1.3x anamorphic lenses. RAW recording to ProRes, DNxHR and Cinema DNG Some cameras on the market only output their 4K content in RAW data format over SDI, these include Sony FS700, FS7, Canon C300MkII and C500). On the post production side, some people request to keep the RAW format for grading while others would prefer to encode to a more edit friendly format like ProRes or DNxHR with 3D LUT’s applied. The Shogun is flexible with the ability to take the RAW data from the camera and record direct to RAW (wrapped as Cinema DNG) or to edit friendly Apple ProRes or Avid DNxHR codecs in 4K, UHD, 2K or HD. Expanded RAW compatibility to include Sony, Canon, Arri and AJA Available for free with the Shogun aand recordable to reliable off the shelf SSD from brands like Sandisk, Transcend, Intel etc. With RAW options available for Sony FS series, Canon C500, Arri Alexa and AJA CION. Sony FS RAW will be available from mid June, while Canon C500/ Arri Alexa / AJA CION RAW will be available from the end of June 2015. 3D LUTs on output and in recording Another free update made recently for Shogun users was the addition of 3D LUTs, covering both standard LUTs (C-Log, S-Log 2/3, V-LUT) as well as user defined LUTs in the standard “.cube” format. Up to 8 can be stored on the Shogun which can be accessed via a simple monitor button at the bottom right of screen. LUTs on the output available via free firmware update end May Cinema 4K and 2K DCI support Shogun will be updated to accept and record Cinema 4K and 2K DCI (4096 x 2160p) in addition to the 4K UHD and HD it already is capable of receiving (3840 x 2160p). Available via free update mid June 2015. Uncompressed 4:2:2 HD v210 support A small percentage of customers have requested uncompressed support in the Shogun, especially for green screen and specific post-production tasks. We are happy to offer this group their request free of charge. Available via free firmware update end June. Genlock The Genlock connection on the back of the Shogun will be activated via free firmware end of May 2015 to allow synchronous playback across multiple video devices. Placing the Shogun as the ultimate portable 4K play-out deck for any broadcaster or event production house. Atomos announce a schedule of OS changes that bring with them exciting new features In the space of only 4 months, more than 15,000 Shoguns have rolled off the production line. At NAB 2015, Atomos have announced even more features for new and existing Shogun users, releasing details of upcoming enhancements for AtomOS6. Available via free download over the coming months, Shogun users will gain the following: Custom meta data tagging Now users can create their own custom meta data tags, storing up to “10” tags on the Shogun which are completely customisable. Imagine the ability to mark “Directors pick”, “Out takes”, “Over exposed”, “Audio Pop” and more, all the time slicing through the time taken for the main edit in post production. Pre-roll Recording Shogun will continually buffer content internally allowing the user to record the previous 8s of HD recording or 2s of 4K the moment you hit the record button. Time lapse video By allowing both the duration of recording in number of frames or length of time and the interval be altered depending on the director’s intent and even multi stage recording is possible, altering the time and duration throughout the period of the shoot. Essentially we have made time lapse keyframeable and flexible in the video arena. Playlist generation The new playlist function allows users to not only tag sections within a clip for play-out but also tag entire clips and have them all replayed as a playlist. Convenient when pulling together the best takes of the day or in commercial situations where 4K play-back for immediate storyline review is needed. Shogun is now the world’s first fully portable play-out server. Atomos Power Station. Delivering continuous power for up to 5 devices as well as fast battery charging in a compact design.In a footprint not much larger than 2 batteries, Atomos Power Station delivers power for up to 5 devices using our patent pending Continuous Power dual battery system, allowing users to hot swap batteries on the fly without interrupting power to their devices. At its core, Power Station consists of 2 batteries mounted side by side that operate together using a continuous circular power system. When one battery gets low it can be removed and charged while the system switches across to the second battery uninterrupted. This patented design by Atomos is used to power up to 3 DC streams (for cameras, monitors, recorders or lighting) as well as 2 USB products such as smartphones or tablets. With a DC input as well, it doubles as a super-fast charger for your batteries – up to 3 times the rate of conventional chargers. Connections and features at a glance: • 2 DC out and included splitter cable to give connection for up to 3 DC devices. • 2 USB terminals to power 1A and 2A USB devices for fast charging of USB cameras or to power any USB device. • DC input with fast charging capability to charge the connected batteries and provide continual AC power for connected devices. • Independent left and right LED front display to give a quick 5 step visual guide on the power remaining for each battery from 100% down to 10%. • Dummy batteries are available to power popular cameras including Sony A7s, Sony FS Series, Panasonic GH4, Nikon D810 and Canon 5DMKIII. • Total power capability up to 5A (DC plus USB), with maximum 3A for USB connections.Blackmagic Design Announces Micro Studio Camera 4K and Micro Cinema Camera
Blackmagic Design today announced both the Blackmagic Micro Studio Camera 4K andthe Blackmagic Micro Cinema Camera. Both to be available in July 2015.
The Micro Studio Camera 4k is an incredibly tiny Ultra HD and HD studio camera for live production. Small enough to fit in the palm of your hand and features a broadcast grade Ultra HD sensor.The new Blackmagic Micro Studio Camera 4K can be used for both HD and Ultra HD production and features a built in color corrector, talkback, tally indicator, PTZ control output, B4 lens control output, and an extremely flexible MFT lens mount that is easily converted to other lens mounts via third party adapters. The small size of the Blackmagic Micro Studio Camera 4K makes it perfect for live multi camera production of reality TV shows, news magazines, sporting events, concerts and more. It’s virtually invisible and can be hidden just about anywhere on set. They can be hidden on stage to get incredible shots of live performances or, because they’re so small, safely flown overhead during sporting events. The Blackmagic Micro Studio Camera 4K is engineered with a super tough magnesium alloy core in a body that’s not much larger than the lens mount itself. It’s compatible with affordable, high performance MFT lenses, or customers can add a B4 adapter to work with traditional broadcast lenses. The camera also features 6G-SDI output and a program return input that allows it to be controlled remotely from a switcher using Blackmagic’s SDI control protocol. This lets customers change camera settings, color balance, black levels, gamma, lens focus, iris, zoom and much more from any ATEM switcher. There’s also a flexible, new expansion port that makes the Blackmagic Micro Studio Camera 4K perfect for remote use. The expansion port features multiple control connections such as a PTZ serial output connection that can be used with motorized heads and a B4 data link output for controlling broadcast lenses. “The Micro Studio Camera 4K is the world’s smallest and most expandable professional studio camera,” said Grant Petty, CEO, Blackmagic Design. “We’re excited to see how customers are going to use it to create better looking, more compelling programs with more angles than ever before because they’ve now got an affordable studio camera that they can fit anywhere and that rivals much larger and more expensive cameras.”Blackmagic Micro Studio Camera 4K Key Features
- Operates up to 2160p30 when operated in Ultra HD or up to 1080p60 when operated in HD.
- Supports SDI camera control protocol allowing full remote control vis single SDI connection.
- Compatible with high quality Micro Four Thirds lenses. Compatible with other mounts via common third party adapters such as B4 broadcast lens mount.
- Includes built in buttons along the front for quick access to menu navigation and settings.
- Includes a 12V power input or users can add an LP-E6 compatible battery for backup power.
- Includes an expansion port with a DB-HD15 connector for power, reference, PTZ and B4 connections.
- Expansion port supports multiple control connections such as PTZ serial output, B4 lens data link output and S.Bus input allowing customers to build customized camera control solutions.
- Built in, two way digital quality talkback connector using iPhone compatible headsets.
- Compatible with ATEM range of live production switchers for full SDI control of cameras.
The Blackmagic Micro Cinema Camera, a miniaturized Super 16mm professional digital film camera with a revolutionary new expansion port that lets customers use PWM and S.Bus model airplane remote controls to operate the camera wirelessly for capturing action anywhere. The unique feature of this new camera is the built in expansion port that provides access to many of the camera’s unique functions via common remote control solutions such as radio model aircraft remote controls. The expansion port features PWM and S.Bus connections that are used on model aircraft remote control gear for connecting to servos to control the aircraft. These radio control receivers are low cost because they are consumer hobby products and they feature multiple “channels” that can be connected direct to the camera itself. This means these channels can be mapped to any camera or lens setting in the camera and then remote controlled via the radio controller. Customers can then remote control features such as iris, focus, audio levels, and start and stop recording all remotely. Because a standard easy to solder DB-HD15 connector is used, even simple wire cables and switches can be created for controlling the cameras. The expansion port also includes composite video out with overlays so the customer can use the same low cost video transmitters to get real time feedback from the camera for framing, confirming camera settings and to see the state of recording. Being able to start and stop recording and see confirmation of recording is vital in a camera that features a built in RAW recorder as then customers won’t fill the recording media with useless content and will only record the shots they need. The expansion connector includes 4 PWM channels for using all brands of control gear, or custom wiring, as well as a single S.Bus connection which can accept up to 18 channels of control using the single cable. S.Bus is a more modern digital connection than PWM and allows more control channels. S.Bus is commonly found on Futaba and FrSky radio control equipment and S.Bus can also be used to design custom embedded controllers. Unlike regular cameras designed for hand held shooting the Blackmagic Micro Cinema Camera can be mounted in cars on walls and then controlled directly from buttons positioned on the front of the camera itself. This means customers don’t need to reach around the back of the camera to start recording, and the front mounted tally LED allows easy confirmation that the camera has started recording. The miniaturized design of the Blackmagic Micro Cinema Camera features a body that is not much larger than the Micro Four Thirds lens mount, making it as small as a camera with a professional lens can be. Its core is made out of a lightweight and strong magnesium alloy so it’s durable enough to use anywhere, from the ocean floor to the stratosphere or beyond. The Blackmagic Micro Cinema Camera is perfect for use on quadcopters, as a crash cam, it’s small enough to be used anywhere, like on a skate board for spectacular extreme sports shots, mounted to a drone for recording panoramic fly overs, or even strapped to a helmet for amazing point of view shots. The Blackmagic Micro Cinema Camera features a global shutter that exposes the entire image at the same time so customers get pristine, full 1080 HD images. Plus, the built in recorder saves lossless 12-bit log CinemaDNG RAW and broadcast quality Apple ProRes files, both of which can be easily edited and color corrected with the included DaVinci Resolve Lite for Mac and Windows. The Blackmagic Micro Cinema Camera delivers truly professional, crystal clear digital film images that are distortion and ripple free when the camera pans, moves or vibrates. “The Blackmagic Micro Cinema Camera is the smallest and most expandable digital film camera in the world,” said Grant Petty, CEO, Blackmagic Design. “For the first time, customers will be able to get incredible action and point of view shots that look better than anything they’ve ever seen before. The new expansion port allowing radio remote control is exciting because it opens up entirely new shooting possibilities that will let customers shoot things they’ve never been able to shoot before!”
Blackmagic Micro Cinema Camera Key Features
- High resolution 1080 HD, 13 stops of dynamic range.
- Switchable 60 fps rolling shutter or 30 fps global shutter.
- Features built in 12-bit RAW and ProRes recording and captures true digital film quality images.
- Features an active Micro Four Thirds lens mount. Easily adaptable to other lens mounts.
- Includes built in buttons along the front to quickly and easily change settings.
- Includes an expansion port with a DB-HD15 connector and breakout cable.
- Includes remote camera management, using the expansion port remotely start and stop recording, adjust focus, change the iris and also connect to video transmitters to monitor recording status, battery life and audio levels.
- Includes a HDMI connector for monitoring video output on any monitor or TV.
- Includes SD card slot for recording to high speed and low cost SD card media.
- Includes 3.5mm stereo input for connecting external microphones or to other line level devices.
Ross Video Introduces Carbonite Black
EVS makes workflows even better, here is our highlights of their announcements at NAB2015
This year at NAB sees some nice new things come out of EVS. Well known for their market leading series of servers used in live production, over recent years we have also been using EVS as a super reliable ingest platform for reality and studio TV shows. This year EVS are showing their latest tools to make these workflows even better. Our favourite EVS Highlights for #NABShow2015 New XT3 and XS server upgrades.
Their new Multicam 14 software further refines their market leading server platform, but more interesting is their new ability to offer even higher channel counts in an existing server. Internal hardware upgrades mean that we can record up to 12 HD channels in one server, for no extra rack space. Also, a new audio board allows for MADI multichannel digital audio in and output, simplifying audio I/O setup. A pretty common setup for EVS servers is having one server in a 4 in, 2 out configuration for replays, now we can achieve that times 2, meaning that where we would need to put in two servers for multi channel replays, the same job can be done with only one server with no loss in performance or features…Cool! EVS Production Asset Management As I had talked about earlier, EVS have done a lot of work on their Production Asset Management offerings. The IP Director suite of software has been the bedrock of the worlds’ largest sporting events, and in recent years has been used more and more for large reality TV projects as well. Their integration with the major NLE’s such as Avid and Adobe is really great, and as part of this makes it really easy to select the best tool for the job you are doing. EVS Ingest Funnel This year EVS have introduced their new workflow ingest solution, called Ingest Funnel. Essentially, it is designed to bring in media from various acquisition formats, copy off cards, and transcode and deliver to your destinations. This is great for live projects, as it makes it very fast and easy to get ENG from the field crews in to the EVS servers for playout, but where Ingest Funnel also becomes interesting is that it is not just for EVS only systems. It can also drop files in to an Avid Interplay/ISIS system, or just as easily make files ready for Adobe Premiere. As it is designed for seamless operation with the IP Director Suite, this means that all of these incoming files can be easily logged in Ip Director, enabling the whole team to be able to search and find the exact material they need. I think this has been the missing link in the EVS workflow, so it will be quite interesting to see how it develops. EVS Avid AMA Plugin Another great feature that is being released at NAB is a new AMA Plug in for Avid Media Composer. This now means that an Avid editor can directly plug in a hard drive with native EVS MXF Files on it and link to these files directly in Media Composer, saving a heap of time and hassle. This makes an EVS file ingest workflow basically identical to bring cards in from an XDCAM EX camcorder for example, with the added benefit that it is also brings in the logging information associated with the files as well. A real winner, and will make it a snap for Avid based post houses to deal with native EVS MXF files. EVS and Adobe EVS have been doing a lot of work with Adobe in validating Adobe Premiere in to their workflows. EVS now have fully qualified Adobe Premiere for editing off the EVS storage systems, allowing Premiere to natively edit EVS MXF media on EVS managed storage. This means that now we can use IP Director as our Production Asset Management for Adobe editing work groups, sharing media out all systems, and offering a powerful and efficient fast turnaround TV workflow. Videocraft have already invested in this workflow for our rental department, most recently deployed at the Australian Open tennis in January. In wrapping up, we have seen some great new products come out of EVS this NAB, and if you would like more information on how we can help you harness the power of EVS systems in your next production, please drop us a line! Our rental department has the most up to date EVS digital workflow tools available anywhere, and our team would be more than happy to help you in bringing your production up to the next level.Blackmagic Design Announces Blackmagic URSA Mini
Blackmagic URSA Mini Key Features
- Four models with the choice of two sensors, 4.6K or 4K sensor in EF or PL mount.
- Built in dual CFast 2.0 card recorders allow unlimited duration recording in high quality.
- Open file formats compatible with popular software, such as CinemaDNG 12 bit RAW. No custom file formats.
- Support for CinemaDNG 4.6K RAW files and ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at Ultra HD and HD resolutions.
- Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
- Built in high quality stereo microphones for recording sound.
- 5 inch foldout 1080 HD touchscreen for on-set monitoring and menu settings.
- Optional URSA Mini Shoulder Kit, allowing both tripod and shoulder use interchangeably.
- Built in gyroscope allowing recording of camera pitch, roll and yaw movements when working in RAW.
- Includes full copy of DaVinci Resolve software color grading and editing software.
Additional Blackmagic URSA Mini 4.6K Model Features
- Selectable global and rolling shutter sensor.
- Wide 15 stops of dynamic range allows capture of increased details for feature film look.
- Supports up to 60 fps 4.6K resolution capture in RAW.
- Built in GPS for location tagging of recorded files for easy media management when editing.
Panasonic Announces 4K Large Sensor Handheld AG-DVX200 and 4K Studio and Box Cameras plus GH4 Firmware update
Sony’s New Wireless Solution Offers High-Quality Live Streaming at Low Cost
- Sony’s Unique QoS Technology
- Real-time ARQ (Automatic Repeat Request)
- Adaptive Rate Control (ARC)
- Forward Error Correction (FEC)
- Cost Efficient Live Streaming for Many Programs
- Wireless Adapters Support Live Streaming
- Growing Line-up of Camcorders with Built-in Wireless Capability
12G SDI is the big news from Blackmagic at NAB 2015
Sony unveils HDC-4300 World’s First 4K System Camera with Three 4K Image Sensors
Sony’s next generation of HDC series camera technology provides the ability to use the high magnification wide zoom range lenses currently employed by HD 2/3-inch systems while maintaining an adequate depth of field to properly show all of the action in live event broadcasting. The new HDC-4300 is the world’s first camera to use three 2/3-inch 4K image sensors¹. It supports the same B4-mount lenses as well as the same control surfaces as Sony’s industry leading HDC-2000 series cameras. The existing HDLA-1500 series, control and shading systems, viewfinders and master set-up units are all interchangeable between the HD and 4K systems. Directors and operators can keep their approach to live events — including camera angles, zoom ranges and iris settings – while using familiar camera technology.
“This camera provides 4K capabilities and a workflow that content producers are instantly familiar and comfortable with,” said Rob Willox, marketing manager for content creation systems, Sony’s Professional Solutions Americas. “We’ve developed an approach that allows the large existing HDC series user base to employ 4K advantages such as 8x high frame rate and 4K cut-out and zoom while using a familiar infrastructure and signal path.” The new HDC-4300 is capable of 4K/HD operation, with 2x, 3x Super Slow Motion as standard, and higher speeds up to 8x available, to produce high-quality replays and specialty program effects. The camera uses ultra-high-precision alignment technology to realize three 4K sensor on a new prism. This allows the support of the next-generation ITU-R BT.2020 broadcast standard’s widened color space for future-proof masters or post production options for today’s productions, shown on tomorrow’s 4K services. Direct attachment of B4 HD lenses Standard large-format B4-mount lenses mount directly onto the HDC‑4300. This gives broadcasters the flexibility needed for live sports broadcasts: 4K capabilities while maintaining their customary HD-lens operating styles. SZC-4001 Software Sony’s SZC-4001 software package (sold separately) allows broadcasters to take advantage of 4K capabilities. Super Slow Motion (up to 8x) at HD Resolution The SZC-4002 software package (sold separately) enables the system to shoot full HD (1920 x 1080) at frame rates up to 479.52/400 fps, as well as 59.94/50, 119.88/100, and 179.82/150 fps. Users can save these high-frame-rate shots to Sony’s PWS-4400 multiport 4K/HD Live Server. HD/4K Live Production for Sports The HDC-4300 accepts the same configurations as existing 4K live systems. A BPU-4000 baseband processor unit receives the camera signals via SMPTE fiber and connects to an HDCU-2000 or 2500 camera control unit. This provides power and full intercom, tally, and return capabilities. Users can seamlessly blend an HDC-4300-based system with existing HDC Series camera systems. The HD signals from the HDC Series cameras and from the new camera system can be adjusted to match colorimetry. The addition of other 4K products, such as the PWS-4400 multi-port 4K/HD Live server, a multi-format switcher capable of real-time 4K signal processing based on the MVS-8000X, and Sony’s new BVM-X300 4K OLED or PMW-X300 4K LCD monitors create an end-to-end 4K live production solution. HDC-4300 – additional features:- HD cut-outs – two full HD images to be cut out from the 4K picture in real-time including a selectable zoom and perspective mode.
- Many of the Picture adjustment functions of HDC Series cameras are supported by the HDC-4300 system
- Dynamic focus (4K focus-assist function) – a focus point can be displayed on the viewfinder with a marker in 4K mode for easy focusing.
- Auto lens aberration compensation 2 (ALAC2) function
- Color reproduction adjustment functions
- Gamma table selection
- User gamma function
- Natural skin-tone detail function
- Knee saturation function
- Low-key saturation function