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.

*1 T (T number) is index that indicates brightness of lens taking F value and transmittance into account. Smaller the number, brighter the lens. *2 16mm / 35mm cinema camera lens mount used by the world’s leading German cinema camera manufacturer Arnold and Richter Cine Technik *3 Full transmission aperture is fixed in any focal length, and T number does not change when operating zoom. *4 Distance between gear teeth

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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.

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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.
The Flame Series is shipping (March 28th) for a MSRP of: Shogun Flame AUD: $ 2,695 Inc. GST Ninja Flame AUD: $ 2,049 Inc. GST

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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
The PXW-Z150 supports 4K*1 XAVC Long maximum 100Mbps high quality shooting. The 1.0-type Exmor RS image sensor provides high sensitivity and high performance in low light environments. The high-speed read-out ensures high-speed motion shooting with minimum distortion. Videographers can deliver high resolution and contrast from the centre to the edge of the lens, with the high performance 4K-compatible 29-348mm wide-angle lens with 12x optical zoom.
  • Use on a wide range of applications with 120fps slow motion, rich recording formats and network functions
The camcorder supports full HD 120fps continuous high-speed shooting, which enables 5x slow motion expression. High quality FHD XAVC Long 4:2:2 10bit 50Mbps and the broadcasting format MPEG2HD (50Mbps/35Mbps) are also supported. Users can take advantage of the advanced network functions – such as the camcorder’s built-in Wi-Fi for live streaming capabilities (QoS will be supported by a firmware update) and FTP wireless connections - to integrate wireless workflows, enabling users to keep pace with ever changing client deadlines.
  • High operability and rich interface, within a compact and lightweight body
The PXW-Z150 provides extended functionality with 3 independent lens rings, in addition to high visibility with wide view-angle and high contrast 0.39-type 1440K OLED viewfinder and 3.5-type 1550K LCD panel. Sony’s MI Shoe wireless microphone receivers are supported, increasing the mobility and limiting the need for external cables and multiple accessories. The camcorders rich interface includes: 3G-SDI, HDMI, XLR, Cold Shoe and REMOTE. In addition to this, dual media slots facilitate various recording options such as backup, simultaneous and relay recording.   Notes: *1 4K (3840x2160) up to 30P is supported *2 14.2 million effective pixels *3 Using optional NP-F970 battery while recording XAVC 1080/50i or 60i, 50 Mbps with LCD on.

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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.

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New AJA Video Systems - Ki Pro® Ultra

Big on quality - but not on file size.

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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.    

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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

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Sony launches new HXR-NX100 handheld NXCAM pro camcorder

Sony has announced the new HXR-NX100, the latest cost efficient addition to its high quality NXCAM range of professional camcorders. The HXR-NX100 combines excellent picture quality, easy operability and a wide selection of recording formats into a device that supports multiple choices for a range of professional applications, from events to documentaries. The HXR-NX100 features a 1.0” type Exmor® R back-illuminated CMOS Sensor with 20 megapixels. This sensor, which is approximately the same size as a Super 16mm film frame, delivers high resolution, low noise and great picture quality even in low light conditions, as well as offering greater depth of field control as demanded for today’s diverse shooting requirements. The picture quality is further ensured by a non-removable Sony G lens, offering 12x optical zoom from 29mm at the wide end. This range can be effectively increased to 24x with the Clear Image Zoom feature, while retaining full resolution thanks to Sony’s By Pixel Super Resolution Technology. Furthermore, zoom performance can be doubled at any point with a Digital Extender by up to 48x. These features, combined with built-in 4-step ND filter, mean the HXR-NX100 is well prepared to capture quality content in any environment. The HXR-NX100 is ergonomically designed to have a lightweight and easy-to-use form factor that ensures quality, reliability and peace of mind during any type of shoot. Three independent manual lens rings give simple access to zoom, focus and iris control. The camcorder also provides a wide variety of connectivity options including HDMI, Multi/Micro USB, XLR audio inputs, REMOTE, Composite (BNC) and Multi Interface (MI) Shoe. The latter allows for a wide range of accessories such as the HVL-LBPC Video Light and the UWP-D wireless microphone series, without the need for cable connections. Further extending the recording flexibility of the Sony NXCAM range, the HXR-NX100 is able to record in a choice of AVCHD, DV and XAVC S 50Mbps formats, providing versatility and high quality images. Operational flexibility is maximised by recording onto affordable and readily available consumer memory cards. The HXR-NX100 features dual media slots, which enables recording onto two memory cards either simultaneously or via a relay mode, where recording automatically switches when the first card is full. “The HXR-NX100 brings the very best in resolution, depth of field control and low light performance thanks to its big 1.0” type Exmor R CMOS sensor, allowing content creators to capture beautiful images in any environment,” said Nick Buchner, Senior Product Manager for Content Creation at Sony ANZ. “Its ergonomic design ensures comfortable handling and the ability to record in XAVC S 50Mbps means the camcorder delivers quality content across a range of shooting situations, such as events and corporate videos. With the HXR-NX100, professionals have a versatile camcorder that lets them concentrate on doing what they love, with minimum hassle.” Key features of the HXR-NX100
  • 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*)
*PAL model: 1/25 second shutter speed, Iris and gain Auto
  • 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.
The HXR-NX100 will available from October 2015.

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Ross Video Introduces Carbonite Black

Carbonite is not only Ross Video’s most successful switcher ever, it is the market leader in mid-size production switchers world-wide. Carbonite is a mid-size switcher that delivers high-end production power in a very affordable package. At NAB 2011 Ross introduced the first versions of Carbonite which became an instant success. Since then the product line has been tremendously expanded by adding new frame variants and panels as well as regularly releasing software updates that have added powerful new features.As a stand-alone production switcher, Carbonite is the core element of a complete production ecosystem, and provides more production power than anything else at this size or price point. Carbonite has a big creative feature set, ergonomic design that is fast and easy, and a system that can handle 1080P and 4K productions without requiring expensive upgrades. The popularity of Carbonite makes it easy to hire and retain operators.Today there are Carbonite clones available from other manufacturers which all do a fine job, but none come close when considering ease of use and advanced functionality such as MiniME and MultiScreen. Another Carbonite standout is DashBoard – DashBoard is our control and monitoring system that can talk to almost any product, but of course is deeply integrated with Carbonite, XPression Graphics and the rest of the Ross product line that provides highly efficient, repeatable and cost effective productions At NAB 2015, Ross introduced yet another Carbonite family member – the Carbonite Black.This is a very exciting new Carbonite switcher as it addresses the needs of larger productions at an incredibly low price point. The Carbonite Black frame is small – just 2 rack units and the Ross design team have managed to fit it with a massive I/O. It has 36 inputs and 22 outputs, perfect for those larger production environments, it also has AES outputs to play out audio from the internal Media Stores. The 2RU Carbonite Black frame is available with 2 or 3 MEs, plus 4 MiniMEs and Multiscreen processing – in any signal format – including 3G, UHD (4K) (Quad link). Remarkably, when set to 3G modes – nothing changes, there is no reduction in switcher functionality whatsoever. All of the Keyers, DVEs, MiniMEs and MultiScreen features remain. Not many production switchers at any price can make that claim. A 2 ME system can be upgraded to 3 ME.The Carbonite 3ME 32 button panel is a complete re-design that looks and feels fantastic. The styling concepts created for the Acuity series of switchers were exported over to this new panel and the results are stunning. The CB3X panel has Acuity style faders and dedicated 32 button source select rows, it also has dedicated ME row selection buttons for instant control of any ME or MiniME on any row as well as 8 Custom Control bank select buttons. Equally impressive, up to 256 Custom Control Macros can reside on the panel for direct selection at any time. The CB3X panel connects to Carbonite frames via Ethernet, which provides control over much greater distances.With 3 MEs and 4 MiniMEs, Carbonite Black effectively has 7 fully available MEs and a total of 23 keyers.Carbonite Black is the first ever 3ME switcher with more than enough horsepower to switch a large show – in any format – at such a low price.The Carbonite series offers a choice of 5 different processing engines and 9 control panels to match a broad range of requirements. Carbonite and Carbonite Black components are interchangeable.Carbonite Black provides exceptional production value including free lifetime technical advice, and continuous feature improvements via free software updates.

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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.

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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.  

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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.

 

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Ross Video Introduces Carbonite Black

Ross Video has been busy, making a new Carbonite vision mixer! The new 3ME panel that was released by Ross last NAB for the Carbonite range was just waiting for a new powerful brain, and the Carbonite Black is the answer. Full 3ME, 3G and 4K! 36 inputs, 24 outputs, and with its sexy 3ME panel, it looks the biz. We can also be sure that it will work well too! If your at NAB then stop by the Ross Video booth and check it out or see the press release below...
Ross Video announced that NAB 2015 will see the introduction of Carbonite Black, the latest addition to Ross Video’s best selling production switcher family.
Carbonite Black brings expanded I/O and ME count to the Carbonite series, with a beautiful new control panel, 3 full MEs, 36 Inputs and 22 outputs – plus all of the superior features found in other Carbonite models such as MiniMEs, MultiScreen, 3G and UHD (4K) format support.
“When we introduced Carbonite, it became an instant hit as it completely changed the price and performance model for 1 and 2 ME production switchers. Carbonite Black is designed to do the same thing, but for productions that require larger I/O or 3 MEs,” stated Nigel Spratling, Marketing Product Manage, Ross Video. “Carbonite Black not only looks fantastic, but has more production features and performance than any other product available at this price point. We know that customers will really like this product – and it’s what many of them have been asking us for.” The 2RU Carbonite Black frame will be available with 2 or 3 MEs, and will accept all current signal formats as standard – including 3G/1080P 50/59.94 and UHD quad link with no reduction of resources whatsoever when processing these higher data rates. “With 3 MEs and 4 MiniMEs, this switcher effectively has 7 fully available MEs and a total of 23 keyers,” continued Nigel. “Until now, there has been nothing available that can offer this much production power at a mid-size price point, and Carbonite Black is yet another game changer from Ross.” Carbonite Black will be demonstrated on the Ross Booth #N3906, and is scheduled to begin shipping in July 2015.
 

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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.

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Blackmagic Design Announces Blackmagic URSA Mini

When we saw the URSA, we were impressed with its image quality and features and super robust chassis. At the same time, we had all hoped that it was a little bit smaller and lighter. So, the fairies at Blackmagic have obviously listened and brought out the new Blackmagic URSA Mini. Much smaller, more like the size of the Sony FS7. There are two models, either with UHD or 4096x2160 4K sensors. The other great news is that Blackmagic Design have now brought out a new viewfinder to suite the URSA and URSA mini! This is a great step forward and from my point of view, and really turns the URSA in to a much more credible production tool.Blackmagic URSA Mini will be demonstrated on the Blackmagic Design NAB 2015 booth at #SL219, We were fortunate enough to have a preview on Sunday in Las Vegas, here is some very fuzzy sneaky shots getting to check out the URSA Mini for the first time Here is the press release below with more detail... Blackmagic Design announced today, Blackmagic URSA Mini, a compact and lightweight Super 35 digital film camera that’s perfectly balanced for handheld use and comfortable enough to be used all day. URSA Mini features an incredible 4.6K image sensor, switchable global or rolling shutter, up to 15 stops of dynamic range, a large 5 inch fold out viewfinder and dual RAW and Apple ProRes recorders. Blackmagic URSA Mini is available in 4 models, customers can choose either EF or PL lens mounts and 4K or 4.6K image sensors. Prices for the Blackmagic URSA Mini start at $2,995 for the 4K EF model.   Blackmagic URSA Mini is designed to be used on feature films, television shows, commercials, indies, documentaries, music videos and more. The stunning quality of its 4.6K sensor with 15 stops of dynamic range lets customers capture epic cinematic shots, while its compact size is perfect for solo shoots or smaller crews. URSA Mini features multiple mounting points so it can be easily accessorized with high quality cinema lenses, rails, matte boxes and more. The optional Blackmagic URSA Mini Shoulder Kit, which features a quick release mounting plate so it can go from handheld to shoulder or to a tripod in seconds, and the Blackmagic URSA Viewfinder, make URSA Mini perfect for pickup and run shooting situations. Crafted from an advanced technology magnesium alloy, Blackmagic URSA Mini is rugged, yet extremely lightweight and comfortable enough to be used all day. It includes built in histograms, focus assist, audio level meters, dual RAW and ProRes recorders, high quality stereo microphones and a 5 inch fold out screen that can be used as an on set monitor. That means customers can dramatically reduce on-set equipment because so much of what they need is already built into URSA Mini, making it easier for smaller crews to use in tight locations. Blackmagic URSA Mini is a true professional digital film camera with a 4.6K sensor that captures 4608 x 2592 pixels. The sensor features a global shutter for shooting up to 30 frames per second and up to a super wide 15 stops of dynamic range that delivers more latitude than traditional motion picture film. Blackmagic URSA Mini can also shoot up to 60 frames per second with rolling shutter for customers that need to work at higher frame rates. Built in sensor refrigeration ensures maximum dynamic range for incredibly clean images that have amazing detail in both dark shadow and bright highlight areas of the picture. Images are saved using 12-bit lossless CinemaDNG RAW, or ProRes for easy post production workflows with minimum storage requirements. URSA Mini includes ¼” mounting points on the top and bottom of the camera for attaching standard accessories that customers are accustomed to using with larger, full size cameras. There is also a range of Blackmagic Design accessories that are designed to match and work perfectly with URSA cameras. Customers can choose from the Blackmagic URSA Mini Shoulder Kit which includes a shoulder pad with built in quick release tripod mount and a top handle. The Blackmagic URSA Viewfinder features a high resolution 1920 x 1080 color OLED display and glass based optics that’s incredibly accurate and sharp so customers get a viewfinder that allows perfect focusing and operates just like an optical viewfinder. “URSA Mini features a new 4.6K image sensor with an incredible 15 stops of dynamic range. That’s almost more dynamic range than the human eye can see, and far more than most traditional film!” said Grant Petty, CEO, Blackmagic Design. “Building on the phenomenal success of URSA, we’ve miniaturized the camera, included all of the essential tools filmmakers need, and still managed to make it light enough to use all day. URSA Mini puts true Super 35 digital film quality in the palm of your hand and is, quite simply, the most exciting camera I’ve ever seen!”

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.

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Panasonic Announces 4K Large Sensor Handheld AG-DVX200 and 4K Studio and Box Cameras plus GH4 Firmware update

AG-DVX200 4K Large-Sensor Handheld Camcorder Features Top-End Performance Offering many top-end features such 4K/60p recording, a 13X optical zoom and a V-Log L gamma curve (12 stops of latitude, target) and delivering a shallow depth of field and a wide field of view, the DVX200 is the ideal companion camera to the company’s groundbreaking VariCam 35 4K camera/recorder. The DVX200 will be optimized for 4K/HD production and shares the esteemed VariCam family characteristics of filmic tonality and colorimetry, with natural, subtle rendering of skin flesh tones. It willoffer a V-Log curve emulating the natural grey-scale rendition of the VariCam 35. The camcorder will be available in late 2015 with a suggested list price under USD$5000. The new handheld 4K camcorder will offer an array of professional features including a newly-designed Leica Dicomar 4K F2.8~F4.5 zoom lens (4K/24p: 29.5 mm ~ 384.9 mm, HD: 28 mm ~ 365.3mm, 35 mm equivalent), time-code in/out, 3G HD-SDI and HDMI 2.0 (4K) video outs, easy focus and zooming, and programmable user buttons. The DVX200 will record 4K (4096 × 2160) / 24p, UHD (3840 × 2160) / HD (1920 × 1080) 60p / 50p / 30p / 25p / 24p in either MP4 / MOV file formats. There are two SD card** slots, facilitating backup and relay recording. For professionals working worldwide, the camera’s master frame rate is selectable between 59.94Hz (23.98Hz) / 50.00Hz / 24.00Hz. The DVX200’s three manual operation lens rings—13x zoom (Cam driven), focus and iris—will provide a comfortable manual control similar to an interchangeable lens camera, but without the need for actual lens changes. The zoom ring's solid feel and smooth action allow delicate ultra-slow zooming. In addition, the camera’s multi-step zoom control provides fast response and smooth zoom action, yielding the creative freedom every camera operator desires. The zoom control on the handle enables variable speed zoom, allowing fine zoom control even for low angle shots. The DVX200 also features an enhanced Image Stabilizer,including a five-axis Hybrid Image Stabilizer and 4x correction-area Image Stabilizer that produces clear images without blurring, and a micro-drive focus unit that improves focus speed, tracking and capture performance, facilitating 4K focusing and shallow focus shooting. Panasonic Introduces AK-UB300 Multi-Purpose Camera With Simultaneous 4K and HD Output The company is previewing the AK-UB300 4K multi-purpose camera for remote studio, weather and traffic reporting, image magnification and sports implementations. The UB300 is equipped with a one-inch MOS sensor that outputs a UHD signal up to 3840x2160/59.94p, with the ability to simultaneously output HD (up to 1080/59.94p).   Panasonic Expands Studio Camera Line-up With 4K and High-Speed 1080P Models Also shown for the first time is the AK-UC3000 4K-ready studio system, targeted at studios and productions requiring high-end functionality at an affordable price. The UC3000 outputs a UHD signal up to 3840/2160/60p, while also delivering superior picture quality in HD. The camera’s B4 mount accommodates the gamut of existing 2/3-inch lenses to maximize customers’ return on investment in existing lenses, and allows a wider and more economical choice of glass for sports, concerts and similar applications. Lumix GH4 Firmware update Version 2.2 At NAB, it was announced that the award winning LUMIX GH4 will have firmware update (Ver.2.2) available later this month, enabling recording anamorphic video content. Unlike complex digital post processing needed to achieve the classic Hollywood look, many effects that have became so popular with anamorphic film capture can now be achieved optically in the LUMIX GH4. Thanks in part to its Micro Four Thirds format and 4K recording ability, firmware Ver.2.2 for the LUMIX GH4 enables an Anamorphic (4:3) Mode capable of recording video in 3328 x 2496 pixel (equivalent to approx. 8.3-megapixel) resolution at a frame rate of either 23.98, 24, 25 or 29.97 fps. With an anamorphic lens such as 2x*1 you can capture and un-squeeze a 3356x2496 image in post-production. In addition, 4:2:2 / 10 bit HDMI output is also available*2. A further enhancement of the new firmware is the addition of a very high shutter speed of 1/16,000 sec. when using its electronic shutter mode. New HD Studio and Field Cameras Building on the widespread success of the AK-HC3800 studio model, the company will introduce the high resolution AK-HC5000 studio camera, capable of high-speed output up 200fps. The camera incorporates new 2/3” 2.2M 3-CMOS sensors with high sensitivity and low noise, and is 1080/60p native, making it ideal for sports trucks, and staging/rental applications where 1080i/720p operations must be native and clean. Panasonic Announces AJ-PX380 1/3-inch AVC-Ultra Shoulder-Mount, Fully Loaded for Modern Field News Operations Panasonic is premiering the AJ-PX380 1/3-inch AVC-ULTRA shoulder-mount camcorder with comprehensive networking capabilities and dual-codec recording, making it an optimal tool for fast-moving ENG operations. The PX380 joins the latest series of Panasonic’s AVC-ULTRA camcorders with built-in wireless/wired streaming capabilities, and will be available in September 2015 with a suggested list price under USD$12,000, including supplied lens and viewfinder. Panasonic Adventure Introduces the Wearable POV Action-cam HX-A1 Panasonic is debuting the A1, its latest wearable POV Action-cam, weighing a mere 1.6 ounces. The camera’s rugged structure keeps water and dust out, making it an ideal choice for any adventure thanks to its high durability. The A1 also shoots in total darkness with an IR light source.  

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Sony’s New Wireless Solution Offers High-Quality Live Streaming at Low Cost

In its ongoing efforts to develop efficient, file-based wireless workflows supporting the requirements of news production, Sony’s NAB exhibit will highlight camcorders with built-in wireless capabilities, and wireless adapters that can relay video and audio directly from field locations via 4G/LTE and Wi-Fi networks. “Customers need a fast and direct way to stream content in a cost-effective manner,” said Alex Rossi, product marketing manager, Sony’s Professional Solutions Americas group. “Using Sony’s new PWS-100RX1, broadcasters can now easily and efficiently transmit audio and video from on-locations shoots with the immediacy needed for live news.” The PWS-100RX1 is compatible with Sony XDCAM camcorders currently used by broadcasters throughout the world, and is very simple to connect and set up. The PWS-100RX1 is equipped with SDI outputs for concurrent dual video streams. Systems can also be easily extended by adding more PWS-100RX1 units, allowing for multi-site broadcasts and greater input/output loads. By eliminating prohibitive cost and resource constraints, the PWS-100RX1 opens up many new opportunities for live streams used in various types of TV productions. PWS-100RX1 Network RX Station The PWS-100RX1 network RX system comes with pre-installed Connection Control Manager software to enable easy connection to camcorders as well as routing to SDI outputs, and it delivers efficient handling of live video streams received via 4G/LTE, Wi-Fi and wired connections. Connection Control Manager features a comprehensive GUI that can be used to view thumbnails from multiple camcorders; to control camcorder connections, transmission bit rates and latency settings; to monitor output from multiple PWS-100RX1 units, and more. The unit includes reference signal and timecode input connectors which enable synchronized operation with broadcast systems. In addition, it can output in a variety of broadcast formats – including 1080i and 720p. Sony is also developing a version upgrade for receiving video files that will enhance workflow efficiency for program productions and is targeted to be released in fall 2015.
  • Sony’s Unique QoS Technology
Packet loss during streaming can degrade image quality and cause images to freeze or disrupt the audio. This is minimized by Sony’s unique QoS (Quality of Service) technology, which helps to maintain video and audio integrity during transmissions. The PWS-100RX1 comes with original Sony algorithms that automatically adjust bandwidths and buffer sizes to match the characteristics of the wireless transmission.. The PWS-100RX1 includes these features of Sony’s QoS Technology:
  • Real-time ARQ (Automatic Repeat Request)
  • Adaptive Rate Control (ARC)
  • Forward Error Correction (FEC)
  • Cost Efficient Live Streaming for Many Programs
Sony’s wireless streaming solutions can be implemented starting with a camcorder, a 4G/LTE connection or Wi-Fi dongle and a network RX Station, PWS-100RX1, located at the broadcast station and the SNG/OB vans.  
  • Wireless Adapters Support Live Streaming
Sony’s CBK-WA100 and CBK-WA101 wireless adapters are scheduled for a firmware upgrade in June 2015, which will add live streaming capabilities when used together with the PWS-100RX1.
  • Growing Line-up of Camcorders with Built-in Wireless Capability
Sony’s PXW-X180(*1), PXW-X200(*2), and PXW-X500(*3)camcorders are already equipped with built-in wireless capability and recent upgrades enable live streaming,. Operators will be able to check the status of PWS-100RX1 connections directly from the camcorders’ viewfinders for more efficient operation.
   
 

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12G SDI is the big news from Blackmagic at NAB 2015

12G SDI is the big news from Blackmagic, and the new Smart Videohub 40x40 is now able to run 4K at 50/60P over a single cable.Smart Videohub 12G has been developed to meet the needs of these broadcasters as it operates identically to other Smart Videohub models however because it includes a native 12G-SDI based design with full SDI re-clocking at 12G-SDI rates, it can handle any SD, HD or Ultra HD video format, all on the same router, all at the same time.   Also, the new ATEM 2ME 4K switcher is also 12G SDI compatible, so now we have cost effective switching in UHD at 50P! I am not sure how much often we will actually use it, but I suppose it is another part of the puzzle filled for cost effective 4K live production. Another cool product is the Smartview 12x12 Cleanswitch. A 12x12 6G SDI capable router, with perfect switching between sources, ideal for backup switcher applications, or anyone who wants to switch sources out to air perfectly. Smart Videohub CleanSwitch 12x12 is a compact 1 rack unit router that features 6G-SDI for SD, HD and Ultra HD routing. Unlike other routers its size, the Smart Videohub CleanSwitch 12x12 has full re-synchronization on every input so it can be used with non-referenced equipment. Customers can plug in everything from the highest end broadcast decks all the way down to consumer grade video equipment and the CleanSwitch 12x12 will automatically synchronize them all. That means video can be routed and the signal can be switched without any glitches, picture rolls or other unwanted artifacts. There are lots and lots of new toys, including Davinci Resolve 12, with lots of major new features. This new update includes a new modern interface, multi-cam editing, powerful new media management tools, an entirely new professional audio engine with support for VST/AU plug-ins, shot matching, 3D keyer, new 3D perspective tracker, enhanced curve editing and much more. Fusion now on Mac, Fusion 8 will be released on Mac OS X and Linux. Until now, Fusion has been a Windows only product, and with this new Fusion 8 release, it will now be available on all popular operating systems.Fusion used to cost thousands of dollars, restricting it to Hollywood’s elite visual effects artists.Now, by bringing Fusion to Mac and Linux, Fusion will be available to even more users than ever, opening the door to millions of motion graphic artists, broadcast designers, video editors, visual effects compositors, and 3D animators. Plus a new range of 12G SDI Mini Converters with a great feature set, needless to say we will have them all available when they are released.

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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
The HDC-4300 4K/HD live camera system is planned to be available in summer of 2015.  

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