Articles tagged #CAMERA
Articles tagged
#CAMERA

Sony FX6 features released and here’s the reasons why we love it!

After the year we've had so far, we've all been looking forward to a bit of good news from Sony. After the release of the A7S MK3 and the early teaser of the Sony FX6 in September, there has been a lot of discussion on the Internet about what features the camera will and will not have. The early morning announcement reveals that the new Sony FX6 gives us pretty much everything that everyone had wished for and then quite a few other things as well. The FX6 is the newest addition to Sony’s recently announced Cinema Line series of Digital Cinema cameras, joining the PXW-FX9 and the flagship VENICE in the range. Sony’s Cinema line represents a real change in philosophy from Sony, moving from the idea of producing cameras that produce images that try to match what we see in day to day life, to producing cameras with images that evoke a feeling. This is the basic premise of Sony’s S-Cinetone colour science and is a big step forward for Sony. Sony has been criticised over the years for producing cameras that produce ‘cold’ images out of the box, but Sony’s Cinema Line cameras certainly swing well away from the traditional ‘Sony’ look.

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New Panasonic LUMIX S5 hybrid full-frame mirrorless camera

Panasonic announced the new LUMIX S5, a hybrid full-frame mirrorless camera in a highly mobile body that delivers powerful video performance, amazing photography and solid reliability for content creators. James Choi, Product Marketing Manager, Imaging, Panasonic, explained: “The hybrid S5 packs the essential capabilities of our ground-breaking flagship S Series cameras into a small, mobile and robust body. Enthusiasts who want to take their creativity to the next level can harness the incredible image quality of a powerful full-frame sensor. The S5’s compact size belies the impressive performance under the hood - this camera is class-leading in the sheer breadth of video and stills capabilities it puts in the hands of content creators.” The S5 is packed with impressive video capabilities, including 4K 60p 10-bit internal recording and external output via HDMI, full Varicam V-log profile pre-installed in the camera, 4:3 Anamorphic Super 35 mode and up to 180 frames per second (fps) Slow Motion shooting. The camera is also compatible with Panasonic’s DMW-XLR1 microphone adaptor, allowing professional audio equipment to be used in video creation. Additionally, RAW video output via HDMI up to 5.9K will be available via a future firmware update. For hybrid shooters who want to take a step up, the S5 delivers stunning image quality and greater creative scope. It contains the 24.2-megapixel 35mm full-frame CMOS sensor first introduced in the LUMIX S1, providing impressive low-light performance and incredibly high dynamic range. This is backed by the 5-axis Dual I.S. 2 image stabilisation system with up to 6.5-stops[i] of camera shake correction for handheld shooting. The camera also incorporates an improved Deep Learning autofocus algorithm that detects specific subjects – humans and fast-moving animals – with great accuracy. Inspired by the flagship S Series professional camera lineup, the S5 provides enthusiasts with a compact, durable camera designed for field use. The camera’s full magnesium alloy weather-sealed body is splash and dust resistant, essential for working in a range of environmental conditions. Dual SD card slots offer further flexibility with relay recording and backup support. A large, high-resolution OLED viewfinder delivers quick response with minimum distortion for easy and accurate framing of the scene. Creative aids for expressive photography include “Live View Composite”, newly-introduced to the S Series with the S5, which combines multiple exposures into a single image that emphasises bright points while suppressing overexposure of the total image and maintaining the shadows, thus reducing the learning curve for light painting and long exposure photography. The S5 also features sensor-shift 96-megapixel (MP) high-resolution mode, which can capture detailed landscapes with increased dynamic range and colour reproduction, with files created in-camera without the need for external software. Panasonic is currently developing a number of S Series prime and zoom lenses at popular focal lengths, designed to further expand the creative possibilities for LUMIX S Series users. These new portable and lightweight lenses include a 24mm F1.8, 35mm F1.8, 50mm F1.8, 85mm F1.8 and a 70-300mm F4.5-5.6, all of which will complement the S5 very well.

Key LUMIX S5 Capabilities

Exceptional recording performance for video creation As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup of cameras that record 4K 10-bit video[ii]. The S5 is no exception, and is capable of unlimited 4K 60p/50p 4:2:2 10-bit HDMI output and also delivers unlimited 4K 30p/25p 4:2:0 8-bit internal recording. In addition, 4K 60p/50p 4:2:0 10-bit and 4K 30p/25p 4:2:2 10-bit can be recorded internally for up to 30 minutes. The camera features V-Log/V-Gamut with a wide dynamic range of 14+ stops, in line with the dynamic range of the Panasonic VariCam, to precisely capture everything from dark to bright areas. Subtle gradations such as skin tones are faithfully reproduced. Designed with consistent colour management in mind, the recorded footage is easily matched with V-Log footage recorded by the LUMIX S1/S1H or LUMIX GH5/GH5S, for easier post-production workflow. Practical tools like a Waveform Monitor and V-Log View Assist are included. Slow & Quick mode enables impressive slow and quick motion video with autofocus[iii], and can be accessed directly using the mode dial. In 4K the S5 achieves up to 30x quick or 2.5x slow motion at 1-60fps, and in FHD it achieves 60x quick or 7.5x slow motion[iv] at 1-180fps. Stunning image quality The S5 has a 24.2-megapixel full-frame CMOS sensor (35.6 mm x 23.8mm) with Dual Native ISO technology. The sensor can leverage a dual-base ISO setting, resulting in minimised noise and outstanding image quality from low to high sensitivity. Dual Native ISO provides a greater variety of artistic choices, with the ability to use less light if desired. The S5’s Dual Native ISOs are 640 and 4000[v] in V-Log. This feature teams up with the Venus Engine processor to deliver a maximum ISO of up to 51200. With the new Live View Composite function, the camera releases the shutter at designated exposure intervals and produces a single picture combining all the areas of high luminosity such as lights, stars or fireworks. The photographer can monitor this in Live View. Panasonic’s 5-Axis Dual I.S. 2 offers excellent stability in a range of situations. A high-precision gyrosensor joins the Dual I.S. system of 5-axis in-body stabilisation and 2-axis optical stabilisation in selected lenses for highly accurate shake detection and compensation. This makes it possible to use up to 6.5 stops[vi] slower shutter speed in both photo and video. Incredibly stable performance can be achieved when shooting handheld at much slower shutter speeds and lower ISO values, reducing the need to carry a tripod or gimbal. The 96MP High-Resolution mode creates highly detailed images that can be turned into enormous prints or used in commercial imagery. Using sensor shift technology, it captures and combines eight consecutive images in-camera for outstanding results achieved when shooting handheld colours of natural landscapes to intricate fine arts, and can also be used when moving subjects are in the scene, by switching to the sub-mode. It produces a 96MP equivalent (12,000 x 8,000-pixel) RAW and/or JPEG image.   High-speed, high-precision AF supported by real-time detection technology Panasonic has achieved high-speed AF with its advanced control technology incorporating the major devices – lens, sensor and imaging engine. The lens and sensor communicate at a maximum of 480 fps. Contrast AF with DFD technology allows the S5 to achieve an ultra-high-speed, high-precision AF of approximately 0.08[vii] sec. It also excels in low-light shooting, with -6EV[viii] luminance detection performance in Low Light AF, thanks to the higher sensitivity and optimised tuning of the sensor. The S5 also incorporates an improved Deep Learning autofocus algorithm that offers greater accuracy in detecting specific subjects – including humans, people’s faces, and fast-moving animals. In addition to the eye, face and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking subjects when they move quickly, turn away, tilt their head or move far away from the camera. Also, improvements to DFD technology have enhanced AFC, which allows the camera to keep tracking small or fast-moving subjects and capture them in crisp focus.   Reliable performance plus expandability for creative freedom To withstand heavy field use, the S5 has a magnesium alloy full die-cast body and is splash/dust-resistant[ix]. With an optimum layout of heat dispersion components, heat is effectively transferred externally, which results in stable, continuous video recording for an extended time. The large OLED LVF (Live View Finder) has a magnification ratio of approx. 0.74x, 2,360K-dot high resolution and a minimum time lag of less than 0.005 sec. A versatile free-angle 3.0-inch LCD rear monitor (3:2 aspect, approx.1840K-dot) with touch control allows for quick changes to settings, even when the user is in front of the camera. Other shooting assist functions include Frame Markers for checking composition during recording. A wide range of aspect ratios are supported, including those for popular social media platforms – 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16. In addition, the REC Frame Indicator displays an eye-catching red frame for checking at a glance if the camera is recording or not. The S5 has dual SD Card slots – one slot complies with the high-speed, high-capacity UHS-II (Video Class 90) and the other with UHS-I. Users can select Relay Recording, Backup Recording or Allocation Recording modes. The camera uses a new DMW-BLK22 high-capacity battery which meets its power demands in a small form factor. The S5 battery is also backwards compatible with the GH5, GH5S and G9. The camera’s battery can be recharged either via AC or USB, which is convenient if you are travelling and want to use a USB power bank. The S5 is also capable of power supply and delivery via USB-C, making it possible to continuously power the camera with a USB power source. Content sharing with smartphones is streamlined using Bluetooth 4.2 Low Energy connection, Wi-Fi 5-GHz (IEEE802.11ac) and 2.4-GHz (IEEE 802.11b/g/n). With an always-on Bluetooth connection, a smartphone can act as the camera’s remote control via the LUMIX Sync app. The settings of an S5 camera can also be copied and transmitted to other S5 cameras when shooting using multiple cameras. The S5 is compatible with the LUMIX Tether applications which enable tethered shooting via USB. Users can control the camera by connecting it to a PC. Images can be viewed on a large PC screen while shooting, which is useful in situations where continuous confirmation is required. For live streaming, LUMIX Tether for Streaming (Beta) with LIVE VIEW mode is available. LUMIX Sync for iOS/Android devices enables image transfer to a smartphone or tablet via an easy wireless connection.   Convenient optional accessories A variety of optional accessories can be used with the S5. They include a Microphone Adaptor (DMW-XLR1) for professional XLR microphones to record high-quality stereo sound, as well as switchable Mic, Line and Condenser Microphones. The Battery Grip (DMW-BGS5) extends battery life and provides controls for portrait-oriented shooting. Other accessories include a Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), and Tripod Grip (DMW-SHGR1). LUMIX S5 Pricing and Availability
  • LUMIX S5: Body only – RRP $3199
  • LUMIX S5 kit (DC-S5KGN-K): Kit with LUMIX S 20-60mm F3.5-5.6 lens (S-R2060) – RRP $3699 The S5 will be available in late September 2020 if you Pre-Order the Lumix S5 with Lens Kit by 23-9 and claim either a FREE Sigma 45mm Lens or XLR adapter valued up to $999.
Planned firmware updates for the LUMIX S1R, S1H and S1 Panasonic will release firmware updates for the LUMIX S1R, S1H and S1 by the end of 2020. New firmware will enable the S1R to record 5K video, making the most of its high-resolution image sensor. In addition, the AF improvements introduced with the S5 will be available on the S1R, S1H and S1 for both video recording and still shooting. In addition to the eye, face and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking subjects when they move quickly, turn away, tilt their head or move far away from the camera. Also, improvements to DFD technology have enhanced AFC, which allows the camera to keep tracking small or fast-moving subjects and capture them in crisp focus.

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Blackmagic Camera 6.9.6 update for Blackmagic Camera and Studio Fibre Converters

This firmware update improves audio output channel selection, adds sidetone adjustment, phantom power for intercom headsets and improved reference timing on SMPTE fibre! What's new in Blackmagic Camera Setup 6.9.6 New features for SMPTE Fibre Converters.

  • Add sidetone adjustment on intercom 1 and 2.
  • Add ability to enable phantom power on intercom 1 and 2.
  • Add Level A and B option for down-converted 12G program return.
  • Add the ability to lock to bi-level reference.
  • Added passthrough of HDR payload IDs.
  • Improved iris control from 12G SDI signals.
  • Improved reference timing accuracy and stability.
  • General performance and stability improvements.
New features for Pocket Cinema Camera 4K and 6K
  • Fixed issue with some Bluetooth commands not responding.
  • No new features in 6.9.6 for other camera models.
Download now from https://www.blackmagicdesign.com/au/support/family/professional-cameras

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New Blackmagic URSA Mini Pro 12K Camera

Blackmagic Design announced Blackmagic URSA Mini Pro 12K, a new digital film camera with an advanced 12,288 x 6,480 12K Super 35 image sensor, 14 stops of dynamic range and high frame rate shooting at up to 60 frames per second in 12K at 80 megapixels per frame. This new 3rd generation model supports new Blackmagic Generation 5 Color Science and higher Blackmagic RAW performance, all in the URSA Mini Pro camera body. Blackmagic URSA Mini Pro 12K will be available in July 2020, for AU$19,745. Blackmagic URSA Mini Pro 12K has a 12,288 x 6480 12K Super 35 sensor and 14 stops of dynamic range. The combination of 80 megapixels per frame, new colour science and the flexibility of Blackmagic RAW makes working with 12K a reality. Oversampling from 12K gives customers the best 8K and 4K images with the subtle skin tones and extraordinary detail of high end still cameras. Customers can shoot at 60 fps in 12K, 110 fps in 8K and up to 220 fps in 4K Super 16. URSA Mini Pro 12K features an interchangeable PL mount, as well as built-in ND filters, dual CFast and UHS-II SD card recorders, a SuperSpeed USB-C expansion port and more. URSA Mini Pro 12K’s resolution goes well beyond traditional motion picture film. Customers get the benefits of incredible detail, wide dynamic range and rich, deep colour. Perfect for feature films, episodic television and immersive, large-format IMAX. The incredible definition around objects makes it ideal for working with green screen and VFX including compositing live-action and CGI. Supersampling at 12K means customers not only get better color and resolution at 8K, but also a smoothness that comes from making aliasing invisible. The Blackmagic URSA Mini Pro 12K features a new sensor with a native resolution of 12,288 x 6480, which is 80 megapixels per frame. The Super 35 sensor has 14 stops of dynamic range and a native ISO of 800. The new 12K sensor has equal amounts of red, green and blue pixels and is optimized for images at multiple resolutions. Customers can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 110 fps without cropping or changing their field of view. URSA Mini Pro’s interchangeable lens mount lets customers choose from the widest range of vintage and modern cinema lenses, so customers can capture every ounce of character and detail from their favourite optics. The URSA Mini Pro 12K sensor and Blackmagic RAW were designed together to make 12-bit RAW workflows in 12K effortless. The codec Blackmagic RAW lets customers shoot 12K and edit on a laptop, a capability that simply isn’t possible with other codecs. The massive resolution of the sensor means you can reframe shots in post for delivery in 8K and 4K. It’s like a multi-camera shoot with only one camera. And it’s perfect for great looking vertical and square video, too. The advanced design of the sensor and Blackmagic RAW means that customers can work in any resolution in post-production instantly, without rendering, while retaining the full sensor’s colour accuracy. Only Blackmagic RAW makes cinema-quality 12-bit, 80-megapixel images at up to 60 frames a reality. Constant quality Q0 and Q5 options and new Q1 and Q3 lock the quality level, allowing compression to adapt, matching the detail of the scene. Constant bitrate encoding options 5:1, 8:1, 12:1 and the new 18:1 are designed to give customers the best possible images with predictable and consistent file size. Customers can record RAW to two cards simultaneously so customers can shoot 12K or 8K to either CFast or UHS-II cards, even at high frame rates. Blackmagic RAW stores camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post-production. Shooting RAW in 12K preserves the deepest control of detail, exposure and colour during post. Oversampling means customers get extremely sharp 8K without harsh edges. Best of all, Blackmagic RAW is designed to accelerate 12K for post-production, making it as easy to work with as standard HD or Ultra HD files. It is highly optimized, multi‑threaded works across multiple CPU cores and is also GPU accelerated to work with Apple Metal, CUDA and OpenCL. So customers can always work with their camera RAW files without having to make proxies. Blackmagic RAW 12K images provide unprecedented resolution and quality for colour, keying, compositing, reframing, stabilization and tracking in 4K or 8K. Blackmagic Generation 5 Color Science features a new film curve designed to make full use of the massive amount of colour data from the new URSA Mini Pro 12K sensor. This delivers even better colour response for more pleasing skin tones and a better rendering of highly saturated colours such as neon signs and car tail lights in high contrast scenes. Generation 5 Color Science informs complex Blackmagic RAW image processing, with colour and dynamic range data from the sensor preserved via metadata for use in post-production. Compatible with all previously shot Blackmagic RAW files, Generation 5 Color Science lets customers take advantage of the new film curve even with their existing work. URSA Mini Pro 12K is multiple cameras in one, shooting standard resolutions and frame rates in 4K, 8K and even insanely detailed 12K. With a massive 80 megapixels per frame at 60 fps in RAW customers can capture perfect stills and motion shots in a single camera at the same time. Customers can shoot up to 60 fps in 12K 12,288 x 6480 17:9. For higher frame rates, customers can shoot 110 fps at 8192 x 4320, 140 fps at 8192 x 3408 and even window the sensor to Super 16 to capture 4K at an incredible 220 fps at 4096 x 2160 DCI. URSA Mini Pro 12K has flexible frame rate and resolution options and captures with improved motion rendering which means that customers get smoother edges in 8K and 4K even at lower frame rates. URSA Mini Pro 12K is the ultimate high bandwidth recorder with 3 options for recording 12K, which contains almost 10 times the resolution of Ultra HD. Customers get dual built-in CFast and UHS-II SD card recorders, and a SuperSpeed USB-C expansion port for recording to fast SATA and NVMe drives. With "Record RAW on 2 Cards" turned on, URSA Mini Pro 12K can record simultaneously across two cards up to an incredible 900MB/s to 2 CFast cards, or an impressive 500MB/s to 2 UHS-II SD cards. The SuperSpeed USB-C expansion port on the rear can record to USB-C flash storage up to 900MB/s as a third recording option so customers won’t be short of choices for capturing stunning 12K up to 60p or 8K up to 110p. Different projects require different lenses which is why URSA Mini Pro features an interchangeable lens mount. Customers can quickly switch between PL, EF and F mount lenses on the URSA Mini Pro 12K, as well as B4 lenses on the URSA Mini Pro 4.6K G2. That means customers can work with high-quality large PL cinema lenses, EF or F mount photographic lenses, and even B4 broadcast lenses, making URSA Mini Pro compatible with the widest possible range of professional lenses. Blackmagic URSA Mini Pro features an innovative high-speed USB-C Expansion Port. The 4.6K G2 model features USB-C 3.1 Gen 1 which operates at up to 5 Gb/s, while the new 12K model has a USB-C 3.1 Gen 2 for a blistering 10 Gb/s. Customers can connect and power external flash disks and SSDs or on URSA Mini Pro 12K customers can connect the new URSA Mini Recorder for recording to fast NVMe SSD drives for longer recording times. NVMe SSD drives are ideal for shooting 12K in the highest constant quality 12‑bit Blackmagic RAW in the Q0 setting or for high frame rates. When shooting is complete customers can simply move the external disk to their computer and start editing from the same disk, eliminating file copying. URSA Mini Pro includes a full version of DaVinci Resolve Studio. Customers get the world’s most advanced solution that combines professional editing, colour correction, audio post and visual effects all in one software tool. DaVinci Resolve is used to finish more Hollywood feature films than any other solution, so users will get the best possible post-production tools to edit native video from their camera and retain every bit of quality. Whether users are working on major Hollywood feature films, episodic television, music videos, commercials or even the latest YouTube shoot, DaVinci Resolve Studio gives customers a completely lossless workflow for native editing, colour correction, effects, audio and delivery.

The new Blackmagic URSA Mini Recorder(AU$789) lets customers record 12-bit Blackmagic RAW files onto fast 2.5-inch SSDs, including the latest U.2 NVMe Enterprise SSDs. SSDs such as the latest 7mm U.2 NVMe disks are super fast, delivering data transfer speeds of up to 900 MB/s. This fast performance allows customers longer recording times for full-resolution 4K, 8K and 12K 12-bit Blackmagic RAW files in the highest quality Q0 encoding. The unique design of the Blackmagic URSA Mini Recorder means it attaches directly to the back of their URSA Mini Pro between the camera and the battery. It’s controlled via the USB-C so customers don’t have to worry about manually starting or stopping the SSD recorder. "With Blackmagic URSA Mini Pro 12K we have advanced imaging technology into a new generation where new styles of shooting will be possible", said Grant Petty, CEO, Blackmagic Design. “It's not just the 12K sensor, but there are so many other innovations in this camera. From the Generation 5 Color Science, the in sensor scaling, new symmetrical colour pattern, full RGB quality and of course the 12K resolution, it's going to be exciting to see what DOPs do creatively with this technology!" Blackmagic URSA Mini Pro 12K Features • 12,288 x 6480 12K Super 35 sensor. • Use for feature films, VFX and high-end TVC's. • 14 stops of dynamic range and native 800 ISO. • New Blackmagic RAW for real-time 12K editing. • Blackmagic RAW optimized for Metal, CUDA and OpenCL. • Generation 5 Color Science with new film curve. • Shoot up to 60 fps in 12K, 110 fps at 8K and 220 fps at 4K. • Dual card CFast recording at up to 900MB/s. • PL mount included, EF and F mount available. • SuperSpeed USB-C for recording to external disks. • Includes DaVinci Resolve Studio for post-production. • Compatible with new Blackmagic URSA Mini Recorder.

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New Canon EOS C300 MKIII and 25-250mm Cine Servo Lens

[vc_row][vc_column][vc_column_text]Canon Australia launched today the EOS C300 Mark III, Canon’s next-generation Cinema EOS System camera with a new Super 35mm 4K CMOS DGO (Dual Gain Output) sensor, modular design and the ability to record in multiple formats. Canon also revealed the CN10X25 IAS S, a versatile, 8K-capable 25mm-250mm 10x power zoom CINE-SERVO lens with exceptionally broad focal length range and capabilities to extend up to 375mm using its built-in 1.5x optical extender.[/vc_column_text][vc_images_carousel images="4850,4854,4849,4848,4853,4852" img_size="medium" css=".vc_custom_1587431764799{margin-top: 1px !important;margin-right: 1px !important;margin-bottom: 1px !important;margin-left: 1px !important;}"][vc_column_text]EOS C300 Mark III's key new feature is the new DGO sensor that enhances HDR output exceeding 16-stops of dynamic range, configurable design (similar to that of the EOS C500 Mark II launched last year) and enables the ability to record up to 120fps in 4K Cinema RAW Light or XF-AVCi. Such features make the EOS C300 Mark III the perfect choice for those looking to produce everything from documentaries and commercials to corporate videos and dramas. The production of the EOS C300 Mark III, along with the new CN10X25 IAS S, is a great combination for producing high-end content across all genres.   Outstanding HDR with new DGO sensor

The first of Canon’s cameras to include the DGO sensor – a newly developed imaging system that offers exceptionally clean low light picture quality as well as superb HDR acquisition capabilities. Each pixel on the DGO sensor is read out with two different amplification levels – one high and one low – which is then combined to make a single image. The higher amplification readout is optimised to capture clean details in darker areas, while the lower amplification readout is optimised to capture details in brighter areas. When combined, at pixel-level accuracy, the details and the qualities on the highlight and low light areas of the image are maintained and enhanced, enabling professionals to achieve an impressive higher dynamic range of up to 16+ stops. What’s more, the DGO sensor is also compatible with Dual Pixel CMOS AF offering professionals greater creative freedom.   Flexible workflow for any style of productions   The versatile multi-recording format ability of the EOS C300 Mark III provides workflow efficiency to fulfil multiple production requirements across broadcast and cinema. The camera’s ability to internally record 4K Cinema RAW Light provides all the benefits of a RAW file in terms of flexibility in post-production, but in a smaller file size – easing the burden and cost that can come with large file sizes. In addition to this, the EOS C300 Mark III can record internally in Canon XF-AVCii at 4K DCI and UHD at 4:2:2 10-bit, as well as 2K and Full HD. For non-RAW recording in XF-AVCiii, professionals can select ALL-I or Long GOP to film with high compression for efficient workflow and longer recording times. When recording 2K or Full HD in Super 35mm, footage boasts the 4K sensor’s full capabilities. This recording is downsampled internally to record the footage at the resolution selected by the user – providing higher image quality and uncompromised field of view of the selected lens thanks to no cropping of the sensor.   Versatility sits at its heart Professionals can configure the camera using two different optional Expansion Units (EU-V1 and EU-V2) – both which add extra connection terminals to the camera body and expand the camera’s compatibility with various styles of shooting. Additionally, the lens mount can be changed between EF, PL and EF Cinema Lock mounts without the need to send the camera to an Authorised Service Centre – a huge benefit for professionals looking to create productions with various looks. The EOS C300 Mark III will be available from June and the CN10X25 IAS S available from July. EOS C300 Mark III Key Features:
  • New Super 35mm 4K CMOS DGO (Dual Gain Output) sensor
  • 16+ stops of dynamic range
  • 4K 120P high-speed supported
  • Multiple internal recording options:
  • 4K Cinema RAW Light 10-bit or 12-bit
  • 2K RAW recording in Super 16mm Crop, 10-bit or 12-bit
  • XF-AVC (MXF) recording, 4:2:2 10-bit ALL-I or LongGOP
  • Up to 120P 4K RAW or XF-AVC recording, up to 180P in Super 16mm crop 2K/FHD.
  • User changeable lens mount (EF, PL or EF Cinema Lock)
  • Flexible, modular design with optional expansion modules and EVF
For pricing and pre-orders please visit the Videocraft Online Store More information from Canon Australia about the EOS C300 Mark III can be found here: www.canon.com.au/cameras/eos-c300-mark-iii Here is a walkthrough the new Canon C300 MKIII camera by Sydney Cinematographer, Dave May - produced by Canon Australia Canon C300 Mark III Hands On - Tall Story Films from Tall Story Films on Vimeo.    

NEW hybrid CN10X25 IAS S CINE-SERVO lens

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_images_carousel images="4855,4856,4858,4857,4859" img_size="medium"][vc_column_text]With outstanding optics and compact and lightweight design, the versatile 4K and 8K-capable CN10X25 IAS S CINE-SERVO lens meets multiple production needs. Thanks to its wide focal length range, ability to be configured for both broadcast and cinema productions, and compatibility with Super 35mm and Full Frame sensor cameras; the CN10X25 IAS S CINE-SERVO lens is ideal for professionals looking to filming high-quality productions across a wide range of genres such as drama, commercials, sports and documentary. For these reasons, the lens makes a great pairing with the likes of the new EOS C300 Mark III. With its 11-blade aperture, a soft and subject popping bokeh is achieved with warm colour tones for high image quality and cinematic rendering. When used with Canon’s Cinema EOS System cameras, including the EOS C300 Mark III, the CN10X25 IAS S CINE-SERVO lens offers top image quality, operability and reliability the industry is looking for. Ability to handle a range of filming situations Producing optically excellent ‘cinematic’ images that are sharp from centre to outer edges, the power zoom lens can handle a large range of shooting situations from 25mm wide angle, to 250mm telephoto. This range can be pushed to an impressive 375mm with the built-in 1.5x optical extender, allowing professionals to capture exceptional close-up content of breathtaking moments happening in distance. What’s more, with the built-in extender it is possible to enlarge the image size of the lens to make it compatible with 35mm Full Frame sensor cameras – such as Canon’s EOS C500 Mark II – a great advantage that pushes the capability of the lens. Flexible design with multiple communication functions The ergonomic drive unit of the CN10X25 IAS S is detachable, suiting a multitude of broadcast and cinema production requirements. Its lens mount can also be interchanged between an EF and PL mount providing even greater value and flexibility to professionals. It’s compliance with a wide range of communication standards supporting EF communication with EF mount and Cooke Technology with PL mount, provides additional support and functionality which is hugely beneficial for those looking for a high-quality lens suitable for various productions. A 12-pin serial communication is also supported for broadcast standards, as well as a 20-pin connector which outputs accurate lens positional data for various virtual systems. CN10X25 IAS S Key Features:
  • 4K and 8K camera-compatible image quality
  • 25mm wide angle and 10x high-power zoom
  • Internal 1.5x extender
  • Detachable drive unit
  • Interchangeable EF and PL mount
  • Compliant with wide-ranging communication standards with a lens-to-camera communication function for added experience
For pricing and preorder please visit the Videocraft Online store More information from Canon Australia about the CN10X25 IAS S Lens can be found here: www.canon.com.au/camera-lenses/cn10-x-25-cine-servo[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]

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Setup live streaming direct to YouTube with the Sony PXW-Z90 Camera

How to setup live streaming direct to YouTube with the Sony PXW-Z90 Camera. Here is a step by step basic guide on how to setup live streaming using RTMP protocol direct to YouTube there are similar steps for other online apps such as Facebook and Vimeo. Firstly, check the firmware you have installed on your PXW-Z90 camera, to do this you need to follow these menu stepsMENU > OTHERS > VERSION DISPLAY

. For RTMP/RTMPS streaming functionality on the PXW-Z90 camera you need to have downloaded the V2.00 Firmware which is available for FREE from the Sony Website - When doing this we found the process to be much more stable on a PC rather than a MAC computer. https://pro.sony/en_AU/product-resources/software-firmware/firmware-pxw-z90-v2-00   Ok now to set up your live streamingYou need to start with setting up YouTube Go to your YouTube Studio account, now if you have never streamed live from your YouTube account before you will not be able to stream for the first 24 hours of requesting to do so - so head into the “Go LIVE” setup the day before you need to stream anything.   CREATE > GO LIVE > NEW STREAMThe only details that are mandatory that you need to enter in here is the title and category of your content and whether the content is made for kids Click CREATE STREAMWhen the Manage Stream screen comes up you need to take note of both STREAM KEY and the STREAM URL as these are details you will need to enter into the camera so it can connect with YouTube. The STREAM KEY is hidden so it’s a good idea to copy this and the URL into Notepad or Word Doc on your computer for easy and quick reference. Now to connect up your PXW-Z90First, you need to connect the camera to a WIFI network - you do this by heading to the NETWORK SET section on the MENU MENU > NETWORK SET > Wi-Fi SET > ACCESS POINT SET               Wifi networks that are discoverable will show in the list, if your network doesn’t show in the list or is not discoverable you will need to select MANUAL SETTING and know whether you are using a WEP or WPA network when entering the name and password for the WiFi network.             Once the camera is connected to a WiFi network a tick is visible on the menu to show which network you are connected to and indicators show the strength of the signal the camera is picking up. So you’re on WiFi - what's next?You need to connect the camera to YouTube via RTMP. You can also connect to Facebook and other streaming software and you can use each of the presets to save different settings for each type of app you would want to connect to. So, go to the NETWORK SET section of the menu to do this MENU > NETWORK SET > RTMP/RTMPSIf this is the first time you have tried RTMP streaming from your PXWZ90 this then you need to put the YouTube settings into one of the Presets - there are three available so you may want to set one up for YouTube at 720p or another at 360p which are the two resolutions you can use to stream on the PXW-Z90 or maybe a different streaming channel like Vimeo or Facebook.So lets setup YouTube at 720p on PRESET 1, to do this simply scroll down to PRESET 1 and select DISPLAY NAME Here you can set a display name for your Preset. You may want to change to YouTube 720p for easy reference at another time. SIZE This gives you the option to select between 720p and 360p streaming resolution . DESTINATION SET This is where we need to enter the information of the STREAM KEY and the STREAM URL that we were given on the YouTube Stream Settings earlier. . So first enter the URL you enter the rtmp:// address, this is quite laborious using the typing function of the Sony camera - but note you can either use the joystick toggle to enter or the touchscreen which you may find easier. Use the bar at the top to select between alpha, numeric and special characters screens for entering the URL address. Once entered click the large OK button in the bottom left. Next, the Stream Name is where you enter the STREAM KEY from YouTube, this displays as an asterisk shortly after you enter a letter, this makes it hard to know where you are up to. Unless you are really speedy at this you can push the DISPLAY button on the side of the camera and it will keep the STREAM KEY viewable whilst you enter it and once you finished and pressed OK it will change back to the asterisk view. Once you enter these details press OK and return to the RTMP/RTMPS menu, scroll up to PRESET SELECT and choose PRESET 1 where you have just configured the previous steps. If this is all done correctly you are pretty close to streaming now, but before we get to that if you find that your EXECUTE menu selection is greyed out or faded and unselectable and nothing is happen - you will need to change the REC SET in your MENU. Make sure that your FILE FORMAT is HD or lower to be able to EXECUTE the RTMP streaming function of the PXW-Z90.   Changing your FILE FORMAT for Streaming on the PXWZ90To change your FILE FORMAT to a format that will allow you to stream follow these steps in the MENUMENU > REC/OUT SET > REC SETGo to FILE FORMAT and select either XAVC HD or AVCHD in the menu options.This will update the REC FORMAT and when you return to the RTMP/RTMPS streaming menu EXECUTE will now be highlighted white ready to go ahead for streaming.   So you have the camera, connected to the WiFi network, you have entered the YouTube details into the Destination set - you are ready to EXECUTE!Starting the Stream to YouTubeOnce you have pressed EXECUTE it will ask you which network you are streaming from, in this setup we have followed you would select Wi-FiYou then are ready to connect your camera stream to your YouTube preview screen. To stop and start the connection between the camera and YouTube you simply press the THUMBNAIL button on the camera.You should now see a preview of your camera in your Stream Management of YouTube.To start streaming your content hit the GO LIVE button at the top right corner of the screen!And you are now live streaming to YouTube with the Sony PXWZ90 Camera!   Other tips and tricksFor Ethernet connection or Wired LAN you will require separate accessories from Sony (VMC-UAM2, CBK-NA1) to connect the USB port from the camera to an ethernet cable. RTMP/RTMPS providers: Both YouTube and Facebook have checkboxes for reusing the "Stream Name". Unless you really enjoy entering the "Stream Name" every time you want to stream, you will want these to be checked.Note that using this method you can only go to one site at a time. If you want to be tricky, you can create an RTMP stream to go to apps such as restream.io, and then you can go to multiple apps at once!  

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New Canon EOS R5 Mirrorless camera features

Canon INC has today released further development specifications for its recently announced Canon EOS R5, a full-frame interchangeable lens camera in the company’s EOS R System. These additional details come exactly one month since Canon released the development announcement of the EOS R5 and shut down speculation that some of its revolutionary specifications are ‘a fantasy’. Signalling a new phase of Canon 5-Series imaging and a revolution in the mirrorless full camera category, Canon’s EOS R5 will offer every photographer – not just professionals – access to high-quality imaging, cutting-edge 8K movie recording, new approaches to in-body image stabilisation, and revolutionary subject detection and tracking performance features. New possibilities for movie performance Unleashing new possibilities, Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market[1]. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest Canon EOS R camera is set to redefine mirrorless with its market-leading features. In addition, in all 8K modes the EOS R5 will support Canon’s renowned Dual Pixel CMOS AF A beast for subject detection and tracking performance for animals and people Canon Inc. also confirms the EOS R5 supports advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible. Jason McLean, Director – Consumer Imaging & Services, Canon Australia, said:Our EOS 5-Series was developed fifteen years ago to make full-frame cameras accessible to consumers, not just professional shooters. Today, that purpose remains steadfast as we continue achieving the ‘impossible’ to deliver the hybrid needs of content creators who are demanding uncompromised performance to generate more still and motion visual content than ever before.” “With it 8K movie capabilities, new approaches to image stabilisation, revolutionary subject detection, and compatibility with Canon’s full suite of EF[2] and RF lenses, the EOS R5 represents a category revolution as opposed to product evolution in the interchangeable-lens camera market.” The EOS R5 specifications previously confirmed by Canon include:

  • The EOS R5 offers a step-change in performance with an incredible 12fps using the mechanical shutter and the electronic shutter offering 20fps
  • The EOS R5 takes Canon’s cutting-edge image stabilisation technology to the next level, by including a newly Canon-developed, in-camera image stabilisation system – which works in combination with the lens stabilisation system
  • With content delivery just as important as image and video capture, the EOS R5 supports automatic transfer of image files from the device to the image.canon cloud platform[3]
  • The highly anticipated EOS R5 will feature dual card slots
  • Upon launch, the Canon EOS R5 will also be supported by Canon Australia’s 5-year warranty when purchased from an authorised local dealer[4].
[1] As of 13th March 2020 [2] When used with Canon’s EF-Series lens mount [3] Automatic file transferring, available for cameras equipped with the automatic file transfer function, beginning with the currently-in-development EOS R5 (announced on 13 February 2020), requires users to connect the camera to a Wi-Fi access point that has been registered in advance [4] For full details on Canon Australia’s 5 year warranty, visit https://www.canon.com.au/support/warranty

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Sony FX9 Camera, features in more detail

We recently interviewed Hiroki Hamamoto from Sony Japan whilst he was visiting Australia and asked him about all the new features available on the Sony FX9 Features we love about the FX9The Sony PXW-FX9 is definitely the talk of the town and a lot has been discussed about the Full-Frame sensor and more importantly when our stock will be arriving, as the first in the country to put orders in we will be pleased to see these cameras hit our shelves hopefully early in the new year. The camera’s full-frame 6K sensor will provide recording in DCI 4K*(4096 x 2160 at 17:9 recording available in future firmware release), Ultra HD and HD resolutions. The image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35mm sensors. Compared to a 4K Super 35mm sensor, the FX9’s 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field. Sony has this video which highlights some of the key features of the PXW-FX9 beyond its sensor.Sony Product Feature Video for FX9So there are a few key features here at Videocraft we are particularly fond of with the FX9 camera and not necessarily the ones you would expect.   Auto Focus Features that work for productions!Tracking shots with Fast Hybrid AF you can effortlessly track fast-moving subjects with pin-sharp focus, even when using wide lens aperture settings to maintain a shallow depth of field with the camera’s full-frame sensor. Developed by Sony’s α camera engineers, the enhanced Fast Hybrid AF combines phase-detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognises and locks on to human faces. The dedicated 561-point phase-detection AF sensor covers approximately 94% of the whole image area width and 96% of the height, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects.

So all these cool functions for auto-focus are also available to camera operators as customisable Auto Focus settings, such as 7-level AF transition speeds from Fast – switching between subjects as quickly as possible – to Slow, where speed is reduced to fit a more measured shooting style, such as a historical TV drama. And also 5-level AF subject shift sensitivity ranges from Locked-on – ignoring other moving subjects in the frame – to Responsive that switches focus from one subject to another – ideal for snapping between race cars as they speed by.   Dual Base ISO for stunning images in any lightFX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary High Base sensitivity of ISO 4000 excels in low light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal whenever you’re using slow lenses. Combining Dual Base ISO with the camera’s electronic variable ND Filter provides superb creative control in almost any shooting environment, equipping you with responsiveness to changing lighting conditions on the go.   Cinematic colour science with S-Cinetone™S-Cinetone is the default look of FX9 that’s tuned to meet the requirements of today’s content creators with rich mid-range colours, alluring facial tones and a softer tonal look – developed with the same expertise as Sony’s world-leading VENICE digital cinematography camera. S-Cinetone means that straight out of the camera your content looks fresh and vivid, with subjects that really stand out while retaining plenty of latitude in post-production thanks to the high-performance full-frame image sensor.   Stable, shake-free handheld footage with Image StabilizationAdvanced image stabilisation information means even handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software in post-production to look as smooth as if it were shot with a gimbal. Unlike in-camera or lens stabilisation, metadata generated by FX9’s built-in gyro allows you to creatively choose the balance between the level of shake-compensation and the resolution of trimmed 4K imagery. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilisation workflows.   Yippee its Variable ND!So we fell in love with Variable ND on previous Sony cameras such as the FS5 and FS7 and now we get even greater creative control with Sony’s unique built-in electronic variable neutral density (ND) filter on the PXW-FX9. Set it to Auto, or adjust filter density manually in smooth increments from 1/4 to 1/128 as you shoot, for perfectly exposed images without affecting depth of field as lighting conditions change. Use higher density settings with slower shutter speeds for breathtaking artistic effects.   So what is 'Electronic Variable ND Filter'?Sony’s Electronic Variable ND Filter can be seamlessly varied while shooting because of its innovative technology, which is optically based rather than using image processing. There are three different ways to use this filter: seamlessly altering the image exposure while shooting by scrolling the dial on the right side of the camera. Selecting Auto ND, where the camera will proactively adjust the density of the filter to find the best exposure for shooting, which works really well in outdoor environments where the light may have considerable variations, this auto function maintains your exposure and adjusts the ND when the light level changes. Or you can set your own fixed filter levels just like you would with a conventional optical ND filter, the default settings are 1/4, 1/16, and 1/64. However, it is possible to change these three settings to whichever values you prefer. Generally, camera operators use iris, gain control, or shutter speed and each has their own side effects to the creative look of your frame, by using the optical-based yet seamlessly control your image exposure with the electronic ND filter without sacrificing your creative choices.   Audio is just as important as the images you capture!Well, the pictures are only half the story and with the 4-channels of audio input and recording on the PXW-FX9 Camera, enables simultaneous use of an external microphone for recording ambient sounds, the built-in microphone for voice memos by the operator, and two optional wireless microphones for voice of interviewer and interviewee. Plus the FX9 offers independent control dials for each channel. In addition, using the optional accessories such as the XLR-K3M, XLR-K2M or XLR-K1M XLR adapters – with two extra XLR inputs – allows even more devices to be connected.On a side note if you are thinking about a multi-cam job with the PXW-FX9 - we’ve been nerding out about the fact it takes external timecode into the camera without having to add any external accessories to achieve it. To get in early and make sure you are one of the first to own an FX9 camera - place your pre-order online

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New Blackmagic Camera 6.6 Update

Get anamorphic de-squeeze options, on-screen horizon tool, custom frame guides and support for the Blackmagic Pocket Battery Grip on all Pocket Cinema Camera models, along with Super 16mm and anamorphic Blackmagic RAW recording on the 4K model.

What's new in Blackmagic Camera Setup 6.6

New features in Blackmagic RAW
  • Blackmagic RAW Avid Media Composer plugin general performance and stability improvements.
  • Blackmagic RAW Adobe Premiere Pro plugin general performance and stability improvements.
  • CUDA general performance and stability improvements.
New features for Pocket Cinema Camera 4K
  • Added support for Blackmagic Pocket Battery Grip.
  • Added support for language localization.
  • Added support for built-in camera horizon tool.
  • Added support for 4K 2.4:1 4096 x 1712 recording in Blackmagic RAW up to 75 fps.
  • Added support for 2.6K 2688 x 1512 up to 120 fps recording in Blackmagic RAW suitable for Super16mm lenses.
  • Added support for 2.8K 4:3 2880 x 2160 recording in Blackmagic RAW up to 80 fps for anamorphic lenses.
  • Added support for 2x de-squeeze preview when recording 4K 4:3.
  • Added support for 1.33x de-squeeze preview.
  • Added support for pinch to zoom up to 8x magnification.
  • Added USB PTP control support.
  • Added ability to embed custom 3D LUTs in Blackmagic RAW clips as metadata.
  • Added common off-speed frame rate options above slider when changing frames.
  • Added common ISO options above slider when changing ISO settings.
  • Added 1:1 and 4:5 frame guide options.
  • Added ability to type in customized frame guide ratios.
  • Added ability to monitor voltage level when powering via 12V DC connector.
  • Improved autofocus performance.
New features for Pocket Cinema Camera 6K
  • Added support for Blackmagic Pocket Battery Grip.
  • Added support for language localization.
  • Added support for built-in camera horizon tool.
  • Added support for pinch to zoom up to 8x magnification.
  • Added USB PTP control support.
  • Added ability to type in customized frame guide ratios.
  • Improved autofocus performance.
No new features in 6.6 for other camera models.

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Product Review: Sony FS5 II Super 35mm Compact Cinema Camera

News & DocumentaryYes, but with mixed results

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Product Review: LitraTorch 2.0

News & DocumentaryPerfect for this!

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Sony Launches its First IP 4K Pan-Tilt-Zoom Camera BRC-X400 with NDI®1 capability

Sony announced its latest addition to the 4K pan-tilt-zoom (PTZ) camera range, the BRC-X400. Ideal for cost-efficient content creation, the compact yet powerful camera is extremely well-suited for broadcast applications from studio to reality TV shows as well as shooting in large venues including event halls and houses of worships (HoW).

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Blackmagic Design Announces New Blackmagic Pocket Camera Battery Grip

New camera grip attaches to any Blackmagic Pocket Cinema Camera 4K and holds 2 L-Series batteries for over 2 hours of non-stop shooting! The Blackmagic Pocket Battery Grip is a new battery adapter that features a slide-out tray designed to hold two L-series batteries. This allows customers to power external flash disks or run the camera for over 2 hours of record time before charging. Designed for the Blackmagic Pocket Cinema Camera 4K, the new Pocket Camera Battery Grip lets customers replace the camera’s standard LP-E6 battery with two L-series batteries so they can shoot for over 2 hours on a single charge. It’s perfect for anyone that needs to shoot for extended periods of time. Featuring a unique carbon fibre design, non-slip hand grips, and a slide-out tray that holds 2 L-series batteries, the Pocket Camera Battery Grip also makes it easier to hold the camera on longer shoots. L-Series batteries are standard batteries used for a variety of professional lighting equipment, so they’re readily available. Customers can even charge the batteries in the grip via the camera’s 12V DC connection in between takes. Unlike traditional external battery packs that hang off the side of the camera, the Pocket Camera Battery Grip has a unique design that makes it part of the Blackmagic Pocket Cinema Camera 4K. Simply remove the detachable LP-E6 battery door cover from the camera, slide the pocket grip in and lock it into place. There’s even a storage slot built into the grip for the battery door cover. Because the Pocket Camera Battery Grip becomes part of the camera, customers get larger non-slip hand grips that make holding the camera even easier. Best of all, there’s no extra gear hanging off the camera so customers still have a compact camera that can go anywhere. "The Blackmagic Pocket Cinema Camera 4K has been received incredibly well by our customers because it’s not a dumbed down consumer product, but it is a true digital film camera with incredibly advanced features generally only found on the most expensive cameras available," said Grant Petty, Blackmagic Design CEO. "The new Pocket Battery Grip is exciting because it lets you power external flash disks allowing customers to record to the disk used for editing. It will even power the camera for over 2 hours on a single charge. As it’s designed to integrate into the camera's design, it’s more comfortable to hold the camera on longer shoots. Unlike regular external battery packs that hang off the camera, the Pocket Camera Battery Grip is integrated into the camera's design itself, so it doesn’t add a lot of weight and it fits perfectly!" Availability and Price Blackmagic Pocket Camera Battery Grip will be available in August for AU$385

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Everyone is talking about the New Blackmagic Pocket Cinema Camera 4K

Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB‑C drives! The all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more. The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance. The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.

Designed using a space age carbon fiber polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The carbon composite material consists of a high strength polymer that’s reinforced with carbon fibers. This gives the camera body incredible strength and rigidity to help protect it from accidental knocks and drops which can often result in damage. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more. Fourth generation Blackmagic Design color science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimized video file. This gives customers working on fast turnaround projects an ideal solution for shooting great looking images that don’t need a lot of color correction or post production work. Images can be recorded onto standard SD cards, faster UHS-II cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K can record 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. It’s also the first camera that lets customers record directly onto the same exact external USB-C media drives they use for editing and color correction. That means customers can turn projects around much more quickly because they don’t have to transfer files. All they need to do is unplug the USB-C drive and then connect it to their computer to start editing. The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision. The rear of the camera features a large bright 5 inch touchscreen that makes it easy to frame shots and accurately focus. It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording parameters, status, histogram, focus and peaking indicators, and playback controls. In addition, 3D LUTs can be applied for both monitoring and recording. For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones. The high quality built in audio recording means customers don’t have to carry around a separate recorder. The Blackmagic Pocket Cinema Camera 4K also includes a full size HDMI connector which can output HDR video as well as a clean 10-bit video feed with optional on screen overlays. There’s also an innovative high speed USB-C Expansion Port for adding external accessories such as flash drives and an SSD for external recording. The camera uses standard LP-E6 batteries and can be charged via USB-C or the locking DC power connector, which protects the camera from being accidentally unplugged during a shoot.
“Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that's trying to do high end work, it’s a true high end camera designed for high end work.”
BLACKMAGIC POCKET CINEMA CAMERA 4K FEATURES * Full size 4/3 sized sensor with native 4096 x 2160 resolution sized sensor. * Compatible with extremely high quality Micro Four Thirds lenses. * Super wide 13 stops of dynamic range allows capture for high end feature film look. * Up to 25600 ISO for incredible low light performance. * Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable. * Multi function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more. * Built in SD, UHS-II and CFast card recorders. * USB-C expansion port allows longer duration recording directly to an external SSD or flash disk. * Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW. * Features full size HDMI output for monitoring with camera status graphic overlay. * Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones. * 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection. * Built in 5” LCD touchscreen allows accurate focus when shooting 4K. * LCD supports on screen overlays including status, histogram, focus peaking, and transport controls. * Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. * 3D LUTs can be applied for both monitoring and recording. * Blackmagic OS as used in URSA Mini and URSA Broadcast cameras. * 4th generation Blackmagic color science. * Supports remote camera control via Bluetooth. * Includes full license for DaVinci Resolve Studio editing, color, visual effects and audio post production.

PRE-ORDER is available from Videocraft Online

   

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SONY releases new cameras at NAB2018 - FS5II, PXWZ190, PXWZ280

Sony has today expanded its Large Format Sensor category with the launch of the new XDCAM™ handheld camcorder FS5 (Body:PXW-FS5M2, Lens Kit: PXW-FS5M2K). Complete with stunning 4K High Dynamic Range (HDR) and 120fps performance and RAW capabilities, the new Super 35 mm camcorder marries outstanding image quality with an ergonomic modular frame, offering content creators the ultimate creative flexibility. In addition to S-Log 2/3, the FS offers Instant HDR Workflow1 to produce HDR content for quick post-production without the need for grading2.The FS5II is an outstanding E-mount camcorder for interchangeable lens camera users, offering boundless creative options for web commercial, music video production, dramas, corporate & event videos and documentaries.

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Long record times or 32 channels of HD recording available on our new AJA KI-Pro Ultra Plus Recorders available to rent.

Single Channel Mode:

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Videocraft builds State Of The Art TV Studios and Production Facilities For RMIT

Recently RMIT University undertook a significant renovation of its Melbourne city faculty specifically to open their campus up by redoing its Swanston Street facade and substantially renovating seven floors across four buildings. This huge undertaking was known as the New Academic Street, or NAS, Project. The existing buildings were where RMIT had its TV studios, originally built in the 1960s, much used and loved but long overdue for an overhaul. The NAS project provided an opportunity for RMIT to replace the old TV Studios with world class, cutting edge facilities to support both current and future trends in media production as well as RMITs research requirements in the digital media realm. To help them with the design and build of the complete project they turned to Videocraft. Before the project could start the university put out a tender for the design, construction and integration of four control rooms (two of which were to be UHD), five studio spaces and a virtual and augmented reality system. The tender also specified some unique components including a fully distributed routing system, UHD record and replay solution and the ability to quickly move any studio to any control room, or multiple control rooms. Technical Services Manager School of Media & Communication College of Design & Social Context at RMIT University David Beesley explained, “We required world class facilities with a futureproof and flexible infrastructure - a big ask - and we required a company who could work with us to enhance our vision of what these facilities would look like and how they could support our specific pedagogical needs. In conjunction with other industry leaders and after extensive research and consultation, RMIT came up with a base design which was subsequently put out to tender. Videocraft's winning point of difference was their ability to add significant value to our vision and turn it into a functioning reality.” Videocraft worked with RMIT end users to finesse the design and ultimately supplied and installed the kit for four TV studios and control rooms, a master control room (MCR), RMIT’s 'Black Box' research studio and multiple fibre-linked OB points throughout the NAS Precinct. [gallery ids="https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5135.jpg.jpeg|Head of ABC News speaking at the RMIT NAS Project opening,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5130.jpg.jpeg|James Taylor in one of the four control rooms designed and installed by Videocraft,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5136.JPG-e1522805026155.jpeg|,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5131.jpg.jpeg|James and Jeanette Taylor at the Opening of the RMIT NAS Project,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5132.jpg.jpeg|Panasonic 4K UHD Studio Cameras,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5129.jpg.jpeg|Checking out the studios on RMIT's Opening night for the NAS Project,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5133.JPG-e1522804985885.jpeg|Panasonic 4K UHD Studio Cameras,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5126.JPG-e1522804965720.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5125.JPG-e1522804937190.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5128.JPG-e1522804906693.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5127.JPG-e1522804881286.jpeg|Installation by Videocraft at RMIT TV Studios"]   Videocraft Head of Engineering and Projects Nick Maclean added, “We also designed a Central Apparatus Room for the 4 control rooms and 5 studios, plus supporting spaces such as green rooms, makeup rooms and production offices. Given that this was not a greenfield site, but a retro fit of an existing building, there were considerable constraints with the spaces, but with clever design we were able to come up with a solution that met the brief.” As part of the scope required a ‘distributed’ router Videocraft decided to install a large Riedel Mediornet system as, based on a 10Gig backbone, the system can handle up to 384x384 3G HD signals. For a distributed audio network they implemented a Dante audio network and ensured that all the audio mixers, stage boxes and tie lines were IP connected over a 10GigE IP network with a Cisco Nexus backbone. Videocraft also installed IP KVM systems, IP talkback using Riedel Smart Panels, and IP wireless comms using the new Riedel Bolero AES67 wireless keypanels. To tie all these systems together they used Lawo Virtual Studio Manager, a control solution that removes all the complicated backend components and presents a unified interface for operators. Beesley continued, Videocraft also installed the first UHD EVS system in Australia, which included IP Director and XFile for file-based ingest and delivery of both HD and UHD studio content. Critically they also supplied and installed kit for our temporary TV studios, constructed for the duration of the major build, to ensure business continuity. It really was a first class job and they met our every requirement.” Other kit supplied and installed by Videocraft included Panasonic 4K UHD camera chains, Sony vision mixers, a Zero Density 'Reality' virtual set and MoSys camera tracking, Ross Expression graphics, Yamaha audio desks and ARRI lighting. Beesley continued, “Videocraft took charge of face to face meetings, design workshops, numerous stakeholder and site meetings, design revision, installation, commissioning and testing. Their approach was professional and flawless.” Now complete the new facilities are used for teaching, including live broadcasts, research and more. As a result RMIT students can now learn on the same tools they will encounter in the field to which Beesley added, “These are the first purpose built UHD studios in Australia. They are at the forefront of technology for anybody, but for a teaching facility they are undoubtedly the number one studios in Australia. They are flexible and their unique infrastructure ensures that they'll be fit for purpose well into the future.” David Beesley, clearly incredibly pleased and incredibly proud of RMIT’s new TV and production facilities felt compelled to highlight the real shining lights of the project concluding, “There are many wow factors with the new facilities with their flexibility, extensive use of fibre, VSM, and 4K UHD capabilities but the real standout is the Zero Density Reality system. Videocraft installed a two-camera system with Star Tracker motion tracking which can render full virtual sets and augmented reality elements in realtime with unbelievable realism. The system uses the Unreal Engine for 3D design and rendering and the results are simply stunning. It’s the most realistic virtual system we have ever seen. I cannot speak highly enough about what Videocraft did for RMIT during this project. They were amazing to work with, incredibly patient, understood our unique requirements and worked with us to create something that is truly great, and the envy of many.”

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