Articles tagged #CANON
Articles tagged
#CANON

Canon EOS C70 new compact Cinema EOS camera

Canon Australia launched the new EOS C70, it combines the image quality of the Cinema EOS System with the compact size, portability and flexibility of its EOS R line-up of cameras, so you get to enjoy the RF-Series lens range. The EOS C70 comes complete with pro interfaces and input/output terminals and ports, which makes it a suitable choice for a broad range of uses including documentaries, productions of all sizes, newsgathering, and events such as weddings. Content Creators wanting to achieve higher production quality for social media content on channels such as Instagram Stories or Reels or especially for TikTok, the C70 makes it much easier to capture thanks to the EOS C70’s vertical shooting capability.

  Australian DOP Kate Cornish tests out the Canon Cinema EOS C70 during a live performance video shoot of musician Kim Churchill. The EOS C70 packs in some seriously impressive specs in the smallest Cinema EOS body The EOS C70’s compact size will enable filmmakers to shoot handheld or on a drone or gimbal, quite easily. The EOS C70 offers multiple recording formats to SD cards, (nice affordable media option) which includes 4K up to 120 fps in 4:2:2 10-bit in XF-AVC (All-I or Long-GOP), and MP4 in HEVC (H.265) or H.264 and it is now possible to record different formats, resolutions and bit depths on each media card slot, configurations such as double slot, relay and simultaneous recording will give content creators, productions and filmmakers the ability to adapt to a diverse range of workflow requirements. A mount for all your EF lenses!                     So also new from Canon, is the Canon Mount Adapter EF-EOS R 0.71x, so yes you will be able to use an EF Lens to RF Mount adapter giving filmmakers the freedom to use the entire EF lens line-up1 with the EOS C70, optimising compatibility across two of Canon’s popular lens lines. When paired with the EOS C70, the Mount Adapter EF-EOS R 0.71x employs an optical conversion to capture a Full Frame angle of view of an EF lens even when used with a Super 35mm sensor, as well as an increased light transmission of approximately 1-stop. The adapter enables full communication between three EF lenses and the camera body - EF 16-35mm f/2.8L III USM, EF 24-70mm f/2.8L II USM, and EF 24-105mm f/4L IS II USM - providing continued support for Canon’s extensive range of EF lenses. Auto Focus, peripheral illumination and chromatic aberration correction, and the transfer of lens metadata are also fully supported when using the Mount Adapter EF-EOS R 0.71x. The expanding RF range of lenses includes telephoto, zoom, high-quality primes, wide aperture and macro lenses. Using the RF lens range gives you optimal image stabilisation, the EOS C70 enables Combination IS, which brings together the Optical IS in RF lenses and the Electronic IS in the camera body for stabilisation when shooting handheld. The enhanced communication capability between the lens and the camera also unlocks additional features such as the ability to display the object distance on the camera’s LCD monitor. Small but packed with pro features The EOS C70 brings together the short flange back design of Canon’s RF Mount making the compact design of the EOS C70 possible. While the camera is small and light, it’s packed with features that support professional video requirements. It has 13 assignable buttons, a multi-functional handgrip for ease of operability, professional input/output terminals including HDMI and 2x mini XLR terminals for audio, as well as an independent ventilation system. Furthermore, a new, thinner ND filter system gives up to 10-stops of ND filtration, providing filmmakers with the flexibility to control exposure while keeping control over the depth of field and enabling significant bokeh, even when using a high-speed lens. 4K image quality just like the C300MKIII             Taking advantage of its Super 35mm Dual Gain Output (DGO) sensor, seen in the EOS C300 Mark III, the EOS C70 delivers exceptional image quality with over 16 stops of dynamic range. The EOS C70 produces the same true-to-life, cinematic colours, clean low-light image quality and HDR acquisition capabilities that easily match in with the C300MKIII. The combination of the DGO sensor, and the DIGIC DV 7 processor it’s a good choice to produce high-quality content in 4K. It also supports slow-motion capture with 4K 120p recording – with Dual Pixel CMOS AF support, as well as an audio recording. For those who desire higher frame rates, 180p is also available in Super16 mode. Recording to Dual SD cards in Canon’s XF-AVC format with 4K 4:2:2 10-bit, the EOS C70 captures high-resolution footage. Cool functions of the EOS C70 you should know about In addition to supporting Canon’s renowned Dual Pixel AF system, it is also the first Cinema EOS System camera to feature the revolutionary EOS iTR AF X (Intelligent Tracking and Recognition) and the dedicated vertical shooting mode, designed to support the capture of content for social media and digital signage. EOS C70 Key Features:
  • RF Mount system
  • The Cinema EOS C70 uses Canon’s new 4K Super 35mm DGO sensor with HDR capabilities
  • High frame rate 4K shooting at 120fps with audio recording and DPAF
  • Dual SD card slots allowing for simultaneous recording in multiple formats
  • Improved Dual Pixel Auto Focus with an intelligent tracking and a new touch user interface
  • Compatible with the new Mount Adapter EF-EOS R 0.71x giving users access to the extensive range of Canon EF mount lenses
For more information about the EOS C70 and Mount Adapter EF-EOS R 0.71x, visit the Videocraft online store        

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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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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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Canon focuses on 4K UHD Broadcast Lenses at NAB2018 - oh! and the C700 FF

Canon launched of three new portable zoom 4K UHD broadcast lenses1: the CJ24ex7.5B, CJ18ex7.6B and CJ14ex4.3B. These new additions are compatible with 4K UHD broadcast cameras that have 2/3-inch sensors. Flanking the existing UHDxs series of 4K portable broadcast lenses that deliver excellent optical performance, these three lenses usher in the newly launched UHDgc series that will broaden 4K UHD shooting options. These new lenses provide 4K UHD imaging quality at a price point that is more accessible to the majority of the broadcast market. Additionally, the new lenses provide impressive UHD optical performance while maintaining a compact and lightweight design to meet a wide range of needs for video productions that include documentaries, sports, events and news coverage.

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Canon Announces Its Newest Professional 4K HDR Reference Display Featuring Stable High-Luminance And 12G-SD1 Terminals

The Canon DP-V2411 4K HDR1 Reference Display, a 24-inch display that features stable high luminance and 12G-SDI terminals, ideal for use on-set in broadcasting vans, and in-studio needs.

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Canon introduces a 4K compact Cinema EOS camera, the EOS C200

Canon announced today the launch of the EOS C200, the latest addition to the esteemed Cinema EOS range. Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals. As the first Cinema EOS camera to support the new RAW recording format – Cinema RAW Light – the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0TM card. Newly developed Canon Dual DIGIC DV6 processors provide the ability to record internally 4K UHD/50P MP4, 4K DCI RAW and continuous 120fps High Frame Rate (HFR) in Full HD without crop. At the same time, advances in Dual Pixel CMOS Auto Focus (AF) technology and a new touch screen LCD monitor provide smooth AF operation and effective tracking. [gallery type="slideshow" columns="1" size="medium" ids="https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_rearR_1.jpg|Rear View (Right),https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_rearL_7.jpg|Rear View (Left),https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_back_5_3.jpg|Back,https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_main_1.jpg|Front"]

EOS C200 – key features

 Internal 4K recording with Cinema RAW Light and MP4 format  Continuous 120fps (maximum) High Frame Rate with no cropping at Full HD  Up to 15-stops dynamic range (Cinema RAW Light)  Professional High Quality image and audio  Dual Pixel CMOS AF with touch control and extensive shooting functions  Easy operation and flexible configuration

Capability drives creativity

The EOS C200 features Canon’s 4K Super 35mm CMOS sensor with an effective pixel count of 8.85MP, along with the newly developed Dual DIGIC DV6 image processors. As a result, it can deliver Cinema RAW Light recording at 4K DCI 50P internally to a CFast 2.0TM card. It can also deliver 4K UHD recording at 150Mbps, and 2K or Full HD at 35Mbps to SD cards in MP4 format. Supporting up to 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3), the camera is perfect for capturing highlight and shadow details. The EOS C200 is also capable of delivering both slow and fast motion recording at up to 120fps with no crop in Full HD/MP4, ideal for those wanting creative slow motion capture. An ISO range of 100 to 102,400 guarantees excellent performance, even in difficult lighting conditions, such as when quickly switching between locations. The built-in optical ND filters of up to 10 stops provide further flexibility and convenience, allowing filmmakers to shoot in bright light and expand the depth of field control.

Advanced operability and ergonomic design

Built for professionals and ideal for single shooters, the EOS C200 features an advanced AF system that provides reliability and accuracy when shooting 4K, as well as a touch screen LCD panel for filmmakers to easily select their subject. For those who need to switch effortlessly between several subjects in a single shot, the Dual Pixel CMOS AF enables smooth AF operation whilst the Manual Focus Assist Function, Face Detection with Face Priority and Face-Only options provide greater creative focus control. The EOS C200’s lightweight body of just 1.4kg is designed for comfortable hand-held shooting and will benefit those who are filming for long periods. The compact size also makes the camera suitable for mounting onto a drone or gimbal. Built-in Wi-Fi and Ethernet connectivity allows for browser remote control and the ability to transfer files via FTP, whilst the camera’s compatibility options mean new and existing accessories can be used, including Canon’s electronic viewfinder – the EVF-V70.

Cinema RAW Light for next generation workflows

Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs1. As a result, editing and grading of the Cinema RAW Light video format will be supported in DaVinci Resolve of Blackmagic Design. Editing will be possible in Media Composer from Avid Technology, using Canon RAW Plugin for Avid Media Access2. This format can also be processed using a Canon application, Cinema RAW Development3. Support for Cinema RAW Light is also scheduled for EDIUS Pro, Grass Valley’s editing software during 2017. Additionally, a future version of Final Cut Pro X from Apple Inc. will support Canon’s Cinema RAW Light, using Canon RAW Plugin for Final Cut Pro X4.

Future Firmware upgrade

Canon’s XF-AVC video format will be available with a future firmware upgrade. This upgrade is free of charge and is planned to be available from 1H 2018.  

The EOS C200 will be available from late July 2017. To preorder click here

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Canon launches compact cine-servo lens

Canon has unveiled a new Cinema EOS lens with cine-servo style functionality - the CN-E18-80mm T4.4 L IS KASS. Designed for professional and advanced amateur videographers using large-format, single-sensor cameras, the lens strengthens Canon’s line of cine-servo lenses, following in the footsteps of the CN7x17 and CN20x50. The latest addition offers the perfect balance of operability with outstanding precision and quality, giving videographers the power to capture exceptional footage.Available out-of-the-box, the lens includes a servo engine which is powered via EF mount connectors, supporting hand-held shooting. For increased versatility, Canon is launching the ZSG-C10, an optional dedicated zoom grip, ideal for use with hand-held rigs. Free of charge, Canon is also announcing today a firmware upgrade to the CN7x17 cine-servo lens, adding Dual Pixel CMOS AF, Push Auto Iris and one shot or continuous AF when used with Canon Cinema EOS C100 and C300 cameras[ii].Outstanding 4K optical performanceBased on Canon’s heritage in optical design and performance, the CN-E18-80mm T4.4 L IS KAS S is equipped with a resolving power that matches 4K, producing exceptionally high quality images. The 18-80 mm focal length equates to 4.4x zoom ratio with stable T4.4 number maintained across the entire zoom range from the center to the edges. Thanks to three Canon Image Stabilization modes, the lens ensures complete stability even during hand-held shooting, perfect for wedding videographers. The CN-E18-80mm T4.4 L IS KAS S also features a nine blade diaphragm, to give the much loved ‘bokeh’ look and is colour balanced, matching other Cinema EOS lenses.The perfect companion for single-shootersWeighing in at just 1.2kg, the CN-E18-80mm T4.4 L IS KAS S is Canon’s smallest and lightest cine-servo lens to date, providing instant benefits for mobile videographers, such as those shooting news and interviews. Its compact size and weight also means it can be used for drone-style shooting or in discreet or restricted positions. It’s also incredibly easy to function, negating the need to switch between lenses, opening up a variety of shooting opportunities for single users.Undeniable performanceThe CN-E18-80mm T4.4 L IS KAS S has an incredible servo performance as the servo unit is incorporated on the body, enabling precise digital zoom operations. Users such as documentary and filmmakers are able to achieve maximum speed and responsiveness with seamless switching between auto and manual focusing and zoom. For those using a shoulder-style rig or shooting hand-held in challenging positions, the ZSG-C10 is a perfect accessory – the grip simply attaches to the side of the lens, offering simple integration and zoom management. The lens features minimal focus breathing, thanks to the 3-group inner focus system. Users are able to quickly change focus without losing viewing angles, perfect for those capturing fast moving activity such as in adverts or corporate film.AvailabilityThe CN-E18-80mm T4.4 L IS KAS S will be available November 2016.

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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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Canon announces EOS C300 MKII - 4K quality, creativity and versatility

Canon Australia today unveils the EOS C300 Mark II, a new 4K video camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail. Building on the unprecedented success of the acclaimed EOS C300, the next generation camera features an advanced imaging engine with dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date. EOS C300 Mark II key benefits: • Seamlessly integrate with professional workflows • Automatic features make independent shooting easy • High bitrate internal 4K recording with external RAW • High dynamic range files, ideal for post production • Shoot with confidence in low light with low noise Supreme 4K image quality and versatility With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The camera offers professional filmmakers and broadcasters alike the very best image quality, recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions. The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™ media, while simultaneously recording 4K RAW files to an external recorder, offering the flexibility and universal appeal for production at the highest quality available today. Additionally, the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process. The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality. To meet the requirements of a diverse range of shooting applications, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as automatic modes. These include, enhanced Dual Pixel CMOS AF (now covering approx. 80% of the frame vertically and 80% horizontally), auto white balance and Face Detection AF, all making it easier for independent news gatherers and documentary filmmakers to shoot on the go. Instant integration into professional workflows Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codec, offering post production flexibility and ease of use. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD. The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16 or 24 bit and 48 kHz. Designed for versatility The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations. The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences. Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option2.

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Canon premieres the XC10 – Compact 4K video and stills camera

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Canon XC10 Camera[/caption] Canon Australia today unveils the XC10 – a compact, lightweight video and digital stills camera that brings professional 4K quality to aspiring filmmakers and enthusiasts. Inheriting many of the Cinema EOS range’s features, the XC10 offers incredible recording versatility and is the ideal solution as a small, stand-alone camera for independent film makers or the perfect accompaniment as a supporting camera in larger productions. XC10 Key benefits: · Stunning 4K video and 12MP stills from one compact camera · High bit rate XF-AVC files, great for post production · Seamlessly integrate with professional workflows · Get creative with fast and slow motion recording · Built-in Wi-Fi for easy browser/smart device control Unleashing 4K recording for enthusiasts Boasting outstanding image quality, traditionally associated with larger cameras, as well as the flexibility and ease of use of traditional compact camcorders, the XC10 consistently delivers breath-taking results. Its advanced imaging engine – a powerful combination of a specially developed 1” CMOS sensor and Canon’s new DIGIC DV5 image processor – gives both budding filmmakers or experienced pros the speed and quality they demand to capture 4K video, at a wide range of variable bit rates. Shooters have the freedom to capture a diverse range of scenes in professional 4K quality using a specially developed 10x optical zoom lens, complete with Canon’s class-leading image stabilisation technology. With a versatile 27.3-273mm focal range (35mm equivalent, in video mode) videographers can easily switch between capturing sweeping scenes, to intimate close ups with a single lens. Pros and enthusiasts alike can change between movie recording and still image shooting, capturing high quality 12.0 MP images, or extracting 8.29 MP stills from 4K video footage. Able to fit seamlessly into workflows, or productions with existing Cinema EOS cameras, the XC10 can record UHDTV standard (3840 x 2160) 4K footage to an internal CFast 2.0TM1 card at up to 305Mbps, or Full HD (1920 x 1080) footage to an SD card at up to 50Mbps, with pro-standard 4:2:2 colour sampling for high resolution performance. The XC10 delivers rich colour, synonymous with Cinema EOS cameras, with a high ISO of up to 20,000 ensuring excellent results in low light conditions, and a 12-stop Wide Dynamic Range, providing vivid detail in both highlights and shadows. Uncompromising design, optimised for easy shooting The XC10 redefines the boundaries of advanced compact camcorder design, with a body that’s intuitive to use. Designed to match any shooting preference, the camcorder features a 7.66cm vari-angle touch LCD, with 100% field coverage, providing direct access to the menu system through a simple set of cross keys, while an included optical loupe viewfinder, that fits the LCD, offers a more traditional shooting experience. Fostering creativity with expert workflows Professional videographers can easily integrate the camcorder into existing production kits and workflows, thanks to its portfolio of professional standard codecs and recording modes. Canon’s new XF-AVC H.264 codec supports recording in both 4K and Full HD quality, enabling easy integration into industry- standard Non-Linear Edit systems. Canon Log Gamma also enables maximum freedom in post-production editing and processing, and seamless quality matching with content shot on Cinema EOS cameras. Additionally, videographers can freely shoot in 4K, and later convert to Full HD, to create a higher quality end product, and enable greater flexibility in the editing process. A selection of slow and fast motion recording modes – including up to 1200x fast motion in 4K/Full HD, and up to 1/4x slow motion in HD – as well as interval shooting provide further creative opportunities. The XC10 is also Wi-Fi compatible; enabling remote control of key features via a browser, smartphone or tablet – securing its position as an essential part of any Cinema EOS video shooter’s toolkit.

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Canon develops video format targeting 4K professional camcorders

Canon Australia today announces the development of XF-AVC, a new proprietary video format for the efficient recording of high-image-quality 4K, 2K and HD video footage.

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#NAB2014 Products To Watch - Lenses

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Canon announces free software upgrade for EOS C500

Canon has today announced a software upgrade for the EOS C500 digital cinema camera. Responding to input from motion picture and television production communities, the software upgrade will accommodate workflows challenges and allow for more efficient on-set production workflows, including the on-set playback and confirmation of 4K RAW video. Through collaboration with Intel, Cinema RAW Development 1.3 will provide improved performance using a beta version of the Intel® Media SDK 2014 Professional Camera Pack. This will allow for faster development of 4K Cinema RAW data when using a PC equipped with Intel® Iris™ Pro graphics. Canon’s software upgrade will support greater workflow efficiencies for 4K RAW data by enabling real-time playback with playback speeds of up to 24 frames per second (fps). To date, previewing 4K RAW video footage on a notebook PC and other compact computer devices had been difficult because of the slow fps rate and the need for tremendous processing power, which was only available with a workstation PC. Now, with a combination of upgrades, Canon users will be able to more quickly preview their 4K video footage while on a shoot.

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New Canon XF205 professional Full HD camcorder delivers significantly improved basic performance, enhanced operability

Canon has today announced a new additional to its professional camcorder range, the XF205. Boasting a compact, lightweight body design, the XF205 has advanced operability and expanded network connectivity, satisfying a wide range of professional shooting demands, from the production of broadcasting content such as news and documentaries, to wedding and other event videos. The XF205 features a wide-angle 26.8mm (35mm film equivalent) 20x optical zoom lens incorporating Hi-UD (Hi Index Ultra Low Dispersion) glass lens elements that make reduced chromatic aberrations possible. Additionally, the lens is equipped with an eight-bladed circular aperture that employs the same EMD (Electro Magnetic Diaphragm) technology used in Canon EF lenses and creates natural, attractive blur characteristics. The XF205 supports two recording formats—MXF, the standard file format used by broadcast stations, and MP4, which offers high versatility through its compatibility with various devices. Furthermore, the new camcorder achieves a compact, lightweight body with approximately 58% of the mass and volume of the XF305/XF300 models. In addition to its compact size, the XF205, like the XF305/XF300, includes three separate lens rings and is equipped with a handgrip that realises a 120º angle of rotation for outstanding operability to facilitate shooting in a variety of situations and from most any angle. Incorporating an Ethernet LAN terminal that makes possible a reliable wired connection in addition to supporting wireless LAN connectivity, the new Canon camcorder allows users to select the network connection method that best suits their needs. The XF205’s enhanced network functionality provides users with increased shooting freedom and realises increased efficiency during electronic news gathering and other shooting situations in which speed plays a crucial role. Canon’s CameraAccess plus app enables live viewing and remote operation using a smartphone or tablet device, as well as the real-time transfer of proxy data.* The Canon XF205 professional camcorder will go on sale in Australia in mid July 2014

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Canon updates Cinema EOS cameras and unveils a new 35mm EF Cinema prime lens

Canon, announced a host of feature updates to its range of Cinema EOS cameras, as well as the launch of a new 35mm EF Cinema prime lens. “We‟ve developed these feature upgrades in response to market feedback, specifically to meet the evolving creative requirements of modern video professionals,” said Paul Stewart, Manager – Professional Motion Imaging, Canon Australia. “With the significant and rapidly growing footprint of Cinema EOS in Australia, the updates will offer greater creative flexibility and enhanced operability, and clearly demonstrate Canon‟s commitment to the needs of professional video community now and into the future.” Unrivalled low light flexibility with ISO 80000Canon‟s heritage in camera and sensor development led to the creation of a brand new Super 35mm sensor for the Cinema EOS system, offering outstanding performance in extremely challenging low light situations. Now Canon is further enhancing the maximum ISO setting on the EOS C500, EOS C300 and EOS C100, from the current maximum of ISO 20000, to ISO 80000. Unrivalled in the industry, the new maximum setting will allow creative content makers, such as documentary, news and feature crews, to shoot in even more extreme low light conditions, capturing detailed, colourful images. Users will be able to shoot in 1-stop or 1/3 stop increments from ISO 320 right through to ISO 80000, providing incredible creative freedom.Additional enhancements to the Canon EOS C500 A number of additional feature enhancements will be applied to the EOS C500 following user feedback, particularly with regard to cinematic and drama productions. The new firmware updates will offer professionals using the EOS C500 the ability to shoot using wider colour gamuts. In addition to the existing BT.709 gamut, new DCI-P3+ and Cinema Gamut options will be added. DCI-P3 is an established colour space for digital cinema projection, and DCI-P3+ will allow the EOS C500 to fit seamlessly into workflows designed for such a delivery system. DCI-P3+ captures a wider range of colours but cannot account for all of the colours that current sensor technology can capture, so the new Cinema Gamut will provide an even wider colour space. In addition, it will be possible to apply a BT.709, Wide DR or DCI-P3+ LUT to the outputs from the MON.1/2 terminals, increasing monitoring options on-set. High speed options in the EOS C500 will also be expanded, further increasing the flexibility of the camera. A new 4K1K RAW mode will be added, providing the option to shoot at up to 120fps. Unlike the existing 4K2K HRAW mode, in which additive processing is used to create a final image of 4096x2160 pixels when recording at frame rates above 60P, the new 4K1K mode will utilise a cropped portion of the image sensor. Capturing a more cinematic aspect ratio of 4096x1080 pixels, this new option will reduce the risk of aliasing, or „jaggies‟, in the recorded image. 4K2K HRAW will remain as a shooting option. The firmware updates will also provide further support for use of the EOS C500 in productions that utilise an ACES workflow. Aiding on-set monitoring, it will be possible to output a 2K signal from the MON.2 terminal which conforms to ACESProxy10 gamma and the ACES colour space. When combined with suitable monitoring equipment it will become possible to monitor an image in ACES colour on-set. To counter heat generated when filming for long periods of time, especially in 4K or 2K, the EOS C500 has an effective fan-based cooling system. To reduce the possibility of intrusive fan noise during shoots, the Automatic cooling mode has been updated so that the system will stop running during recording. It will automatically start to regulate the camera temperature whenever recording stops, providing more sustained, continuous cooling to reduce the chance of fan activation during a take. Automatic activation during recording may still occur if required to prevent a camera dangerously over-heating. Additional enhancements to the Canon EOS C300 Building on the ease-of-use upgrades announced earlier in 2013 for the EOS C300, Canon is introducing a range of further updates which will enhance camera functionality for solo shooters, including the addition of Wide DR gamma. First introduced in the EOS C100, Wide DR offers the 12 stops of dynamic range available when shooting in Canon Log gamma, but produces a less „flat‟ image which does not necessarily require post-processing or colour grading. This is particularly useful for film makers working on tight schedules or with limited financial resources. The updated EOS C300 will also offer support for the EF-S18-135mm f/3.5-5.6 IS STM lens, complete with continuous autofocus function, and enhanced AE options. Additional enhancements to the Canon EOS-1D CA self-contained 4K camera, the EOS-1D C will also benefit from feature upgrades in 2013, further enhancing the performance and versatility of this unique device. Utilising Canon‟s EF lens mount, it will become possible to display current aperture (f-number) when shooting with Canon EF Cinema lenses, and to store lens metadata. Furthermore, EF Cinema lenses will be supported by the Peripheral Illumination and Chromatic Aberration Correction functions, improving overall image quality. In response to user requests, audio has also been enhanced. Currently audio recording is limited to a mic input, but the forthcoming update will permit selection of Line or Mic, allowing use of an external audio source if required. Enhanced flexibility and operability across the rangeCanon will also improve the operability of the EOS C500, EOS C300 and EOS C100 in a variety of ways. For example, the Magnify function, designed to aid manual focusing, will be enhanced to enable magnified viewing of 25 different segments of the image in view, rather than just the centre portion. A new option will allow users to lock all camera functions, including the REC button, when the Power switch is in LOCK mode, and it will be possible to assign either ISO or IRIS control to the main body and hand grip control dials on the EOS C500 and EOS C300. Enhancements to the Wi-Fi remote control for the EOS C500 and EOS C300 will mean that two users can access a camera at the same time – allowing one to control the shot while the other inputs metadata, improving post production workflow. In addition, the EOS C300/C300 PL and XF300 and XF305 will gain GPS support via Canon‟s GPS Receiver GP-E1, allowing GPS information to be automatically recorded with video footage. Peripheral Illumination Correction will also be expanded in the EOS C500, EOS C300 and EOS C100, with a range of additional EF-mount lenses being supported. This function can help to ensure maximum image quality by reducing shading that may occur in the corners of images. An update to the XF300-series will also see the availability of a new lens hood with built-in lens barrier and the addition of a digital tele-converter function. Canon EF Cinema prime CN-E35mm T1.5 L F lensThe launch of the new EF CN-E35mm T1.5 L F lens enhances Canon‟s existing range of EF Cinema primes to a total of six lenses. The lens has been designed following strong demand from Cinema EOS users, and features a compact design that combines Canon‟s acclaimed optics with fast performance – making it ideal for shooting in challenging low-light conditions. Ensuring consistency when shooting across a number of different Cinema prime lenses, the new 35mm lens provides colour reproduction that matches others in the range, as well as featuring the same form factor and uniform markings, making it easy to switch between lenses when on a shoot.AvailabilityThe Canon EF Cinema prime CM-E35mm T1.5 L F lens is expected to be available from December 2013. The firmware updates for Cinema EOS cameras are expected to be available in Q4 2013, with XF-series updates arriving in Q1 2014.

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Videocraft Builds Full Production Facility For Hillsong Church

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Hillsong Church’s new state of the art full production facility in Alexandria designed and built by Videocraft[/caption] The title for one of the year’s more impressive studio builds currently belongs to Hillsong Church’s new state of the art full production facility in Alexandria, which Videocraft helped design and build. Hillsong TV Technical Manager Luke Irvine explained, “For years our Waterloo campus in Sydney has been growing and we've had a great need to expand our facilities to house the increasing numbers of people attending. As a church we have looked at many options to help relieve the pressure and time restraints that we faced with our current building in Waterloo. Before we embarked on this new project, we were running eight services on the weekend to try and accommodate everyone. Thus the decision was made to custom-build an additional venue so the campus could still grow and not be crippled by time and space.” The venue Hillsong chose was in the neighbouring suburb of Alexandria which was, before construction, an empty warehouse with shop fronts requiring a major construction effort to get it ready for use. Irvine continued, “The warehouse building was converted into a 950 seat auditorium so we knew we had to have a high quality production facility to cater for that many people. That’s why we turned to Videocraft to help us build it.” Hillsong and Videocraft have had a successful relationship with the church utilising many of the company’s rental services over the last few years. After a personal customer service call from Videocraft’s Shane Jones ignited the project, the church decided to put out an industry-wide RFQ which was particularly well responded to. Once the tenders had been submitted, due to the nature and importance of the project, Hillsong took a good deal of time to study each one with great care before deciding on Videocraft as their equipment partner and systems integrator. The RFQ, according to Irvine, had some very specific requirements that made it unique from a traditional broadcast facility, but with quality always the overarching feature that had to be factored in. In essence the system revolved around dual Ross Carbonite switchers chosen predominantly due to their flexibility, functionality and cost effectiveness. The Carbonite switchers particularly excel with their onboard format conversion capabilities, built-in high quality multi-viewer and integration with the Ross Dashboard, which also oversees control and diagnostics of all Ross components across the entire system. Irvine added, “In short our requirements were that the system must be HD, facilitate four cameras, three projection screens and multiple external rooms. The system also had to enable linking to and from all other campuses and keying of song words had to be achieved on five different feeds with different backgrounds and different overlays with ease of use for one volunteer operator. The system had to be cost effective but extremely reliable, easy for volunteers to use on a weekly basis and versatile enough to accommodate for future changes that will happen within the campus. Every source and destination needed to be easily monitored by the relevant volunteer operators and the system had to also be capable of a broadcast TV record for our television programme Hillsong Television – in other words yes, it was quite an extensive set of requirements.” Irvine said, “Videocraft worked closely with us to find really good solutions to achieve a great result. They where willing to look at all options to give us the best outcome and price. They also gave us pros and cons of equipment and allowed us to make changes as we went along to take advantage of cost savings and usability of the system. Videocraft also worked very hard to fully understand our requirements and workflow – this was key to the success of the system especially in tricky areas like the integration between the keyer cards and switcher. They also had a great attitude even through some of the really challenging construction problems of the building.” When complete Hillsong’s new production studio included two Ross Carbonite vision switchers, a Ross video router, Sony OLED and LCD monitoring, several TV One scan converters, Blackmagic design Teranex 2D converters and HyperDeck Studios, a GVG T2 Turbo server, Ross OpenGear and mini converters, Sony cameras, Canon lenses, Vinten and Miller tripods and fluid heads and live IP video links between campuses. There were also significant audio, comms, display, rigging and lighting components supplied by others that Videocraft worked with and integrated seamlessly. Irvine and the Hillsong team were particularly impressed with the quality level and attention to detail of Videocraft’s involvement. He commented, “The Videocraft team were extremely helpful and continually suggested ways of making the system better and more cost effective. They were always professional and impressively took total responsibility for the systems integration, equipment selection, system design and diagrams, installation and labeling all in-house. Videocraft's willingness to work with us, take our ideas and make them work was a major plus. Also the fact that they could work with very tight budgets and be totally honest about the real cost of things from the very beginning was excellent. Listening, thinking outside the box and working with tight budgets is classic Videocraft. To that end I must say a particular thank you to Andy Liell, Glenn Beaumont and the entire Videocraft team for their outstanding effort and commitment to this project.” When inspecting Hillsong’s new production facility it’s sometimes a little difficult to believe that only a few short months ago it was a deserted warehouse. Hillsong Project Manager Sebastian Heck said, “We have often had people from other part of the building install project come and admire the cabling work and the neatness of the racks in the Videocraft install. Many of our volunteers comment on the professional look and feel of the control room and how it looks like we are part of a TV broadcast station control room. The song words on screen setup is my personal favourite as it is so easy for the operator to control the five different feeds they need to without them really having to think much about it at all.”

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Videocraft Shoots Ironman and Ironwoman

It takes a particular type of individual to take part in an ironman or ironwoman race and the same can be said for the production company and OB providers responsible for broadcasting the intensely competitive events. Recently Videocraft provided a full production setup for Castle Media, the event specialists responsible for broadcasting the Kellogg’s Nutri-Grain Surf Ironman and Ironwoman Series. Videocraft NSW State Manager Andy Liell explained, “We have a long relationship with Castle Media so we know the level of professionalism and reliability they expect. The Kellogg’s Nutri-Grain Surf Ironman Series was no exception. John Palmer, Castle Media’s MD approached us with their requirements and a very tight timeframe so we immediately sat down to work out the best production solution for their requirements.” Palmer felt that the Ironman series was better suited to Videocraft’s unique FlyPack mobile production solution than a traditional OB truck set up. The system chosen for the series was Videocraft’s mid-range FlyPack that included six Sony HDC1500 cameras, a Sony MVS6000 switcher, two EVS servers, two CCU positions, a Yamaha M7 console providing full audio facilities and all outboard equipment, radio mics and links. Palmer said, “We’ve worked with Videocraft on OBs before so we were confident they would come up with the best solution. They researched previous Ironman events and presented us with a range of options. Their mid-range FlyPack was clearly the way to go. To be honest they didn’t have a lot of time to pull the system together and prep it in Sydney before shipping it over to the first race in Perth so it was all systems go at that point.” The Kellogg’s Nutri-Grain Surf Ironman Series features the country’s elite athletes competing in the most gruelling ocean-based competition on the planet. The 2012/13 series was fought out over six rounds at iconic Australian beaches including Perth, Newcastle, Portsea, Surfers Paradise, Coolum and Noosa Heads with all six races broadcast nationally on Network Ten. Palmer continued, “There was no room for error as getting spare equipment in Perth wasn’t an option. The Videocraft team really went the extra mile and all the kit turned up for the first race working perfectly. Each race broadcast also had the added challenge of keeping all the sand and salt water at bay so the logistics were quite tricky too.” The Ironman series ran from December 2012 to February 2013, a very busy period for Videocraft as Liell explained, “In addition to Ironman we were also working on the Australian Tennis Open and The Tour Down Under at the same time. The only way to manage three huge events like these simultaneously is to have an experienced team, proven systems and good, reliable equipment.” Videocraft’s additional challenges for the Ironman series included ensuring all of the equipment worked to its maximum capacity with significant redundancy as each race was shot as a live event, irrespective of any delayed broadcast times. Slow motion capture also proved a potential sticking point. John Palmer concluded, “We asked Videocraft for a more cost effective slow-mo solution, something that would be a good alternative to using traditional super slow-mo cameras. In typical Videocraft fashion they came up with a new Sony NEXFS700 camera using a Canon 30-300mm cine lens. This enabled our camera operators to capture slow-mo action content for play on/off packages at more than 200 frames per second. Very clever, very cost effective. All in all it was a great series and all credit to Andy Liell and the entire Videocraft team including Rentals Manager Nick Gleeson and Systems Technician Glen Beaumont without who we simply wouldn’t have achieved such an excellent result.” For more information on Castle Media Group go to: www.castlemedia.com.au  

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Videocraft Produces Mobile Highlights Show for 2012 Tour Down Under

Furthering its expansion into full editing and production solutions Videocraft recently produced a one-hour daily highlights show for Beyond Productions, Channel 9 and the Tour Down Under cycle race. Videocraft sales director James Taylor explained, “In order to achieve 48 minutes of daily content on the move we had to use Videocraft’s mobile edit facility. This production was not like the Tour de France which is one continuous live broadcast. The Tour Down Under footage is created from scratch while the race is on. This is no mean feat and relies completely on the equipment you use and editors and producers who really know their jobs.” Videocraft’s mobile edit truck moved with the race as the cyclists powered their way across South Australia. Moving with them were multiple Sony PDW-700 XDCAM 4:2:2 cameras acquiring and storing footage on optical discs. Taylor continued, “We used Canon’s new image stabiliser lens for the main motorbike camera material which helped us get far more stable shots. It’s a great lens and perfect for this type of shoot.” Videocraft also provided all the technical management for the production and put together the workflow that included multiple XDCAM cameras feeding material into their edit truck. Inside the truck was an EVS XS server and IP Director which were used for all live stages, ingest from OB trucks and all playout of finished shows. Taylor explained, “We got material into the system and logged it to make the editors job easier. Then the producer could find all the shots they wanted from the OB and put together the highlights for news.” Videocraft also brought a level of functionality and flexibility normally associated with a fixed production house setup to a constantly changing mobile environment – all within 15 minutes of parking their editing truck. A cycle race involves long hours for all involved and the Tour Down Under was no exception. The production was based around 18 hour days every one of which saw producers and editors sitting alongside James Taylor in Videocraft’s edit truck so there would be no interruptions to the workflow. “It was a no frills set up, that’s for sure,” added Taylor. “The camera guys on motorbikes would drop their discs at agreed points and we would ingest the material into our edit system. The editors would then pick content from logs that the producer had created and we would add in graphics from within our system. The story was then put together and cleaned up with the final voice over added using Avid Media Composer’s audio punching tool. Once complete the finished edit was stored in the EVS server for playout later via satellite.” Videocraft also created and encoded news highlight packages for the Internet within their mobile editing facility for the entire duration of the Tour Down Under. All in all a complete production and editing solution. James Taylor concluded, “A production like the Tour Down Under is fast, furious and often hectic but at Videocraft it’s what we do best. In this case we used an Avid Media Composer, Nitris DX and Isis 5000 shared storage solution as this setup is perfect for the fast turnaround, high-pressure environment and critically, it delivers time and time again. Our discussions with our clients as we prepare for this type of production is always the same – what’s required is a reliable and trustworthy workflow with a systems integrator who can make it happen in far from perfect environments. After 40 years in the business, it’s something we pride ourselves on achieving.”

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