Articles tagged #PANASONIC
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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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EVA 2.0 Panasonic free firmware upgrade for the AU-EVA1 cinema camera

Panasonic today released a free firmware upgrade for the AU-EVA1 cinema camera that greatly enhances the camera’s recording capabilities, including ALL-Intra frame recording formats, RAW data output, timelapse recording, HD 4:2:2 interlaced formats and more. These additions expand the camera’s abilities so fundamentally that Panasonic refers to the upgrade as “EVA 2.0.” Released in late 2017, the EF-mount AU-EVA1 is a 5.7K cinema camera containing a Super-35mm sensor that features 14-stops of dynamic range, Dual Native ISO ratings of 800 and 2500, and the same colorimetry as the renowned VariCam camera system. Due to its small size and weight, the EVA1 is ideal for gimbal and drone work, as well as handheld shooting. The free firmware upgrade is now available for download from the Panasonic website at “When the EVA1 was announced last summer, we promised a major expansion in its functionality in early 2018,” said Mitch Gross, Cinema Product Manager, Panasonic Media Entertainment Company. “EVA 2.0 fulfills that promise with features like RAW output and ALL-Intra recording as well as with such unannounced user-requested features as a 2K at 240fps RAW output and additional interlaced HD recording formats.” EVA 2.0 allows uncompressed RAW output via 6G SDI. Formats include 5.7K at 1fps to 30fps, 4K at 1fps to 60fps, and 2K at 1fps to 240fps. Atomos has announced that its Shogun Inferno and Sumo monitor/recorders will capture RAW-to-ProRes from the EVA1 in 4K up to 60fps and 2K up to 240fps. Additional announcements for RAW support are to be released soon. A key feature of EVA 2.0 is ALL-Intraframe (ALL-I) codec recordings, offering 10-bit 4:2:2 at up to 400Mbps. Intraframe recordings require less post processing than the LongGOP codecs also available in the EVA1, enabling real-time editing on more cost-effective high-performance computers. New ALL-I codecs and frame rates:

  • 4K 400Mbps 10-bit 4:2:2 29.97p/25p/24p/23.98p
  • UHD 400Mbps 10-bit 4:2:2 29.97p/25p/23.98p
  • 2K/FHD 200Mpbs 10-bit 4:2:2 59.94p/50p
  • 2K 100Mbps 10-bit 4:2:2 29.97p/25p/24p/23.98p
  • FHD 100Mbps 10-bit 4:2:2 29.97p/25p/23.98p
New Variable frame rates:
  • 4K/UHD VFR up to 400Mbps 10-bit 4:2:2 1-30fps
  • 2K/FHD VFR up to 200Mbps 10-bit 4:2:2 1-120fps
And EVA 2.0 expands recording capabilities with the inclusion of two high-quality interlaced codecs:
  • FHD (1920 x 1080) All-I 100Mbps 10-bit 4:2:2 59.94I/50I
  • FHD (1920 x 1080) LongGOP 50Mbps 10-bit 4:2:2 59.94I/50I
  In addition, remote operation is now available through 3rd party wired controllers that connect to the EVA1 handgrip port and will allow focus, iris and zoom control of Canon Compact Cine Servo zoom lenses (18 to 80mm and 70 to 200mm). Remote operation of these lenses soon will be available wirelessly through the next update of the EVA ROP application. Interval recording (timelapse) is now available in both LongGOP and ALL-I. For monitoring, a new feature is partial cloning of the LCD signal to the HDMI output, as well as improved file playback in LongGOP and ALL-I. There are also new Home screen controls.

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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="|Head of ABC News speaking at the RMIT NAS Project opening,|James Taylor in one of the four control rooms designed and installed by Videocraft,|,|James and Jeanette Taylor at the Opening of the RMIT NAS Project,|Panasonic 4K UHD Studio Cameras,|Checking out the studios on RMIT's Opening night for the NAS Project,|Panasonic 4K UHD Studio Cameras,|Installation by Videocraft at RMIT TV Studios,|Installation by Videocraft at RMIT TV Studios,|Installation by Videocraft at RMIT TV Studios,|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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View the short films from the Panasonic EVA1

Sit back and enjoy watching "Near the Superstition", a short film demonstrating the top-class imagery of an EVA1 production. Director of Photography Elle Schneider shot the western in the Mojave National Preserve, where the digital cinema camera captured high-quality footage in extraordinary weather and lighting conditions. No matter the circumstances, the newly-developed Panasonic camera utilizing Dual Native ISO and 5.7K Super 35mm ensures a truly cinematic experience in visual storytelling.

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Panasonic announces Australian pricing, additional technical specifications for AU-EVA1EN Compact Cinema Camera

“In our VariCam Cinema Cameras, Dual Native ISO sensor technology opened up a whole new world to cinematographers. It allowed them to shoot, light and work in new ways not possible before,” noted Rob Myers, National Sales Manager, Broadcast, Panasonic Australia. “The inclusion of that proprietary technology in the AU-EVA1 means that they will be able to shoot in bright sunlight or night exteriors without compromising the image quality.” The newly-designed AU-EVA1 sensor is Super-35 sized (24.60mm x 12.97mm) with 5.7K resolution. With an active resolution of 5720 x 3016, the AU-EVA1 delivers more than 17.25 million photosites, nearly double the 8.8 million for 4K DCI (4096 x 2160). By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, or even 720p. Additionally, the increased color information results in a finer, more accurate finished image.

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Panasonic Launches EVA1 Compact Cine Camera with 5.7K Super 35mm Sensor

Panasonic has previewed the AU-EVA1, at Cine Gear Expo 2017 in Los Angeles, over the weekend. This new 5.7K cinema camera is compact and lightweight, tailor-made for handheld shooting, but also well suited for documentaries, commercials, and music videos.

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NAB Show 2016 - Day 2 Highlights

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Supporting Storyhead's "Chasing the Light" with Ken Duncan and Ray Martin.

For more information about the documentary - go to the Facebook Page And for more information about Geoff Young and the content agency Storyhead visit their website  

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Videocraft Review: Ikan Beholder Gimbal System

The Ikan Beholder MS1 Mirrorless Gimbal Stabilizer brings the simplicity and flexibility of a handheld gimbal stabilizer to the world of mirrorless cameras. It features a 3-axis, motorized gimbal designed to keep your camera level and isolated from hand shake while allowing you to create smooth, organic moving camera shots. The MS1 features two operational modes: a following mode that smoothes your camera movements and a lock mode that will hold your camera in its position as you move. The Ikan Beholder features a thumb button/joystick which you use to select modes. You can also use the joystick to pan and tilt your camera on the gimbal. Main Features:

  • Supports Cameras Up to 1.9 Pounds
  • 3-Axis Stabilizer
  • Sliding Base Plate with 1/4"-20 Screw
  • Removable Li-Ion Batteries
  • USB Charging Port in Handle
Note: Camera not included. Supports Sony A7Sand Panasonic GH4.
  • Sony A7S
  • Sony A7II
  • GH4, GH3, GH7
  • A6000
  • NX500
  • Canon G6
  • RX100 - with included adapter plate
  • NEX series

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

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

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Videocraft provides NSCC with Hybrid Broadcast Production Facility

With a broadcast facility entering its twelfth year, it was clear to the team at the North Shore Christian Centre (NSCC) that an upgrade was well overdue. With weekly services and a half-hour TV program on TVS Channel 41 to produce, the facility was rapidly coming to its end of life - something NSCC Operational Pastor Ross Stewart turned to Videocraft for help with.
Stewart explained, “Our facility was over twelve years old and some of the equipment was almost thirty years old. We needed a major upgrade that would give us higher quality pictures for our live services and broadcast TV programme. We also wanted to go 16:9. As Videocraft specialises in these types of broadcast facilities and solutions we put together a tender and asked them for their advice.” Stewart met with Videocraft NSW state manager Andy Liell to discuss requirements, options and critically, budget. He continued, “We had a budget but it was one that required Videocraft to be creative and I’m delighted to say there were. We simply didn’t have the money to purchase all new equipment, so Andy put together an amazing deal based on a hybrid solution consisting of their best high quality rental equipment and some brand new kit.” The Videocraft solution included four Sony BVP-E30 SD triax camera chains and a Panasonic AV-HS450 vision switcher with Venitex Aux Bus control panels providing the NSCC with simple switching for two stage side screens independent of the broadcast feed. Stewart added, “The solution was a good one and the way Videocraft installed the switching console so we could overlay song lyrics over live video was particularly clever. Andy also designed the system so we could independently switch the side screens from the broadcast cut using the flexibility and versatility of the Panasonic vision switcher. It was very clear that Videocraft understand how to utilise the full potential of the AV-HS450 and how, by using third party add-ons, we could achieve a very cost effective workflow.” The Videocraft installation also integrated AJA Ki Pro hard disk recorders that enabled a fully file based workflow for the NSCC’s post requirements, a Ross router, Sony monitoring, new Sony projectors, Fujinon ENG and box lenses and all back end glue, wiring and cabling. As the NSCC facility is staffed by volunteers, ease of use was something that had particular attention paid to it with Stewart commenting, “Our volunteers are not broadcast industry professionals so Videocraft had to take that into consideration. The broadcast facility we now have is simple to use and yet gives us very high quality results. It’s a great example of how Videocraft have created a full broadcast facility on a very tight budget. As a result we have all our bases covered as, by upconverting, we are able to produce HD content for all our in house requirements whilst delivering an SD master for broadcast. Our aim is to upgrade to HD cameras in the near future. The other points worth mentioning were around Videocraft’s expertise and professional approach. Nothing was too much trouble, we were able to test before we purchased and no question was ever left unanswered.”  

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Panasonic unveils first AVC-ULTRA Handheld Camera Recorder AJ-PX270

Panasonic Professional Camera Solutions announces its first P2 HD handheld camera recorder with integrated AVC-ULTRA recording, the AJ-PX270. With inherent support for the AVC-ULTRA family, the camera recorder offers a wide range of choice between recording bit rates. The handheld features two built-in microP2 card slots with simultaneous recording functionality, a newly designed multipurpose compact zoom lens and wireless workflow options. The AJ-PX270 covers both low-bit rate and high-bit rate recording thanks to its inherent support for the AVC-ULTRA codec family. In addition to the established AVC-Intra100, the camera has AVC-LongG, which is designed for applications where file size is critical and enables long recording times. With the AVC-LongG codec, it becomes possible to record four times longer than with AVC-Intra100 on the same memory space thanks to the smaller file size. AVC-LongG enables long 1920x1080 10bit 4:2:2 broadcast quality recording, which is supported by the camera’s newly developed high-sensitivity and low-noise 1/3 type 3MOS sensors. Furthermore, the handheld optionally supports AVC-Intra200 that enables master level recording. The handheld’s two built-in microP2 card slots offer ultimate low cost operation. Panasonic microP2 card technology features the same reliability of P2 cards and can be used without an adapter in the AJ-PX270. Simultaneous recording to the two memory cards is also possible for backup purposes. The PX270’s newly designed built-in compact 22x zoom lens covers a broad range of shooting angles from 28mm wide to 616mm tele. The lens’ three rings (Cam-type zoom, Focus, Iris) offer the comfortable manual control experienced with exchangeable lenses, but without the need for actual lens changes. The camera recorder features a Wireless LAN function via an optional Wireless LAN dongle and supports the existing Panasonic live uplink solutions. Dongle support for wireless workflow over a mobile 3G/4G/LTE network is also scheduled for the near future. Thanks to these wireless features, users of the AJ-PX270 can easily uplink low-bit rate proxy data and full quality broadcast content. The handheld camera’s network function makes the production workflow more efficient and accelerates the broadcasting workflow from shooting to on-air. Panasonic’s first integrated AVC-ULTRA handheld will be launched in spring 2014 with a RRP to be confirmed.

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Panasonic announces New Broadcast Grade 2 M/E Live Production Switcher

Panasonic Professional Camera Solutions announces the AV-HS6000, a new broadcast grade 2-M/E live switcher. The AV-HS6000 features a highly compact 3-RU size mainframe unit, provides 32 SDI (HD/SD switchable) inputs and two DVI inputs as well as 16 HD/SD SDI outputs in its standard configuration. With its 3-RU size mainframe unit, the AV-HS6000 is a highly compact live switcher. The new Panasonic broadcast 2-M/E live switcher features a stylish design matched with an intuitive button layout and has an optional 25.7 cm (10.1 inches) touch-operated menu panel, which can also show input and output video, WFM display and multi-view display. The switcher can, alternatively, be equipped with a commercially available VGA monitor. A web server feature enables users to select menu settings on a PC through a LAN connection. Furthermore, a Software Development Kit (SDK) ensures excellent expandability. With the SDK provided by Panasonic, third-party vendors and SI professionals can freely develop plug-in software that adds new functionality to the AV-HS6000. The AV-HS6000 supports HD and SD multi-format signals. The system frequency of the live switcher is also changeable between 59.94 Hz, 50 Hz, and 24 Hz (or 23.98Hz), enabling operation and digital cinema production worldwide. The standard configuration has 32 SDI (HD/SD) inputs and two DVI-D inputs. 16 input channels feature a built-in frame synchroniser, there are up-converters for 4 channels and colour correction circuits for 8 channels. In its standard configuration, the new Panasonic broadcast grade 2-M/E live switcher also features 16 HD/SD SDI outputs with down-converters for 2 channels and colour correction circuits for 4 channels. There are 16 keyers with 4 downstream keyer channels. Its combination of input and output channels with two mix/effects (2 M/E) allows the AV-HS6000 to be used in a wide variety of operation scenarios. The numerous built-in effects include standard wipe, mix and cut effects as well as DVE transition effects such as squeeze and slide. A chroma keyer is included as a standard item on the AV-HS6000 with 1 channel for each M/E. This keyer can be expanded to up to 4 channels per M/E. The chroma key compositor employs the powerful Primatte® algorithm , which has a proven track record as plug-in software on many high-end non-linear editing systems. The new AV-HS6000 features the same memory functions as previous models, being: the Shot Memory, the Event Memory, and the Video Memory. The Video Memory is excellent for CG clips as this function allows recording or playback of 4 channels of still images and 4 channels of video clips. In addition, a dedicated module in each M/E of the AV-HS6000 control panel allows users to easily and safely perform memory recall actions. The new Panasonic broadcast 2 M/E live switcher will be available from the first quarter of 2014 with a pricing to be confirmed.

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Panasonic unveils new details about the BT-4LH310 Native 4K LCD Production Monitor for 4K/2K/HD Cinema Production

Panasonic Professional Camera Solutions announced new details about the BT-4LH310, a 31-inch 4096 x 2160 resolution LCD monitor for unrivalled 4K/2K monitoring in a studio or in the field. The 4LH310's 4K 10-bit IPS panel affords native 4K resolution, a wide viewing angle, and faithful reproduction of up to 1.07 billion colours. The high quality LCD monitor features multiple professional inputs (including 3G/HD-SDI, HDMI and DisplayPort); true colour processing with a 3D look-up table (LUT); HD closed captioning; and an eco-friendly panel with mercury-free LED backlight. The new native 4K LCD production monitor of Panasonic serves excellently in the field, in video villages for live viewing of 4K cameras and devices with I/Os as well as for the viewing of rushes. For this, the monitor has been equipped with a production-tough aluminium frame, can operate on 28V DC besides AC, has worldwide 59.94/50Hz compatibility and VESA screws for mounting as well as comes with a supplied stand. Thanks to the great size-to-price value of the 4K monitor post production facilities can accept more 4K assignments, including editing, screenings and dailies. In addition to 4K, the 4LH310 can portray up to four screens in 2K and HD resolutions, meaning it can be used for all types of cinema production and post production, as well as top-end implementations in corporate, educational and laboratory settings. The 4LH310’s high resolution and quality also allow it to be used in computer graphics and simulation applications. The 4LH310's high contrast, horizontally-aligned IPS panel has 178 degree vertical and horizontal viewing angles which delivers superb colour accuracy and sharp images regardless of the view point. The 4LH310's 3D-LUT with six-pole colour correction includes a look-up table for each signal level. It also applies 10-bit image processing to each RGB colour resolving colour drifting at low light levels and keeping colours vividly natural. A true cinema production tool, the 4LH310 supports the DCI-P3 colour space and facilitates digital cinema workflow with a LUT upload function. Panasonic’s 4K production monitor can also accurately display the industry standard colour space of ITU-R BT.709. Advanced assist features include a Y-Map display that makes it easy to confirm luminance level map, and a Zebra display. The 4LH310 will display HD closed captioning with a SDI input. Further, the 4K LCD monitor incorporates diverse video inputs and remote terminals to deliver superb operability in a system configuration with almost any 4K imaging equipment and support of various display modes. These include 3G/HD-SDI (with BNC x 4 active loop-through), HDMI (1.4b), DisplayPort (1.1a), and GPI inputs, as well as RS-232C and RS-485. Panasonic’s native 4K LCD production monitor will be available from December 2013 with a pricing to be confirmed.

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NEW AJ-PX5000G and hand-held AJ-PX270 Camcorder to receive Public Network Transmission function.

Panasonic Professional Camera Solutions has unveiled its plans to expand its public network transmission function to the new AVC-ULTRA supporting 2/3" shoulder camcorder AJ-PX5000G and following hand-held camcorder, the AJ-PX270. The camcorders and the wireless, cloud-based network workflow aim to facilitate the work of professionals in electronic newsgathering. Panasonic’s public network transmission function works via a mobile telephone network and will be supported by the new 2/3” shoulder camcorder, AJ-PX5000G, and the AJ-PX270 hand-held camcorder. These camcorders will feature the low-bit recording system with LongG format of the AVC-ULTRA CODEC technologies, which offers a highly effective workflow for Electronic Newsgathering applications. The AJ-PX5000G camcorder will be able to transmit proxy video to a cloud server from almost anywhere by using a telephone line network. A future upgrade will also enable simultaneous transmission whilst recording. In order to enable the exchange of AV content via a mobile network, an optional 3G/4G/LTE dongle, which replaces the traditional uplink device, and specific camcorder firmware need to be installed. Recorded content can be shared almost instantly and can be accessed from anywhere, which drastically changes the broadcasters’ ENG workflow. The advanced network function so far featured on two Panasonic P2 HD camcorders, AJ-HPX3100G and AG-HPX600. Via a Wi-Fi connection, these models provide a connection between the camcorder and a notebook PC and/or tablet device. That connection enables various wireless camera functions such as streaming, remote camera control and Proxy list editing. To complement its wireless network transmission functions, Panasonic acquired the European-based cloud service provider, CAMERAMANAGER ( in July 2013. Panasonic will expand its cloud service based on this platform in Europe. In addition, Panasonic is working on strategic partnerships that will help establish efficient network-based workflows and further improve the workflow of video creators, including broadcast stations. Panasonic first announced the AJ-PX5000G, its first P2 HD camcorder with native AVC-ULTRA recording and built-in microP2 card slots, at NAB 2013. The 2/3-inch, 2.2M 3-MOS camera combines superb image production, lightweight, a variety of professional I/Os and innovative expandability. The camcorder features 720p and 1080p/i recording, and is the first P2 camcorder that will record in full-resolution, 10-bit 1080/50p. With its breadth of options, the AJ-PX5000G is designed to address niches in network news, documentary, high-end corporate and sports production, as well as the rental market. The AJ-PX5000G will be launched in October 2013, AJ-PX270 and the rollout of the network workflow are planned for spring 2014.

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Panasonic unveils AG-AC8 Shoulder Mounted AVCCAM Camera Recorder

Panasonic Professional Camera Solutions announces a new shoulder mounted Full-HD 1080P AVCCAM camera recorder, the AG-AC8. It features exceptional ergonomics and functionality, simultaneous recording to dual SD Cards, 21x optical zoom and intelligent auto mode (iA) with up to 50x zoom. The AG-AC8’s exciting feature set makes it perfect for a range of professional and semi-pro users that require the best performance in applications such as weddings, business seminars and conferences, education, documentaries and nature films, sporting events and other events and shows. With dual SD card slots and the capability to record simultaneously, the AG-AC8’s new relay Auto Switch functionality means extended recording is made possible and signature Panasonic reliability and dependability is ensured so precious moments are continuously captured. Relay scene uses an external hard disk drive to enable continuous recording of audio, without voice loss when the file recording destination SD card swaps during Auto Switch continuous recording. The AG-AC8 comes equipped with a lens for wide 28mm/F1.8 recording, which delivers excellent recordings even in the most compact settings with the camera situated close to the subject. With this lens, every important aspect of in the scene is within shot also making the camera suitable for professional shooting at sports events, weddings and documentaries, and films where flexibility and convenient ease of use is often required. With a highly stable and ergonomic form factor that ensures the operator is in control, iA Intelligent Auto mode helps in situations where there is limited setup time for dialling in the cameras professional manual settings. An optical zoom of 21x is available whilst using iA mode and up to 50x zoom is possible. A 1/4.5 type high sensitivity sensor specified with 4.14M S-FS ensures bright and sharp images even in the most dimly lit scenes. Input control commands can be made by the AG-AC8’s integrated 3.0 type touch panel LCD with 460,800 dots and Smart Touch. AVCHD progressive recording modes range from 1920x1080/50p max. 28Mbps, 1920x1080/50i max. 24Mbps through 1280 x 720 8Mbps (PM mode) with a steady shot assisted by a powerful 5-axis hybrid OIS (Optical Image Stabiliser). Rushes can also be quickly offloaded to external hard disks for backup peace of mind plus flexibility and speed in post-production. Moreover, the AG-AC8 is Eye-Fi™ SD card compatible making the transfer of recordings to networked devices fast, simple and convenient. The AG-AC8 will be available at the end of October 2013. The launch offer will include a new high performance 2 channel stereo microphone plus a 3 Year Warranty Repair Program.

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Panasonic 4K Varicam features 4K video capture at 24P to 100/120P and will be launched with NEW ULTRA P2 Technology

In response to the growing worldwide demand for 4K production, Panasonic Professional Camera Solutions is prioritizing the development of the 4K VariCam camera recorder. The VariCam will be a highly practical camera, boasting features and performance suitable not only for 4K cinema, but also HDTV content production. The camera is set for launch in 2014. Panasonic has also unveiled the development of the new Ultra P2 cards at IBC. With the 4K VariCam, Panasonic is tending to businesses that are increasingly looking for suitable, and above all affordable, equipment to create 4K production environments. By using large-scale integration chip technology (LSI) boasting AVC-Ultra, the new extension of the AVC-Intra codec format used widely in HD recording, Panasonic will speed the development of its 4K VariCam. By integrating the latest 4K technology, the VariCam will support 4K shooting from 24p to 100/120p. To enable even better 4K video productions, Panasonic will fit the 4K VariCam with a newly developed Super35mm size high sensitivity image sensor with 4K resolution. The sensor will feature wide dynamic range, extended colour space, and support for Log. Moreover, in order to support highly reliable recording at high bit rates, new Ultra P2 cards will start shipping in conjunction with the 4K VariCam camera recorder. The form will be the same as traditional P2 cards, with a high speed PCIe interface adopted to enable high speed data transfer. Currently, 256GB Ultra P2 cards are planned for production. Shipment of the 4K VariCam and the new Ultra P2 cards will start in 2014. Further product details will be revealed as the launch draws nearer.

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Videocraft Provides Production Solutions For Beyond’s Pipsqueaks, Toybox And Lab Rats Challenge Tv Series

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Behind the Scenes of Toybox[/caption] When Beyond needed production solutions for their Challenge children’s TV series they turned to Videocraft for help. Their shows - Pipsqueaks, Toybox and Lab Rats Challenge are all original Australian concepts and broadcast both domestically and overseas. Beyond Producer Director Ian Munro explained, “For Toybox and Pipsqueaks our studio space came with no technical equipment so we were looking for a cost effective solution. Videocraft’s FlyPack kit provided all that we needed.These shows are switched, drama style, multi-camera productions requiring CCU, a switcher, cameras on pedestals and talkback communications as well as main and backup record. There are musical elements in the shows that also require 2 or 3-camera ISO recording and the Videocraft kit’s router also enables that when required.” The premise of Toybox is toys coming to life and having adventures in a child’s bedroom. To help create the illusion Beyond built sections of a bedroom at 5:1 scale and a matching complete bedroom at 1:1 scale for chroma key backgrounds. Munro added, “There is a considerable amount of chroma key in Toybox and fortunately the Panasonic switcher in the Videocraft FlyPack has enough options for us to make trial keys. It’s also useful as a reference for camera colourimetry and to fine tune lighting. With the switcher’s ability to shrink and position foregrounds we are able to match angles and correct eye lines. We are also able to record clean shots direct for higher quality keying in post and at the same time watch the live reference key to check for possible problems and cropping.” The production’s chroma key backgrounds are shots taken in the 1:1 set and Beyond now has many of the more common backgrounds stored in the FlyPack’s mixer as stills for quick shooting. The show also has two actors in full characters suits with Videocraft supplying independent IFB channels for each one enabling them to hear other actors on programme audio and the director’s talkback. Pipsqueaks uses the same Videocraft FlyPack kit but set to HD for switched multi-camera and ISO recording. As Pipsqueaks is a programme involving puppetry there are additional challenges which Videocraft were again quick to provide solutions for. Munro continued, “In a big set the puppeteers require numerous reverse scan monitors to perform. One option would be to go to a bigger switching desk with the ability to flip images on a separate layer but this is beyond our budget and small OLED monitors which offer the reverse option are too small for puppeteers to use across a big set. We were looking for a cost effective solution and Videocraft spent some time checking out possibilities and found a small converter they could feed into the router - happy days!” The third show in the series, Lab Rats Challenge, is a multi-camera science game show. Due to its unpredictable content it requires all cameras to be ISO recorded – another challenge met and overcome by Videocraft. Munro explained, “While the studio is fully equipped with technical gear the studio wasn’t able to dedicate six ISO recordings. We approached Videocraft to help and they designed a recording and post-production path within our budget, supplying and installing an EVS system to record all the cameras and the switcher output. The only issue was, for a one off production period, it wasn’t feasible to cable the EVS to the Avid. So Videocraft created a simple system of multiple portable raid drives to get the material from the studio to the edit suite. Videocraft also trained our crew to run the system and even though we were interstate, supplied support immediately when we needed it.” With three shows to produce, tight budgets to adhere to and seemingly ever-shrinking timelines it’s become more important than ever for Beyond productions to have an equipment supplier and systems integrator that they can trust and rely on. Ian Munro concluded, “I have always appreciated the help and care Videocraft have given us when designing an appropriate system to fit a show’s needs, especially when the budgets are tight. Working in the lower budget end of production on children’s television, you sometimes feel like the poor cousin but Videocraft have always understood and been totally accommodating. The end result is that we have been able to make extremely efficient television with great production values.” The latest series of Toybox starts on 7Two on 28 August. For more information on Beyond Productions go to:

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Videocraft, Panasonic and Abraham Joffe Shoot 3D Australian Wedding

Sydney based cinematographer Abraham Joffe is an award winning cinematographer who has built up one of Sydney's most successful wedding and event filmmaking companies - Abraham Joffe Videographers. Recently Joffe and his team made history by filming their first 3D wedding using the services of broadcast equipment sales and rental specialists Videocraft and 3D cameras from Panasonic Broadcast. Joffe explained, “I approached Videocraft with the idea of shooting a wedding in 3D and asked how they would suggest I go about it. After some discussion they recommended using the AG-3DA1 3D camera and then called Panasonic to arrange this. The AG-3DA1 cameras are to be released towards the end of the year and with only two prototype 3DA1 cameras currently in the country, they are incredible sought after so this was no easy task. Fortunately Panasonic were very accommodating and Videocraft were able to get the cameras.” 3D Wedding Shoot - Sydney Australia from Abraham Joffe on Vimeo. The Panasonic AG-3DA1 is a revolutionary twin lens professional 3D camcorder featuring two independent optical systems, automatic left-eye/right-eye image deviation correction within the camera, worldwide recording with 50hz/59.94hz switchable and records to two SDHC memory cards in PH mode AVCHD. Joffe continued, “I had been interested in 3D for some time and was excited about the prospect of shooting a 3D wedding. 3D rigs to date have been cumbersome and challenging to configure and thus did not lend themselves to shooting weddings. A wedding videographer cannot wait to set up the next shot or get in the way at a wedding so we needed something quick, simple to use and flexible. The Panasonic AG-3DA1’s compact size and easy operation suited the wedding shoot perfectly.” Joffe along with team members Edgard Neves and Alfio Stuto had less than 24 hours to get up to speed with Panasonic's professional camera division on how to produce desirable 3D imagery which included learning how to control the ‘conversion point’ - the point at which the 3D element of the picture pops from the screen. Joffe said, “I was extremely impressed with how these cameras performed in the rapidly changing environments the wedding threw at us. They are also incredibly light and portable which makes them superb for moving about and quick setup. 3D does add a further level of complexity to your shoot and there is a lot to get your head around.” The ceremony took place at the historic The Tea Rooms - Gunners Barracks venue in Mosman with the outdoor nuptials held in the early 19th century stone courtyard in the fading light of the day. Joffe’s assistant Edgard Neves had one camera attached to his body on a Steadicam rig allowing him to move about and capture immersive moving shots throughout the day including one particularly impressive sweeping steadicam move as the bride approached the aisle and her waiting groom. At the reception, a 3D TV was setup and various segments of the day were played back to the delight of the guests and the happy couple who put on 3D glasses and watched the footage. Rob Myers from Panasonic Broadcast said, “We are delighted to have been able to help Videocraft and Abraham Joffe in making the first 3D wedding shoot happen. Panasonic Australia is very excited about 3D and the release of the 3DA1 camcorder. Local interest has been very strong with pre orders taken across all areas of the industry from staging companies to networks. Videocraft has been a significant addition to our Broadcast Dealer Network. Their commitment to the industry and customers is highly valued by Panasonic. Their commitment to Panasonic has also been significant recently placing orders for the soon to be released AG-3DA1 3D camcorder for demonstration to their customers.” Abraham Joffe concluded, “Videocraft were great in helping us shoot our first 3D wedding. They also assisted with the post production which was a real bonus. Panasonic’s AG-3DA1 cameras will put 3D technology well within reach of smaller video producers and as a result 3D video production will become more mainstream in the next few years. It is most definitely the future for weddings.” To see footage from the ‘making of’ the 3D wedding shoot go to:

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Videocraft Helps Red Shield Defence Service Kokoda Track Documentary

Recently the Video Production Department at The Salvation Army in Sydney was approached to film a documentary on the Red Shield Defence Service’s (affectionately known as Sallymen) involvement on the Kokoda Track during WWII. A group of Sallymen from throughout Australia took part in an historic hike on which a memorial was laid paying tribute to the Red Shield Defence Service men who bravely served during the war. Richard Cause, Technical Producer of CPR Productions for the Salvation Army Australia East THQ explained, “Given the significance of this event and the historical importance of the Sallyman during the Kokoda campaign, we saw this as an opportunity not to be missed. Having used Videocraft over the years, we thought we'd ring them to enquire about what the team consisting of Peter March (Journalist), David Scarborough (Editor) and myself (Cinematographer) might need to film a documentary such as this. So we were obviously after something that was lightweight, compact but also high quality. It also needed to be able to withstand the very rough conditions of this infamous trail.” Videocraft NSW State Manager Andy Liell recommended the Panasonic HPX172 camera. Cause continued, “We took Andy’s advice and used two Panasonic HPX172 cameras, one we already had and one Andy helped us get through Panasonic Australia. The team first looked at using an alternative, but after researching it decided that the HPX172 was the better option. The first reason for us deciding to take the P2 was quality. The project needed to be shot on the highest quality, yet most compact format. The second reason for us choosing the Panasonic was weight. Being that we were going to be carrying this gear along one of the world’s most grueling hikes, we found the P2 to be the most suitable camera size-wise without compromising quality.” Cause and his team found the cameras to be very light and user friendly. He continued, “Also, having a solid-state format, it was easy to review clips that were shot over the course of each day and not have the hassle of cueing the tapes back up.” The documentary was shot in very high humidity areas, something that brought its own challenges and surprises. Cause explained, “Not recording onto tape, which can be affected by the moisture, was a bonus and another reason we chose the P2. We were also shooting in very muddy, slippery and steep mountainous areas and we found the P2 rugged enough to cope with the occasional bang or drop.” The shoot went particularly well and Richard Cause and his team were very grateful to all those who helped make it happen. He concluded, “We want to thank Panasonic for their support with the second camera and we’d like to particularly thank Andy at Videocraft was really helpful when it came to answering questions in relation to what we would require to take on this shoot. The other thing that really impressed us was Videocraft’s willingness to go the extra mile and help us obtain additional loan P2 cards from ABC TV facilities, which we were otherwise not going to be able to afford to purchase.” The Red Shield Defense Service’s Kokoda Track documentary will be aired in 2010.

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