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		    <rss version="2.0"> 
			<channel> 
			    <title>Canon | Personal View news aggregator</title> 
				<link>http://www.personal-view.com/news/canon</link> 
				<description></description><item>
			<title>This is How Magic Lantern Has Made Such Amazing Progress with Canon DSLRs</title>
			<link>http://www.personal-view.com/news/articles/this-is-how-magic-lantern-has-made-such-amazing-progress-with-canon-dslrs</link>
			<description><![CDATA[The recent developments with the Canon DSLR hack known as Magic Lantern have been downright astonishing. At one time these DSLRs were just decent H.264 video/still hybrid cameras, and now they’ve become RAW video monsters with an unbelievable increase in detail and clarity. While the Canon 5D Mark III is the only one capable of taking full 1080p advantage of these advancements, it’s likely every Canon DSLR will be able to shoot RAW video down the line. But how did we get to this point so fast? Was it some sort of Canon conspiracy? Check out the video below to get a better sense of the insane amount of work it’s taken to get to where we are now. (more…)]]></description>
			<pubDate>Tue, 18 Jun 2013 14:57:08 CDT</pubDate>
			</item><item>
			<title>Product Advisory for the EOS-1D X &amp; EOS-1D C</title>
			<link>http://www.personal-view.com/news/articles/product-advisory-for-the-eos1d-x-eos1d-c</link>
			<description><![CDATA[Autofocus Recall
This notice is to proactively inform our customers of the details of the phenomena described below along with Canon’s support actions. Because we value the trust our customers have placed in us, we are dedicated to continuously improving product quality and delivering industry-leading service and support. We offer our sincerest apologies to any customer who may be inconvenienced.
Affected Products
EOS-1D X Digital SLR Camera
EOS-1D C Cinema EOS Camera
Phenomena
In some units of the models listed below, there is a possibility that the following phenomena may occur due to wear caused by insufficient lubrication within the camera’s driving mechanism.
1. AF searches but does not lock in on the subject.
(Caused by minute particles produced by wear mentioned above.)
2. The image shown in the viewfinder is “blurry” or “not steady”.
(Occurs if wear progresses.)
Potentially Affected Products
1. EOS-1D X: If the sixth digit of the serial number is “1”, “2”, “3”, “4”, “5”, “6” or “7”, the phenomena described above may occur.
2. EOS-1D C: If the sixth digit of the serial number is “1”, the phenomena described above may occur.
NOTE: If the camera’s battery compartment contains one of the markings illustrated below, the camera is NOT affected by the
phenomena described above even if the sixth digit of the serial number is one of the numbers mentioned above.

    Markings of UNAFFECTED cameras












An “A” mark


A black mark on the silver bracket




Support
Potentially affected cameras will be inspected and repaired free of charge. If you own one of the potentially affected cameras please contact our Customer Support Center.
This information is for residents of the United States and Puerto Rico only. If you do not reside in the USA or Puerto Rico, please contact the Canon Customer Support Center in your region.
Please register the EOS-1D X and the EOS-1D C. By registering, we will be able to notify you via email when service updates are available.
Thank you,
Customer Support Operations
Canon U.S.A., Inc]]></description>
			<pubDate>Tue, 18 Jun 2013 07:18:19 CDT</pubDate>
			</item><item>
			<title>Fuji announcement day on June 25!</title>
			<link>http://www.personal-view.com/news/articles/fuji-announcement-day-on-june-25</link>
			<description><![CDATA[Not only Samsung (June 20) and Sony (June 27) will announce new mirrorless cameras. Also Fuji has planed a big showdown for June 25! FR reports:
FIRMWARE: Fujifilm Philippines announced at their website that there will be a new firmware update for the X-E1 and X-PRO1 on the 25 of June. Let’s see what will be improved (or if it just adds support for the 27mm, which is rumored to be launched soon.)
NEW BODY: The new Asian source (who for first told me that Fuji is about to announce 2 new bodies ) just told me that the first mirrorless interchangeable-lens body could be announced on June 25. I remember you that Fuji is about to launch a new X-Trans body and a new non X-Trans body.  P.S.: Trusted sources told me that the upcoming very cheap non X-Trans X-body will be offered in many colours.
NEW LENS: Also 2 new lenses, on should be a 16-50/55 zoom lens and the 27mm f/2.8 could be finally released too! Source: FR post.
Panasonic, Olympus,Canon and Nikon seem to have no announcements in June. Their big show is coming in August-September!]]></description>
			<pubDate>Tue, 18 Jun 2013 02:26:04 CDT</pubDate>
			</item><item>
			<title>Is This the EOS 3D?</title>
			<link>http://www.personal-view.com/news/articles/is-this-the-eos-3d</link>
			<description><![CDATA[An image worth investigating
Below are some screencaps that I received today from a Chinese forum called “Weibo”. In it, you will see a blurred out Canon camera, which isn’t all that significant.
However, on the strap we see what appears to be “EOS 3D”, I do not see a fold in the strap that would possibly be hiding a “0″ for the 30D, nor is it a 7.
What do you think?

 

 
 
cr]]></description>
			<pubDate>Mon, 17 Jun 2013 12:13:49 CDT</pubDate>
			</item><item>
			<title>The EOSHD 5D Mark III Raw Shooter’s Guide – AVAILABLE NOW!</title>
			<link>http://www.personal-view.com/news/articles/the-eoshd-5d-mark-iii-raw-shooter’s-guide-available-now</link>
			<description><![CDATA[
Dispelling the myths – optimising performance – never read another endless forum post again!

Payment via PayPal, just $19.99 (usual price $29.99)
My third book launches today. It is available to download immediately and for the first week you can get 33% off the usual price making it just $19.99.
It is an enormous 12 chapters and 106 pages.
The 5D Mark III raw recording capability has completely changed the way I shoot, the camera I shoot on and the software used in my workflow. The 5D Mark III has come back like a phoenix from the flames with the latest Magic Lantern firmware – they are saviours!
In the book I aim to make it easy to get up to speed and shooting raw on the 5D Mark III immediately within minutes, before delving deep into what you can actually do with it.
I think even if you don’t yet own a 5D Mark III and are wondering what all the fuss is about the book is very helpful as it allows you to make a better informed choice of whether raw is for you and whether you should sell your current camera.
If you have noticed a lack of blog posts recently on EOSHD this book is why! I have poured my blood, sweat and tears into it.
By the way – the mystery rig shown in the book will be revealed later this week.
You can take a peek inside the book and read more about what it offers on the main Shooter’s Guide page here
The full contents listing of the book is below.

Chapter 1 – Introduction
An introduction to the world of raw recording with Magic Lantern and the 5D Mark III.
Welcome to the book
New 5D Mark III specifications with raw enabled
Magic Lantern: liberators
Advantages of raw
Types of filmmaking suited to raw
Understanding raw
Chapter 2 – Enabling Raw Video
Practical advice so you can begin shooting raw video on the 5D Mark III immediately.
Preparing your 5D Mark III
Preparing your Compact Flash card for raw recording
Installing Magic Lantern – Step 1
Installing Magic Lantern – Step 2
Installing Magic Lantern – Step 3
Activating the raw recording module
Chapter 3 – Recording Raw Video
A guide to making use of raw video and exploiting the full extent of the feature.
Changing resolutions and frame rates
Aspect ratios
Higher resolutions than 1080p (2k to 3.5k)
What are the maximum continuous recording times?
Understanding data rates
What is crop mode?
Playback and file manager
Chapter 4 – Recommended settings
This chapter contains my most frequently used reliable and interesting settings for shooting raw video on the 5D Mark III.
Introduction
Recommended settings
Optimizing performance
Slow-motion 48p / 50p / 60p
1:1 crop mode
Anamorphic aspect ratios
Movie tweaks menu
Chapter 5 – Recommended software and editing codecs
Canon raw video files usually require converting to an editable raw format. Here’s an introduction to which formats you can use to edit raw.
Summary of software requirements
List of recommended software
Standard DNG uncompressed raw
Cinema DNG uncompressed raw
CineForm compressed raw
Compatibility with editing software
Chapter 6 – CineForm raw workflow
CineForm saves huge amounts of storage space but maintains the advantages of a raw workflow. This chapter deals with how to use it.
Introduction / advantages
System and software requirements
Converting to CineForm
Chapter 7 – Uncompressed Cinema DNG raw workflow
For maximum image quality you can edit uncompressed raw in DaVinci Resolve and other applications (such as Adobe After Effects) which support Cinema DNG (but not Adobe Premiere).
Introduction / advantages
System and software requirements
Converting to Cinema DNG on a Mac
Converting to Cinema DNG on a PC
Getting started with Cinema DNG in DaVinci Resolve
Chapter 8 – ProRes / Ginger / After Effects
For alternative ways of processing your raw footage – conversion to ProRes does not allow grading of raw on-the-fly but maintains a high level of image quality and a codec which is compatible with almost any editing software. Ginger allows direct editing of 5D Mark III raw clips in Premiere via a plugin but it is in the early stages of development.
Convert to ProRes in After Effects
Ginger for native raw clip editing in Premiere and After Effects
Chapter 9 – Kodak, Fuji and Alexa film looks for Resolve
LUTs are common film industry tools for giving raw footage a certain look and feel. Along with a selection of carefully crafted cinematic looks, this chapter deals with how to use them in DaVinci Resolve.
What is a LUT?
Recommended software and format requirements
Kodak &amp; Fuji film looks
Rec.709 to Canon LOG
Alexa film look
Applying a LUT in Resolve
Chapter 10 – Suitable Compact Flash cards
Raw recording on the 5D Mark III is extremely demanding on Compact Flash card performance and capacities. In this buyer’s guide I look at which ones work, and which don’t.
Benchmarking your card
Card buyer’s guide
Chapter 11 – Raw shooting advice by Andrew Reid
With raw shooting the DSLR video rulebook has changed. Here I look at shooting techniques and how to shoot better looking raw footage.
Be economical with your footage and ‘edit in camera’ like John Ford
Prioritize shadow or highlight areas
Avoid too much highlight recovery in post
Ignore the native ISO
Shoot at these ISOs for best results…
Experiment with crop-mode framing before selecting another lens
Don’t be shy about investing in Compact Flash cards and spare batteries
Stop down the lens when necessary
Try to avoid shooting handheld without a rig, avoid a complex rig
Chapter 12 – Cinematography advice by Andrew Reid
Drama in simplicity
Rule of thirds
Composition
Natural light
Tips from the Tree of Life cinematographer Emmanuel Lubezki, ASC, AMC
Dead space
Color
Focus and depth of field
Location – not just a backdrop
Appendix A – EOSHD articles and sample videos
Appendix B – Technical glossary
Appendix C – Troubleshooting and FAQ
Appendix D – Disclaimers
The post The EOSHD 5D Mark III Raw Shooter’s Guide – AVAILABLE NOW! appeared first on EOSHD.com.]]></description>
			<pubDate>Mon, 17 Jun 2013 06:26:05 CDT</pubDate>
			</item><item>
			<title>BuyDig.com is Giving 5% Instant Rewards &amp; More on Select Canon Gear</title>
			<link>http://www.personal-view.com/news/articles/buydigcom-is-giving-5-instant-rewards-more-on-select-canon-gear</link>
			<description><![CDATA[From BuyDig.com
Canon Rumors partner BuyDig.com has started a limited time promotion on the following Canon Gear.
5% instant rewards on select Canon Gear – 5% rewards are applied instantly with a price reduction at final checkout! USA shipping is FREE
All deals below have 5% instant rewards and also include:

Adobe Photoshop Elements and Premier Elements 11 ($99 value)
Lexar 32 GB Professional 400x SDHC UHS-I Card

Cameras

Canon EOS 5D Mark III Body
Canon EOS 5D Mark III w/24-105 f/4L IS
Canon EOS 6D Body
Canon EOS 6D w/24-105 f/4L IS

Prime Lenses

Canon EF 35mm f/1.4L
Canon EF 40mm f/2.8 STM
Canon EF 50mm f/1.2L
Canon EF 50mm f/1.4
Canon EF 85mm f/1.8
Canon EF 100mm f/2.8L IS Macro

Zoom Lenses

Canon EF-S 10-22mm f/3.5-4.5
Canon EF 16-35mm f/2.8L II
Canon EF 17-40mm f/4L
Canon EF 24-70mm f/2.8L II
Canon EF 70-200mm f/2.8L IS II
Canon EF 70-200mm f/4L IS
Canon EF 70-300mm f/4-5.6L IS
Canon EF 100-400mm f/4.5-5.6L IS

Flashes

Canon Speedlite 600EX-RT
]]></description>
			<pubDate>Sun, 16 Jun 2013 11:16:43 CDT</pubDate>
			</item><item>
			<title>The Raw Time-lapse Tutorial – Part III – How To Shoot Day To Night Time-lapses</title>
			<link>http://www.personal-view.com/news/articles/the-raw-timelapse-tutorial-part-iii-how-to-shoot-day-to-night-timelapses</link>
			<description><![CDATA[

How to Shoot Day to Night Time-lapses
By Preston Kanak
As many people have proclaimed, day to night or night to day time-lapses are the ‘holy grail’ of time-lapse shooting. They tend to draw the attention of viewers because of their assumed complexity. At the same time, what people don’t understand is that they aren’t as tough to achieve as they appear. In this blog post, I will quickly walk you through a few different ways of capturing these types of shots.
Note: I will not be going in depth about the post production, such as white balance blending but I will walk you through the basic process for working with your files.
There are three different ways to approach day to night time-lapses which include:

Shoot in APERTURE PRIORITY and de-flicker in post.
Shoot at least one shot during the day and one at night and then BLEND IN POST.
RAMP YOUR EXPOSURE / ISO.

With each of these given scenarios, there are there elements or settings to consider which include interval, aperture / shutter speed balance &amp; ISO.
Another consideration is white balance. I didn’t include this in the settings above because all this advice is based off of shooting raw so white balance is able to be changed in post. On the same note, because I shoot low resolution jpegs for reference, I still choose to set the initial white balance. What I normally do is set my white balance based on the shooting conditions. If I am shooting a day to night, I will set my white balance to 5600K. Being that we are shooting a raw time-lapse, the white balance is not critical as we will more than likely need to ramp it in post.
I will be using case studies to help illustrate these settings which can be viewed in either the full length Day to Night Tutorial video or the breakout videos below. As much as I would like to recommend settings for each scenario, this just isn’t possible due to the almost limitless possibilities.
Also, I want to also note that my mantra when it comes to learning new techniques is to stick with what works. When I find a workflow that works for me, I tend to stick with this method and as such, the information under bulb ramping is somewhat limited.
I have also drafted up a quick start guide for each section because let’s face it, some of us like to get to the nuts and bolts. However, if you are serious about mastering time-lapse shooting, you will want to check out the post in its entirety.

Aperture Priority Quick Start
Blend in Post Quick Start
Bulb Ramping Quick Start

***Please note that this series is presented in a serial fashion and I highly recommend checking out the previous ones if you haven’t already as there are some skills you will need to master before proceeding to this lesson. If you have yet to check out the previous episodes, click here.
Both the post and video are long so I recommend sitting down with a coffee and be prepared to take some notes! Also, I have included a bunch of more information in the blog post that isn’t in the video and will keep adding to this post so make sure to also check out the info below!

Aperture Priority
The simplest method of the lot is capturing the time-lapse using aperture priority mode. Although the simplest, it also comes with risks. First off, by shooting in aperture priority, you are relying on the camera’s internal processing or metering to determine the change of exposure between day and night. Often I have found that if I set the exposure perfect for the start of the time-lapse that it often is either under or over exposed depending if it was a day to night or night to day shot.
Determining the exact settings is a bit of a challenge based on your given scenario but as an example, I will walk you through a case study.
Aperture Priority Case Study

Another disadvantage with aperture priority is that you will more than likely experience a lot of flicker and will be forced to remove in post. I primarily shoot time-lapses using the Canon 5D Mark II’s but have recently upgraded to the 5D Mark III’s. I’ve found that the Mark III’s are MUCH better with the accuracy of its metering resulting in less flicker. It is important to note that with this method, there is a chance of your shot failing because of the amount of flicker.

How to Shoot Using Aperture Priority
To shoot a day to night / night to day time-lapse in aperture priority mode all you need to do is set your initial exposure and interval and let the camera do the rest for you. For this method, you will more than likely want to use a wide aperture (low number) so your shutter does not have to remain open as long as it would have to be if your aperture was closed. In aperture priority, the camera determines the shutter speed.
In regards to your interval, there are two approaches:

The first method requires you to know how long your longest exposure will take for your given shot. Once you know that, you will then be able to set your interval based on that number. Keep in mind that you will need to work in buffer time as well. For example, if your longest shutter speed is 15 seconds, you will want to set your interval to around 17 seconds.
The second method allows you to set your interval to something quicker however, by doing this, when your exposure time starts to exceed your interval time, the smoothness of the motion will be inconsistent as you will start to get less frames as it gets darker. The time between shots will also change as the exposure times increase. Although not noticeable on most shots, there are times when you will notice this on motion controlled shots. 

When choosing your settings using this method, it is a fine balancing act. For most shots, the night shots will have a smoother motion and your day shots will have a staccato look as seen in the image below. 

(left) SHUTTER: 1/4000 ISO: 100 APERTURE: 5.6 (right) SHUTTER: 1/30 ISO: 100 APERTURE: 22 FILTER: Heliopan Vari-ND
 
Okay, now I am sure you are asking, can you just get to the point already? WHAT SETTINGS DO I NEED TO USE TO SHOOT A DAY TO NIGHT TIME-LAPSE USING APERTURE PRIORITY MODE. Although it is a bit of a balancing act to get started, here is the step-by-step guide.
 
Quick Start Guide – Aperture Priority
To shoot a time-lapse in aperture priority mode, you need to:

Set camera to aperture priority mode.
Focus image.
Choose interval using method 1 or 2 mentioned above.
Set INITIAL EXPOSURE (Aperture &amp; ISO). As mentioned, when choosing your settings using this method, it is a fine balancing act. For most shots, the night shots will have a smoother motion and your day shots will have a staccato look if you hope to capture the most dynamic shift between day and night.

Option 1 (Day to Night): This method is the most versatile for capturing the widest range of light change. However, you will get a staccato effect during the day time portion. Aperture: 2.8-4.0 ISO: 640-1250 Shutter: 1/1000 to 1/8000 NO FILTER
Option 2 (Day to Night): This method allows you to capture a smooth / fluid motion throughout the entire shot. The downside is that your range of available light is limited in some scenarios. You will not be able to capture an astro time-lapse with this method. Aperture: 5.6-16 ISO: 100-320 Shutter: 1/30 to 1/15  Use ND Filters
Option 1 (Night to Day): This method is the most versatile for capturing the widest range of light change. However, you will get a staccato effect during the day time portion. Aperture: 2.8-4.0  ISO: 640-1250 Shutter: 10-30 seconds. NO FILTER
Option 2 (Night to Day): This method allows you to capture a smooth / fluid motion throughout the entire shot. The downside is that your range of available light is limited in some scenarios. You will not be able to capture an astro time-lapse with this method. Aperture: 5.6-16 ISO: 100-320 Shutter: 10-30 seconds. USE ND Filters


Double check focus.
Start the time-lapse.
Sit back and take in the environment.

 
Blend in Post
My go-to option out of the three is the blend option. With this method, you will not only be able to ensure your time-lapses stay flicker free but you are also able to track the progress of your shot. By breaking the shot into sections, you are able to shoot multiple shorter time-lapses with more flexibility in post.
Blend in Post Case Study

Unlike shots captured using the aperture priority method, you are easily able to control how smooth your motion is.
To shoot using the blend method, you will want to focus on consistency and repeatability. You will need to shoot at least two time-lapses. It’s totally up to you how many you want to shoot but two is the minimum. I would recommend more as the transition is smother with more, however, processing does take longer and is a little more complex, especially when shooting motion controlled shots.
If you are shooting a static time-lapse you do not need to worry about variance in repeatability and can simply layer your shots, no matter what speed they were recorded at. However, if you are shooting a motion controlled shot, you will want to run the same shot out in it’s entirety and then match the final clip’s speed before lining up. I will go over this more specifically when I go over the post processing. I highly recommend using your motion control devices internal camera control functionality to trigger your camera as you will be able to line up your shots easier by simply basing the variation in time from the difference in the amount of frames captured. These devices should tell you how many pictures were fired (or if your card was formatted you will be able to highlight all images in your browser to find out how many photos were fired).
How to Blend Between Two Motion Controlled Shots

In the video above, I walk you though how to blend between two motion controlled shots.
Once you have lined up all your shots, all you need to do is blend between them using the opacity function (or using the ‘holy grail’ method if using LR Timelapse).
***Please note that you may see some variation in the moves so I recommend using a difference matte in After Effects to make sure the tracks line up. I will go over this method in a future tutorial.
 
Quick Start Guide – Blend in Post
To shoot using the blend option you need to:

Set camera to manual mode.
Set your focus.
Set exposure (aperture &amp; ISO) for each given shot with the desired settings. If you are unsure what settings to use, check the samples at the bottom of the post on how to shoot a static time-lapse.
Choose interval based on the look you want.
Double check focus.
Start the time-lapse.
Monitor as your exposure changes.
Stop the time-lapse and adjust settings, ensuring not to bump camera.
Repeat steps 6-8 as desired depending on the amount of shots you want to capture.

 
Bulb Ramping
The last of the three options is bulb-ramping. I won’t be going in depth on how to shoot a day-to-night time-lapse using the bramping solution but if you would like to find out more about this method, I have included resources at the bottom of the page.
INSERT BRAMPER IMAGE
With this method, you are able to smoothly blend between exposures to create a smooth transition between day and night. The disadvantage of this method is that with some of the devices, you need to manually ramp the exposure as the light shifts. I have also found that minor deflickering is necessary for these time-lapes.
Another disadvantage is that the range of exposure change is limited and you may not be able to achieve the range of light achievable using the blend option.
Bulb Ramping Tutorial by Joel Schat

Joel Schat is a Time-lapse Photographer living in Beautiful British Columbia. The video above was embedded with permission. If you would like to find out more about Joel or view more of his work, make sure to check out his website.
Quick Start Guide – Bulb Ramping
To shoot using a bulb ramping device, you need to:

Set camera to bulb mode.
Set exposure (aperture &amp; ISO) for each given shot with the desired settings. In bulb mode, you cannot fire your camera faster than 1/10s.
Choose interval starting point based on the look you want. As the light either darkens or lightens, change your settings accordingly.

 
Currently there are a few options on the market for capturing day to night time-lapses using a bulb ramper which include:

Promote Control w bulb assist kit - The Promote Control Bulb Ramping / Bulb HDR Assistant Kit helps create high precision bulb Time-Lapse sequences, ensuring accuracy of up to 0.001 EV steps. Now you can create stunning time-lapse sequences of sunsets or other variable light conditions.

GB Timelapse - Currently limited to Windows platform – Trigger your camera using a windows based computer connected to USB port of camera.
Timelapse + – This device is used for triggering the camera as well as auto-bulb ramping.
Triggertrap App – iPhone app developed to trigger your camera with bulb ramping integration.
Little Bramper – Currently Sold out &amp; limited to Canon DSLR’s: Little Bramper was designed to addresses this short-coming, permitting smooth exposure variationsover a wide range of exposure (&gt;10 stops).
Magic Lantern – Software solution part of the ML install.

Out of all these solutions, I have only used the Little Bramper Solution.
Resources
Still have questions on how to shoot day to night time-lapses using the bramping method? I’ve attached some resources below for reference.

Make sure to check out a recent video and blog post by Joel Schat! He does a great job walking through how to shoot day to night time-lapses with a focus on the Promote Control.
Shooting a time-lapse using the Holy Grail Method in conjunction with LR Timelapse.


 ]]></description>
			<pubDate>Sat, 15 Jun 2013 13:59:06 CDT</pubDate>
			</item><item>
			<title>JVC launch a 4K camera with Nikon mount which gets almost everything wrong</title>
			<link>http://www.personal-view.com/news/articles/jvc-launch-a-4k-camera-with-nikon-mount-which-gets-almost-everything-wrong</link>
			<description><![CDATA[
JVC have launched a “large sensor 4K” camera with Nikon mount.
We saw a prototype of this camera a long time ago, reported here on EOSHD one and half years ago, the form factor and specs of the final model are remarkably similar to the prototype.
What’s wrong with it? This calls for a list:
The name – JY-HMQ30. Rolls off the tongue doesn’t it? My advice to JVC – “Alexa”, “Miro”, “5D”. Keep it short and memorable like a brand.
The price – $18,000. That prices the camera above the popular Canon C300. It is also outgunned on specs by the Sony FS700 and F5 with XAVC 4K recorder.
The Nikon mount – of all the mounts they could have chosen, the Nikon mount is the most locked-in to one lens range. It rules out Canon and PL glass, and pretty much everything else.
The sensor – the size of 1.25 inch is no-man’s land territory for lenses. Smaller than Micro Four Thirds but larger than Super 16mm, it conforms to no common video standard at all. It’s also completely unsuited to the photographic Nikon full frame lenses JVC requires you to mount on it. It isn’t suited to DX glass either.
The recording format – I really hope quad-1080p does not get off the ground. It is obsolete and records 1080p quadrants to no less than FOUR slow SD cards. The quadrants then have to be stitched together in post to form the 4K image. The combined data rate is 144MB/s, handled easily by any cheap SSD and also Sony’s SxS ExpressCard 800MB/s magazines but not by a single SD or compact flash card.
The outputs – At $18k you’d expect HD-SDI. Nope. OK a single current spec HDMI which allows for 4K over a single connection? Nope. Yes the JVC uses the quad-1080p standard for it’s HDMI. If one HDMI cable isn’t bad enough, JVC wants you to plug in 4! I have a hard time doing that tidily with my TV let alone a camera. There’s likely to be zero support for this on new displays, field monitors and external recorders either, and nor should there be.
No ND filter – Despite having a relatively small sensor and ample room to fit a filter wheel, JVC didn’t seem to consider it essential. Exposure? Who needs that!?
The camera has the form factor a VHS recorder from the 90′s. Apple can fit a 12 core desktop computer in a cookie jar but JVC can’t fit quad 1080p in a C300 form factor?
The release – JVC, perhaps sensibly, are not releasing the camera on a wide international basis, but taking limited orders directly within Japan. They could have saved a lot of money and not developed this camera at all.
Conclusion
In my opinion it is hard not to conceive of a more ill-suited product design than this, from the sensor to the recording format and the form factor it seems 4 years behind the ball. If corporate giants like JVC want to compete they have to move faster. I have a feeling that at the time this spec was devised, JVC thought quad-1080p would be the stepping stone everyone needed to get from 1080p to 4K in a practical way, but instead it is a practical nightmare. The electronics to record 4K to SSD cards are cheap and commonplace in 2013, but seemingly JVC came up with a blueprint several years ago and developed it at a super cautious pace. This culture needs to change.
It would be great to see JVC put the full resources of the company behind a interchangeable lens video camera.
Here’s my advice -

Commission Aptina, CMOSIS or other third party sensor manufacturer to produce a Super 35mm 4K sensor. They already have off-the-shelf ones. 1.25″ is just pointless for interchangeable lenses.
Put an interchangeable mount on the camera or license the E-mount from Sony. If that isn’t cost effective, use the Canon EF mount (as Blackmagic have done).
Use an SSD drive SATA interface and HD-SDI with 4K recording support on both.
Make the form factor smaller and more modular, similar to the Red Epic or Canon C300.
Target it at filmmakers and production – I have a feeling JVC targeted this camera at the pro-camcorder crowd who would prefer a zoom lens, AF and smaller sensor. Interchangeable lenses and 4K don’t make sense for everyone.
Stop using model numbers and start using brands
Get real on price. Electronics are cheap to produce. Consumer DSLRs can output 14bit raw from a full frame sensor. For $4000 we can have 4K, Super 35mm and a global shutter on one Blackmagic Production Camera. This is reality in 2013 regards specs vs price

Good luck JVC!
The post JVC launch a 4K camera with Nikon mount which gets almost everything wrong appeared first on EOSHD.com.]]></description>
			<pubDate>Fri, 14 Jun 2013 09:41:23 CDT</pubDate>
			</item><item>
			<title>Sigma 18-35 f/1.8 DC Available for Preorder</title>
			<link>http://www.personal-view.com/news/articles/sigma-1835-f18-dc-available-for-preorder</link>
			<description><![CDATA[From B&amp;H Photo
B&amp;H Photo is now accepting preorders for the Sigma 18-35 f/1.8 DC lens. Keep in mind a “DC” lens is for a crop body.
Preorder the Sigma 18-35mm f/1.8 DC $799
cr]]></description>
			<pubDate>Fri, 14 Jun 2013 08:25:53 CDT</pubDate>
			</item><item>
			<title>DSLR Video – Advanced Cinematic Color Grading by planetLuke</title>
			<link>http://www.personal-view.com/news/articles/dslr-video-advanced-cinematic-color-grading-by-planetluke</link>
			<description><![CDATA[
		
		planetLuke released this tutorial about how to use his presets to do cinematic color grading. He’s using several scenes from his Canon EOS 5D Mark III short “Copelandia” — and I thought maybe you’d want to see that first…
Can&#039;t see the video in your RSS reader or email? Click Here!
 


Cinematic Color Grading
Can&#039;t see the video in your RSS reader or email? Click Here!
 
Luke’s description
Check out all 30 presets for Premiere, AE, Sony Vegas Pro, and Sony Vegas Platinum on our new website:
neumannfilms.net/shop/
Link # 1 – Reference Clips and Color Presets – www.mediafire.com/?0n6agnx16zk…
Link #2 – Neat Video – www.neatvideo.com/purchase.html
Link #3 – Crazy Delcy Letterbox Pack – crazydelcytv.com/shop/products…
Link #4 – Gorilla Grain (Free Film Grain) – gorillagrain.com/features
The contrast and brightness levels were sort of compromised by my screen capturing software but if you download the shots and follow along it shouldn’t be an issue. Also in shot #3 I decreased the Contrast in the LUT Preset to 15 for the lower half of the shot.
Like Neumann Films on YouTube or follow us on Twitter for more info:
Facebook:
www.facebook.com/pages/Neumann-Films/132492190154891
Twitter:
twitter.com/#!/Neumannfilms
(cover photo credit: snap from the video)


 



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]]></description>
			<pubDate>Fri, 14 Jun 2013 08:15:40 CDT</pubDate>
			</item><item>
			<title>JVC announce JY-HMQ30 4K large sensor camera with Nikon lens mount</title>
			<link>http://www.personal-view.com/news/articles/jvc-announce-jyhmq30-4k-large-sensor-camera-with-nikon-lens-mount</link>
			<description><![CDATA[By technical editor Matt Allard: JVC are the latest company to enter the large sensor 4K market.  They have now joined the likes of Sony, RED, Blackmagic and Canon in the industries push towards 4k.  Enter the JY-HMQ30 (there’s a mouthful!) with a 1.25″ CMOS, 8.29 million pixel sensor.  It comes with Nikon F-mount for [...]]]></description>
			<pubDate>Fri, 14 Jun 2013 07:27:42 CDT</pubDate>
			</item><item>
			<title>JVC announced a 4K interchangeable lens camcorder with Nikon F-mount</title>
			<link>http://www.personal-view.com/news/articles/jvc-announced-a-4k-interchangeable-lens-camcorder-with-nikon-fmount</link>
			<description><![CDATA[
It seems that Nikon is not interested in competing in the growing video/camcorders market with Canon and other manufacturer. The good news is that you can still use Nikkor lenses (in manual focus mode only) on a professional video camera: today JVC announced a new 4K interchangeable lens camcorder with Nikon F-mount. The price is $18,000. Here are the specifications:





Voltage


DC 12V (AC adapter when used), DC 7.4V (when using the battery pack)





Power consumption


About 19.0W





External dimensions


198 mm × depth 287 mm height 139 mm × width
(grip belt does not include audio unit is installed)




Mass


About 1.9kg (included battery installed)




Operation temperature


0 ℃ ~ 40 ℃




Storage temperature


-20 ℃ ~ 50 ℃




Operating humidity


From 35% to 80%




Storage humidity


Less than 85%




[Camera unit]




Imaging element


8.91 million pixel CMOS 1.25 type




Image area


4K2K: 829 million pixels




HD: 829 million pixels (dynamic zoom OFF)
207 million pixels 8.29 million pixels - (dynamic zoom ON)




Synchronization system


Internal synchronization




Lens Mount


Nikon F-mount




Shutter


1/15 to 1/4000 (auto shutter range 1/60 to 1/4000)




Gain


0dB, ​​2.5dB, 6dB, 12dB




LCD


, 920 000 pixel 3.5-inch LCD, 16: 9, color, touch panel




Viewfinder


260 000 pixel 0.24 type LCOS, 16: 9, color




[Recording unit]




Recording Media


SDHC / SDXC (Class 6/10 recommended), SD slot: × 4




Record format


4K: MPEG-4 AVC/H.264 (MP4.)
HD: AVCHD (. MTS)




Recording mode


4K2K setting: 3840 × 2160/60P/50p/24p
VBR, 144 Mbps (Max) MPEG-4 AVC/H.264, Audio: AAC 2ch 384kbps 48kHz 16-bit
HD setting: 1920 × 1080/60P/60i/50p/50i
60p / 50p mode: VBR, (Max) 28Mbps
UXP Mode: VBR, (Max) 24Mbps/XP Mode: VBR, (Max) 17Mbps /
SP Mode: VBR, (Max) 12Mbps/EP Mode: VBR, (Max) 5Mbps (1920 × 1080i),
Audio: AC3 2ch 256kbps 48kHz 16-bit




Frame rate


NTSC setting 4K2K: 3840 × 2160/59.94P, 23.98p
HD: 1920 × 1080/59.94i, 59.94p
PAL setting 4K2K: 3840 × 2160/50p HD: 1920 × 1080/50i, 50p




[Terminal part]




Video / audio output


Mini HDMI output × 4 (4K: HDMI × 4 HD: HDMI × 1)




Audio Input


(MIC, +48 V / LINE) (has built-in stereo microphone) XLR × 2




Remote terminal


φ3.5mm mini jack (4-pole)




Headphone jack


φ3.5mm mini jack (stereo)




USB


USB2.0, Type-B




Via Engadget

Posted by NikonRumors.com
This RSS feed is copyrighted and cannot be republished in any way without permission.
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Related posts:
New firmware update v1.02 for Nikon D4 now available
More Nikon mirrorless movie specs
Nikon’s Mirrorless Interchangeable Lens Camera could be announced at CES 2011



 
]]></description>
			<pubDate>Thu, 13 Jun 2013 17:36:42 CDT</pubDate>
			</item><item>
			<title>Canon EF 70-200 f/2.8L Non-IS Discontinued?</title>
			<link>http://www.personal-view.com/news/articles/canon-ef-70200-f28l-nonis-discontinued</link>
			<description><![CDATA[Various reports say it is
We’ve heard from a few people that the EF 70-200 f/2.8L is in the process of being discontinued.
A few people have said they have attempted to get broken lenses fixed and have been told by Canon USA that parts for the repair are no longer available and will not be in the future either.
Another report says an EF 70-200 f/2.8L that was in disrepair was replaced with a refurbished EF 70-200 f/2.8L IS II at no extra cost. However, don’t go breaking your lenses, as this may have been a one off.
I would imagine the current stock of the lens at retailers will probably be the last of them. I’ve heard nothing about a replacement for the lens, even though I do think there is a place for Non-IS lenses such as this one.
Canon EF 70-200 f/2.8L at B&amp;H Photo $1299
cr]]></description>
			<pubDate>Thu, 13 Jun 2013 14:49:10 CDT</pubDate>
			</item><item>
			<title>Sony introduces the PMW-300, 1/2 inch type sensor, semi-shoulder mount camcorder</title>
			<link>http://www.personal-view.com/news/articles/sony-introduces-the-pmw300-12-inch-type-sensor-semishoulder-mount-camcorder</link>
			<description><![CDATA[Sony’s new addition to its XDCAM range is the first semi-shoulder camcorder featuring 1/2-type Exmor Full HD 3CMOS sensor and offer MPEG HD422 50Mbps recording meeting broadcast standards around the world. According to Sony, this is the evolution of Sony’s PMW-EX3.
The new Sony camcorder will seat comfortably between Canon’s XF range of cameras offering the same bit rate but with 1/3 sensor and Canon’s C300 featuring an APS-C sensor.

Here is a summary  of Sony’s press release:
The PMW-300 is ideal for broadcast producers and corporate event camera operators who require a flexible semi-shoulder camcorder that can easily be adapted to suit a wide range of production environments.

According to Sony, “The camcorder can also be upgraded in the future (2014) to support Sony’s revolutionary XAVC codec, extending the lifecycle of the product to ensure maximum return on investment.
The PMW-300 features the same EX-mount interchangeable lens system as the PMW-EX3, making it compatible with a wide range of 1/2 inch and 2/3 inch lenses.
There are two types of lens packages planned to be available for the PMW-300. One is with a 14 times zoom lens, and the other is with a 16 times zoom lens. Both lenses have a focus ring for quick switching between auto and manual focus.


An HD-resolution 3.5-inch colour LCD viewfinder (960×540 pixels) enables precision focusing for HD filming.
With an HD-SD/SDI output and an HDMI output, the PMW-300 connects not only to broadcast infrastructures, but also to consumer devices equipped with HDMI inputs. Timecode and genlock interfaces enable use in multi-camera setups and 3D configurations. The 8-pin remote connector allows for remote adjustment from a remote control sold separately.
The camcorder has a standard recording mode of 1080/25p, offering a vast range of shooting options, switching down to 720/25 to enable up to 2.5x slow motion.
Based on customer feedback the PMW-300 features an innovative semi-shoulder design that has a rotary hand grip, allowing comfortable recording over long periods of time. Its magnesium metal body ensures the camcorder is robust and like its predecessor, the PMW-EX3, can withstand even the harshest production environments.
Like all of Sony’s solid state XDCAM camcorders, the PMW-300 has the most flexible choice of recording media in the market, allowing customers to choose to record on Sony’s professional SxS memory card as well as other media such as SD, Memory Stick and XQD cards depending upon their budget and application.


Finally, Sony today confirmed that an optional wireless adapter currently in development will enhance proxy recording, wireless transfers, Wi-Fi viewing and metadata input.
PMW-300 with a 14 times zoom lens will be available in the market in October 2013. PMW-300 with a 16 times zoom lens is currently under development targeting to be available within 2013.
For the full press release, please click here
The PMW-300 will be available around October 2013.
]]></description>
			<pubDate>Thu, 13 Jun 2013 14:00:30 CDT</pubDate>
			</item><item>
			<title>Canon EOS 100D / SL1 review – Handheld Landscapes</title>
			<link>http://www.personal-view.com/news/articles/canon-eos-100d-sl1-review-handheld-landscapes</link>
			<description><![CDATA[The Canon EOS 100D is Canon’s newest entry level DSLR and once again: It also shoots video. I tested the camera and took it out for a walk in the highlands of Scotland.
It’s lightweight, it’s compact, it shoots video. A travel application is the logical conclusion to test this full fledged DSLR.
Beautiful landscapes are a nice thing to shoot. Unfortunately the aliasing the sensor produces makes it less ideal to shoot something that has a lot of detail, like landscapes.
In terms of video quality this camera is similar to the other affordable Canon DSLR’s out there.
So if you’re only looking for this kind of video performance and you don’t care about functionality you will not notice a difference between this one, the new 700D, the 4 year old 7D or anything in between. You can get the Canon EOS T3i for $549 right now (was $400) which offers a very similar look. 
The Image Stabilizer performance of the included 18-55mm kit lens was very convincing and helped me shoot the whole thing without a tripod. I had to apply some post processing, and lost 1% of the video size to cancel rotational shake. (I also added movement stabilization to the shot with my colleague on the bridge).
To get stable shots with this camera I recommend a pocket rig like the edelkrone or more affordable Fotodiox. 
In terms of storage a 32GB SD card that costs $23 (LINK) and will give you 90 minutes of space for video. You can record individual clips of up to 30 minutes.
The autofocus is rather quick, but I personally don’t like to see the focus shifting the camera does while focusing.
Pro’s and Con’s:
- similar sensor as most other DSLR’s over the oast 4 years
- lots of aliasing
- touch screen control is not very intuitive
+ STM kit lens offers great stabilization in video
+ lightweight, small design supports easy handheld shooting
+ can almost go in your pocket, if it’s a big pocket
+ autofocus might be useful for some
The Canon EOS 100D is available for $799: LINK
Conclusion
As more and more new camera models offer better video quality the sensors used in Canon DSLR’s are getting outdated. If you’re not looking for the light weight and portability of this DSLR there might be better options out there.
The convenience of the form factor of this DSLR however was a very pleasing when using it in a travel environment and could very well be something hobby videographers enjoy.
Music kindly provided by themusicbed:
Carly Comando – Summer

Here are some of the photographs I took. As a photo camera the 100D really shows the true powers that lie within the compact body. And hopefully this is how video will look in future generations of the EOS series. With the 5D mark III’s RAW functionality the first step in that direction has already been taken.




See other photos by me here.]]></description>
			<pubDate>Thu, 13 Jun 2013 13:27:38 CDT</pubDate>
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