Pro Video Cameras http://www.personal-view.com/talks/categories/professional-cameras/feed.rss Sat, 18 Nov 17 23:33:59 -0700 Pro Video Cameras en-CA JVC 4K cameras, including GY-LS300 - 4K for $2995, GY-HM200 and GY-HM170 http://www.personal-view.com/talks/discussion/11756/jvc-4k-cameras-including-gy-ls300-4k-for-2995-gy-hm200-and-gy-hm170 Thu, 13 Nov 2014 20:31:07 -0700 bozfx 11756@/talks/discussions image

Press release:

JVC launches 4KCAM product line

London, 12th November 2014 – JVC Professional has today launched its new 4KCAM product line, comprising three new handheld camcorders and a camera system. The GY-HM200 is a versatile, full-featured 4K Ultra HD camcorder with HD streaming and the compact GY-HM170 delivers 4K Ultra HD images in an economical, palm-sized camera with professional features. The GY-LS300 handheld 4K camera and GW-SP100 camera system – previewed at the recent IBC2014 show – each offer 2K/4K recording; the GY-LS300 is a Super 35mm 2K/4K camcorder that accepts a variety of interchangeable lenses, while the GW-SP100 is a 2K/4K mini camera system featuring remote head and recorder.

When JVC launched its ProHD product line, JVC made professional HD production affordable. The new 4KCAM product line follows that same tradition, with new cameras that make ultra-high definition 4K economical for cinematographers, webcasters and broadcasters, corporate and live event production teams and independent filmmakers.

GY-LS300 Super 35mm camcorder

The GY-LS300 records to non-proprietary SDHC and SDXC media cards in a variety of image formats including 4K Ultra HD, full HD with 4:2:2 sampling, SD and web-friendly proxy formats. It features JVC's 4K Super 35mm CMOS sensor combined with industry standard Micro Four Thirds (MFT) lens mount. JVC’s unique Variable Scan Mapping technology maintains the native angle of view for a variety of lenses, including Super 35, MFT and Super 16. As a result, lens options for the camera are almost limitless.

“The combination of a Super 35 sensor and MFT mount is a brilliant solution to accommodate the largest variety of lenses and adapters without compromising image quality and lens characteristics,” said Gustav Emrich, European product manager. “It gives filmmakers the flexibility to use high-end cinema lenses or affordable glass to capture 4K/HD footage.”

In summary

The 4KCAM product line is an ideal complement to JVC’s successful ProHD product line. All the new cameras feature dual SDHC/SDXC card slots for dual, backup and continuous recording. The camcorders also include a 3.5-inch LCD display and 1.56 megapixel colour viewfinder, each with smart focus assist functions, and offer two-channel audio recording. An ideal complement to JVC’s successful ProHD product line, the new 4KCAM cameras will be available by Spring 2015, with European pricing still to be confirmed.

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Canon C200 Camera http://www.personal-view.com/talks/discussion/17040/canon-c200-camera Mon, 29 May 2017 07:37:40 -0600 Vitaliy_Kiselev 17040@/talks/discussions image

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  • 9.84 megapixels total/8.85 megapixels effective S35 CMOS sensor
  • Dual Pixel CMOS AF with touch control and extensive shooting functions
  • Dual DIGIC DV6 LSI
  • Cheap 1.77M dots EVF
  • Cheap 1.23M dots LCD
  • Internal 4K recording with Cinema RAW Light and MP4 format
  • Bitrates - 4K Cinema RAW Light 1Gbps VBR, MP4 4K 150Mbps, MP4 1080p 35Mbps
  • Wave Form, Peaking, Zebra
  • Continuous 120fps (maximum) High Frame Rate with no cropping at Full HD
  • Up to 15-stops dynamic range (Cinema RAW Light), 13 Stops (Canon Log3)
  • Professional High Quality image and audio
  • Easy operation and flexible configuration
  • ND filter - Clear, 2, 4 ,6, 8, 10-stop
  • Price is $7,499 in US and £7,699 in the UK

Preorders

Also exist C200B - stripped down version without monitor, viewfinder, grip or handle. It will retail for $5,999 US.

More specs at http://cvp.com/index.php?t=product/canon_eos_c200_ef_camcorder


Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals.

As the first Cinema EOS camera to support the new RAW recording format – Cinema RAW Light – the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0™ card.

Newly developed Canon Dual DIGIC DV6 processors provide the ability to record internally 4K UHD/50P MP4, 4K DCI RAW and continuous 120fps High Frame Rate (HFR) in Full HD without crop. At the same time, advances in Dual Pixel CMOS Auto Focus (AF) technology and a new touch screen LCD monitor provide smooth AF operation and effective tracking.

Capability drives creativity

The EOS C200 features Canon’s 4K Super 35mm CMOS sensor with an effective pixel count of 8.85MP, along with the newly developed Dual DIGIC DV6 image processors. As a result, it can deliver Cinema RAW Light recording at 4K DCI 50P internally to a CFast 2.0™ card. It can also deliver 4K UHD recording at 150Mbps, and 2K or Full HD at 35Mbps to SD cards in MP4 format.

Supporting up to 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3), the camera is perfect for capturing highlight and shadow details.

The EOS C200 is also capable of delivering both slow and fast motion recording at up to 120fps with no crop in Full HD/MP4, ideal for those wanting creative slow motion capture.

An ISO range of 100 to 102,400 guarantees excellent performance, even in difficult lighting conditions, such as when quickly switching between locations. The built-in optical ND filters of up to 10 stops provide further flexibility and convenience, allowing filmmakers to shoot in bright light and expand the depth of field control.

Advanced operability and ergonomic design

Built for professionals and ideal for single shooters, the EOS C200 features an advanced AF system that provides reliability and accuracy when shooting 4K, as well as a touch screen LCD panel for filmmakers to easily select their subject. For those who need to switch effortlessly between several subjects in a single shot, the Dual Pixel CMOS AF enables smooth AF operation whilst the Manual Focus Assist Function, Face Detection with Face Priority and Face-Only options provide greater creative focus control.

The EOS C200’s lightweight body of just 1.4kg is designed for comfortable hand-held shooting and will benefit those who are filming for long periods. The compact size also makes the camera suitable for mounting onto a drone or gimbal.

Built-in Wi-Fi and Ethernet connectivity allows for browser remote control and the ability to transfer files via FTP, whilst the camera’s compatibility options mean new and existing accessories can be used, including Canon’s electronic viewfinder - the EVF-V70.

Cinema RAW Light for next generation workflows

Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs[i]. As a result, editing and grading of the Cinema RAW Light video format will be supported in DaVinci Resolve of Blackmagic Design. Editing will be possible in Media Composer from Avid Technology, using Canon RAW Plugin for Avid Media Access[ii]. This format can also be processed using a Canon application, Cinema RAW Development[iii].

Support for Cinema RAW Light is also scheduled for EDIUS Pro, Grass Valley’s editing software, during 2017. Additionally, a future version of Final Cut Pro X from Apple Inc. will support Canon’s Cinema RAW Light, using Canon RAW Plugin for Final Cut Pro X[iv].

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Panasonic EVA1, like in WALL-E, S35 Camera http://www.personal-view.com/talks/discussion/17005/panasonic-eva1-like-in-wall-e-s35-camera Wed, 24 May 2017 06:50:11 -0600 Vitaliy_Kiselev 17005@/talks/discussions image

Specs

  • APS-C 35mm 5.7K sensor
  • Dual Native ISO
  • Electronic Image Stabilization (no real stabilizer)
  • Canon EF mount
  • V-Log / V-Gamut
  • IR Cut filter
  • 2K at 240fps
  • records 4K 10bit
  • 4K 60fps at 422 10bit, up to 400Mbit
  • ND filter at 2/4/6 stops
  • 5.7K raw output using future update.
  • Two XLR inputs
  • Dual SD cards
  • SDI, HDMI outputs
  • 2.64lbs
  • 6.69" x 5.31" x 5.23"
  • $7999 price
  • Available - Fall 2017

Note that we will have online realtime report from press event on PV telegram channel at https://t.me/personal_view , make sure to join!

Also will make separate interview, make sure to post here questions you have.

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Panasonic AG AF100 / AF101 http://www.personal-view.com/talks/discussion/102/panasonic-ag-af100-af101 Tue, 17 May 2011 11:03:53 -0600 uliman 102@/talks/discussions
will there be a hack for the Pana AG AF 100/101? If yes, what could we expect?
I hope very much, that you´ll have success with GH2 Stalin hack.

BR Uli]]>
Sony FS7 Mk II official topic http://www.personal-view.com/talks/discussion/15989/sony-fs7-mk-ii-official-topic Thu, 03 Nov 2016 07:35:13 -0600 Vitaliy_Kiselev 15989@/talks/discussions image

  • Electronic Variable ND (FS5)
  • 10 assignable buttons
  • New Lens Lock Ring (Lever Lock Type) No rotation of lens anymore to detach.
  • MPEG 2 Cache Recording
  • BT 2020 Color Space
  • New Arm Grip Position and Adjustments
  • New 1/4 Full HD LCD (960/540) and rod ergonomics improvements
  • $9999 price

Product page https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-fs7ii.shtml

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Sony F3 or BMCC (ended up with a Sony F35) http://www.personal-view.com/talks/discussion/5511/sony-f3-or-bmcc-ended-up-with-a-sony-f35 Mon, 17 Dec 2012 16:44:48 -0700 mlysbakken 5511@/talks/discussions I have been offered a used Sony F3 for only slightly more than what the Blackmagic Cinema Camera costs. I have long been intent on buying the Blackmagic, but now I'm unsure. I haven't tried any of these cameras personally, so any advice would be greatly appreciated! Which one produces the most attractive image to you? Does one handle motion better than the other? How about low-light and general usability? I'm also uncertain about the advantages of 12 bit RAW over 10 bit S-LOG, as well as 2.7k over 1080p. Will those aspects make a world of difference, and is it worth the hassle?

I guess it's a luxury problem. I've seen amazing stuff from both cameras!

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Sony HXC-FB80 ENG Camera http://www.personal-view.com/talks/discussion/18010/sony-hxc-fb80-eng-camera Tue, 17 Oct 2017 04:25:38 -0600 Vitaliy_Kiselev 18010@/talks/discussions image

Sony is offering an accessible entry into 4K- and HDR-ready studio and live production with the combination of the new HXC-FB80 portable camera and HXCU-FB80 camera control unit (CCU). Based on a 3G-SDI platform with 1080/59.94p capabilities, the new system fits a range of commercial applications where professionals need high-quality HD with a “future-proof” path to 4K and HDR production.

The HXC-FB80 expands Sony’s HXC product line-up and shares many common features with the current HXC-FB75. The new camera continues to provide signal-to-noise ratio at -60dB with high sensitivity of F13 at 50Hz or F12 at 59.94Hz – ideal for low-light shooting and a variety of camera painting and processing capabilities.

The CCU up-scales HD content to 4K (3840×2160) and provides a 12G-SDI output in addition to a quad-Link 3G-SDI. HD-HDR support for Hybrid Log-Gamma (HLG) will be available in summer 2018 through a free firmware upgrade.

Since its debut, the HXC series has been adopted worldwide for diverse uses. This new camera system is based on customer input and the added support for up-scaled 4K and HD-HDR production expands the system to a wider range of applications.

The HXC-FB80 has the same choice of configurations as the FB75 series: the HXC-FB80HN (camera body only), HXC-FB80KN (with 2/3” HD Lens, Portable viewfinder and Microphone) and HXC-FB80SN (with 2/3” HD Lens, Large viewfinder).

The camera has three 2/3-inch type CMOS Exmor image sensors and provides 59.94Hz progressive operation at 1080×1920 between the camera head and CCU using a 3G platform. The camera also supports 23.98PsF shooting for productions requiring a “cinematic” look, such as live events and other applications including interviews and newsmagazine-type programs, along with 25PsF or 29.97PsF shooting.

The ND filter can be remotely controlled by the newly adopted filter servo motor in the camera head in addition to the electrical CC filter.

The potential distance between the camera head and CCU is extended up to 600m (approx. 1970 feet), while keeping the 10km (33,000 ft.) extension by single mode fiber cable with local power supply. Together with the HXC-P70H, the cable length can be extended up to 1,000m (3280 ft.) with the supplied power from the new CCU.

In addition to a Neutrik connector interface, a LEMO connector interface is an available option for the camera head and CCU.

The HXC-FB80 system can be controlled not only by the CCU front panel operation, but also RCP remote operation including PC-RCP (HZC-RCP5) and Master Setup Unit (MSU) system for multi-camera application, which ensures scalability of its system.

The HXC-FB80 camera and HXCU-FB80 camera control unit are planned to be available in January 2018. Sony will be exhibiting the new system at the NAB Show New York, October 18-19, booth N401.

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Sony New CineAlta Venice http://www.personal-view.com/talks/discussion/17086/sony-new-cinealta-venice Sat, 03 Jun 2017 05:07:46 -0600 Vitaliy_Kiselev 17086@/talks/discussions image

Specs

  • Full-Frame CMOS Sensor, 24.7M (total), 24.4M (effective)
  • Lot of Built-In ND Filters - Clear, 0.3(1/2), 0.6(1/4), 0.9(1/8), 1.2(1/16), 1.5(1/32), 1.8(1/64), 2.1(1/128), 2.4(1/256)
  • Native ISO 500
  • PL Mount or E-mount (lever lock type, without supplied PL lens mount adaptor)
  • Latitude - 15+ Stop
  • Modes - 3.8K 16:9, 4K 17.9: 1-60FPS, 4K 4:3: 1-48FPS, 4K 6:5, 5.7K 16:9, 6K 17:9, 6K 1.85:1, 6K 2.39:1: 1-30FPS, 6K 3:2: 1-24FPS
  • S-Log3
  • Record formats
    • XAVC 4K Class480: 23.98p, 24p, 25p, 29.97p
    • XAVC 4K Class300: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
    • XAVC QFHD Class480: 23.98p, 25p, 29.97p
    • XAVC QFHD Class300: 23.98p, 25p, 29.97p, 50p, 59.94p
    • MPEG HD422(1920x1080): 23.98p, 24p, 25p, 29.97p, 50i, 59.94i
    • HD ProRes 422HQ*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 60i
    • HD ProRes 422*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
    • HD ProRes 422 Proxy*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
  • BNC×4, (12G, 3G, 1.5G-SDI) connectors
  • HDMI Output
  • ExpressCard/34 slot×2, SD card slot ×1
  • 133 x 159 x 172 mm
  • Approx. 3.9kg (8lb 10oz)

Sony Electronics is announcing plans for its next-generation CineAlta digital motion picture camera system. This latest addition to the CineAlta family is being developed through careful research and close collaboration with creative professionals including Directors, Cinematographers and Digital Imaging Technicians. Through the implementation of features demanded by the industry, Sony is demonstrating its commitment to innovation and the creative freedom needed for feature filmmaking and production.

Technology highlights and key benefits:

  • Full Frame 36x24mm sensor exclusively designed for this Digital Motion Picture Camera
  • Aspect ratio-agnostic – including Full Frame, Super35 4K 4-perf 4:3 Anamorphic and 4K spherical 3-perf 17:9
  • New image sensor enabling exceptional picture quality
  • Maintains the workflow established with Sony’s 16bit RAW/X-OCN and XAVC
  • Compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards).

Sony CineAlta Background:

Sony pioneered high-end digital motion picture production technology, with the first 24p digital camera system (HDW-F900), the first RGB recording system (HDC-F950 and SRW-1) and the Super 35mm image sensor camera (F35).

CineAlta raised the standard of motion picture production with cutting-edge digital imaging technology, greatly contributing to 3D, 4K, HDR; and will continue to innovate in the future.

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Sony PXW-FS5 4K camcorder on IBC 2015 http://www.personal-view.com/talks/discussion/13659/sony-pxw-fs5-4k-camcorder-on-ibc-2015 Fri, 04 Sep 2015 10:49:37 -0600 Vitaliy_Kiselev 13659@/talks/discussions image

Specs:

  • Super35 Exmor® CMOS image sensor with 14 stops of dynamic range and 8.4 million effective pixels
  • 4K 30fps XAVC recording
  • Up to 960 fps Super Slow Motion with high sensitivity; burst mode recording at up to 240 fps in HD, 480 fps at reduced resolution and 960 fps at reduced-resolution Center Crop
  • S-Log3, S-Log2 and S-Gamut3
  • Continuously variable Neutral Density filter, a first in Super35 imaging, enables you to blur the background even in sunlight; also offers conventional presets at 1/4, 1/16 and 1/64 ND
  • XAVC proxy recording captures frame-accurate lightweight proxy video suitable for faster file transfers and convenient file sharing
  • Two SD memory card slots
  • Wireless Android® and iOS® remote control
  • $6099 with lens - http://www.bhphotovideo.com/c/product/1185425-REG/sony_pxw_fs5k_pxw_fs5_xdcam_super_35.html
  • $5599 without lens - http://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html

Brochure - https://pro.sony.com/bbsccms/assets/files/micro/xdcam/brochures/V-2626_PXW-FS5FS5K.pdf

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Panasonic Varicam LT official topic http://www.personal-view.com/talks/discussion/14465/panasonic-varicam-lt-official-topic Thu, 21 Jan 2016 12:04:58 -0700 PauloTeixeira 14465@/talks/discussions image

Specs

  • 14+ stops of dynamic range with V-Log.
  • Dual native 800/5000 ISO
  • Weight: under 6 lb.
  • Formats: 4K, UHD, 2K and HD.
  • Apple ProRes 4444 (up to 30p), ProRes 422 HQ (up to 60p), HD, Panasonic’s AVC-ULTRA family of video codecs.
  • Support for the Academy Color Encoding System (ACES)
  • ND filters: CLEAR, 0.6, 1.2, 1.8
  • Optional OLED EVF with optical zoom
  • 24-bit LPCM audio in-camera
  • Focus Assist
  • Hot swap for power (on-board and external power)
  • IR (for scenes even darker than ISO 5000 can handle).
  • Anamorphic lens de-squeeze
  • Special REC functions (PreRec, interval, one-shot)
  • IP control via Panasonic’s AK-HRP200 camera remote controller
  • Built-in GPS
  • 3G-HD-SDI x 3 (SDI-OUT X 2 and VF)
  • LAN
  • Genlock in
  • timecode in/out
  • USB2.0 Host and USB2.0 Device (mini B)
  • three XLR inputs (one 5-pin, two 3-pin) for four channels of 24-bit, 48KHz audio
  • tough magnesium body

old

Seams like a new camera is about to be revealed.

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Canon Cinema EOS C100 mk.II http://www.personal-view.com/talks/discussion/11611/canon-cinema-eos-c100-mk.ii- Tue, 21 Oct 2014 22:20:19 -0600 bozfx 11611@/talks/discussions Canon has announced their successor to the C100...

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http://www.usa.canon.com/cusa/professional/products/professional_cameras/cinema_eos_cameras/eos_c100_mark_ii

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PR

Canon U.S.A. Announces the Second-Generation EOS C100 Mark II Digital Video Camera Features MP4 and AVCHD 1080/60p Recording, Dual Pixel CMOS AF, Face-Detection Autofocus (AF), Redesigned Viewfinder and OLED Panel, Built-In Canon Log Look-Up Table, and Wireless File Transfer

MELVILLE, N.Y., October 21, 2014 - Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the Canon EOS C100 Mark II Digital Video Camera, the latest edition to the Canon Cinema EOS line of professional Super 35mm 8.3 megapixel CMOS cameras and the second-generation version of the popular Canon EOS C100 Digital Video Camera.

Designed for economical film and video productions such as documentary and remote broadcast crews, wedding and event coverage, indie film productions, as well as film schools and business and government users, the new EOS C100 Mark II Digital Video Camera, features advanced image processing, AVCHD and MP4 1920x1080/60p recording, uncompressed YCbCr output from HDMI, and many other new and enhanced capabilities for improved picture quality, operability, and convenient handling. Delivering a cinematic look with shallow depth of field and high sensitivity in low-light environments, the new EOS C100 Mark II camera weighs just 2.5 lbs. and is compatible with over 103 Canon EF Series lenses, including STM models which can deliver smooth and silent autofocus during filmmaking.

"Canon's commitment to the advancement of tools for visual expression takes another major step forward with the introduction of the EOS C100 Mark II Digital Video Camera," said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. "Drawing on input from Canon's global community of Cinema EOS camera users and from digital filmmakers using Canon EF lenses - 100 million of which have now been produced worldwidei - the Company has added new capabilities to the EOS C100 Mark II from its predecessor that powerfully leverage our considerable expertise in optics, imaging, and digital signal processing. The result is an improved, affordable Super 35mm CMOS digital camera that is designed to provide outstanding HD image quality, operational performance, ergonomics, and workflow convenience." Design Enhancements

Optimized for one-person operation, the new EOS C100 Mark II camera has a mobile core design enabling users to choose their preferred style of shooting. The existing design has been enhanced to include a large-size detachable eyecup for the camera's large 68-degree tilting 0.45-inch 1.23 megapixel color EVF (electronic viewfinder). Clearly marked red trigger buttons on the camera body, top handle, grip, and a built-in mono microphone on the camera body — for times when the top handle is not attached — can be used to capture basic sound for audio notation or as an aid to audio syncing during post.

Another major redesign of the new EOS C100 Mark II over its predecessor is an innovatively hinged 3.5-inch 1.23 megapixel OLED display panel, delivering 100 percent field-of-view coverage, wide color range support, and improved viewing even in bright sunshine. The new hinge design — which folds the panel shut when stowed, protecting the OLED surface — opens 180 degrees to reveal function keys and a joystick. The panel can open even further to 270 degrees to deploy against the side of the camera to provide monitoring for directors and other production personnel. Additional design improvements on the camera body include 17 assignable recessed function buttons, dual SD card slots with a transparent cover, and a simplified battery insertion and removal release. Visual Expression

Previously available only as an optional upgrade for earlier Cinema EOS models, Dual Pixel CMOS AF is a standard feature on the new EOS C100 Mark II, providing enhanced autofocusing capability. The Dual Pixel CMOS AF technology helps provide smooth and consistent autofocus, so that focus transitions are natural looking and subjects can remain in focus even as they move off center. In addition, the compatibility of Dual Pixel CMOS AF with Canon EF autofocus lenses combines outstanding optical tools with a wide range of creative options. It's ideal for shooting sports, weddings and many more productions where focus pulling by a single operator is not feasible, such as when the video camera is attached to steadicams or drones. The EOS C100 Mark II Digital Video Camera also includes Face-Detection AFii, a first in the Cinema EOS camera line, which utilizes contrast detection AF to maintain focus across most of the image plane, an advantage in one-person electronic news gathering (ENG) situations. Imaging and Recording

Central to many of the new features of the new EOS C100 Mark II Digital Video Camera is its advanced Canon DIGIC DV4 image processor. The Canon DIGIC DV4 image processor separates the RGB output from the camera's 8.3 Megapixel CMOS imager into three individual 8 megapixel signals (as opposed to 2MB in the EOS C100) for noticeably improved image quality. The Canon DIGIC DV4 processor also includes a new debayering algorithm to help minimize moir‚ and reduce video noise even at high ISO speeds. (high-sensitivity recording on the camera ranges from ISO 320 to 80,000).

Another important benefit of the Canon DIGIC DV4 processor is Full HD recording in both the high-quality professional format AVCHD or the popular web-friendly MP4 format at a variety of bit rates (up to 28 Mbps and 35 Mbps, respectively), resolutions, and frame rates (up to the smooth look of 59.94p) to suit practically any production need.iii For special-effect requirements, slow and fast motion MP4 recording at up to 1920x1080/60p can also be performed.

Users can choose from multiple formats that support MP4 or AVCHD to suit a wide variety of production, post, and output needs. The EOS C100 Mark II camera's dual SD card slots can record in one or both formats simultaneouslyiv for back-up, or convert AVCHD and MP4 files into smaller MP4 files for web upload.v Extended clip times can be achieved by recording continuously from one card to the other without a break. In addition, a Data Import Utility application is included that can seamlessly join divided files to help reduce work during editing and to import video file data from an SD card inside the camera or a card reader.

As with the other cameras in Canon's Cinema EOS line, the new EOS C100 Mark II Digital Video Camera includes Canon Log as a recording choice, providing maximum dynamic range for post-production color grading. New, however, is the addition of a built-in LUT (look-up table), enabling users to view the camera's live video signal in Wide DR (dynamic range) or the BT.709 (TV standard) color space on the OLED or any external monitor connected to the camera's locking HDMI® output (this feature can be turned off in the menu). Uncompressed video output (with time code data and 2:3 pull-down markers superimposed) can be output via HDMI to an external recorder. Connectivity Innovations

The addition of wireless file-transfer capabilities further expands the versatility of the new EOS C100 Mark II camera for multiple production applications, including transferring time-critical news video or backing-up files. Utilizing dual 5 GHz and 2.4 GHz frequencies, the camera can transfer video files via FTP server for instant relay, or send MP4 video to the web browsers of laptops or tablets for viewing and storage (even on PC's lacking playback software). Remote control of the camera is also enabled via a compatible smartphone, tablet, or laptop. The new EOS C100 Mark II Digital Video Camera also includes compatibility with the optional multi-functional Canon RC-V100 Remote Controller, which can be used to adjust image quality and other important operations from a distance, a handy feature for shooting from a jib arm, drone, or other inaccessible location.

In addition, the optional Canon GP-E2 EOS GPS Receiver can be connected to the EOS C100 Mark II Digital Video Camera using a USB cable to record location and time information during shooting, a helpful feature for editing and archiving. Pricing and Availability

The Canon EOS C100 Mark II Digital Video Camera is scheduled to be available at the end of December 2014 for an estimated retail price of $5,499.00.

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Phantom Veo 4k High Speed Cameras http://www.personal-view.com/talks/discussion/17722/phantom-veo-4k-high-speed-cameras Mon, 11 Sep 2017 10:58:53 -0600 Vitaliy_Kiselev 17722@/talks/discussions image

Specs

  • 35mm 9.4-megapixel sensor
  • Global shutter, switchable to rolling shutter for increased dynamic range
  • 4K-990 models capture up to 938 fps at 4096 x 2304; 1000 fps at 4096 x 2160;
  • 1975 fps at 2048 x 1080
  • 10Gb Ethernet option for optimized workflow
  • Size: 5 x 5.5 x 6" (12.7 x 14 x 15.2 cm); 6.0 lbs (2.8 kg)
  • HDMI and 3G-SDI video outputs
  • VEO4K-S and PL models include CFast, On-camera controls and secondary battery input for portability

PR

Introducing Phantom VEO4K: High-speed, High-resolution Cameras for Science, Aerospace and Media Industries

WAYNE, NJ, September 5, 2017 - Vision Research, a leading manufacturer of digital high-speed imaging systems, today introduces the Phantom® VEO4K camera family, combining the imaging power of the Flex4K-GS with the convenient form factor of the VEO. Designed for demanding scientific research, defense and media applications, it will capture up to 1,000 frames per second (fps) at 4K and higher at reduced resolutions.

VEO4K cameras employ a custom 9.4-megapixel, 12-bit CMOS sensor with 6.75 micron pixels, producing images of the highest quality and pixel resolution - Great for high-magnification and applications involving dynamic movement across large spaces. The family consists of three models, including the Phantom VEO4K-PL camera for media production, as well as two body styles, allowing users to select the camera that best meets their needs.

Machined from solid aluminum with isolated electronics, Phantom VEO cameras are known for their durability and ability to perform in harsh environments. VEO4K cameras are available with either 36 GB or 72 GB of RAM and include SDI and HDMI video outputs. S-models include a secondary battery input and CFast 2.0 compatibility which enables remote, untethered recording.

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Canon Cinema EOS C700 http://www.personal-view.com/talks/discussion/15632/canon-cinema-eos-c700 Wed, 31 Aug 2016 11:23:59 -0600 Vitaliy_Kiselev 15632@/talks/discussions

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Panasonic AG-UX90 and AG-UX180 http://www.personal-view.com/talks/discussion/14981/panasonic-ag-ux90-and-ag-ux180 Mon, 18 Apr 2016 22:53:22 -0600 Vitaliy_Kiselev 14981@/talks/discussions image

LAS VEGAS, NV (April 18, 2016) – Panasonic today announced a new UX series of professional 4K camcorders, successor to the company’s AVCCAM series of professional AVCHD camcorders. Two models are currently under development and scheduled for release in the fall of 2016: the UX Premium Model AG-UX180, with a 1-inch (effective size) MOS sensor, optical 20x zoom and UHD 60p recording capability; and the UX Standard Model AG-UX90, featuring a 1-inch (effective size) MOS sensor, optical 15x zoom and UHD 30p recording. “With an increasing demand for 4K video content, Panasonic is introducing the UX series to make 4K acquisition even more accessible to video professionals,” said Steven Cooperman, Senior Product Manager, Panasonic System Communication Company of North America. “UX camcorders will provide high-mobility shooting and workflow equivalent to our existing professional integrated-lens handhelds.” The UX series will support recording up to 4K (4096x2160, 24p only) and UHD (3840x2160). (The AVCCAM series allowed recording up to FHD/1920x1080.) UX camcorders will use the SD Memory Card1 as recording media. The UX Premium Model AG-UX180 supports, in addition to 4K and UHD, dual codec recording (UHD2/FHD), IR recording in low light, and 3G SDI/HDMI2.0 output. The UX camcorders’ 1-inch (effective size) MOS sensor ensures sensitivity equivalent to that of conventional handheld cameras. Variable frame rate (VFR) recording functionality (2-60 fps) is planned in FHD mode. The suggested list price (SLP) of the AG-UX180 is expected to be under $4,000.00, and the SLP of the AG-UX90 under $3,000.00. The availability of these new UX models later this year will bring the company’s line-up of professional 4K cameras to six, including the flagship VariCam 35 and VariCam LT cinema cameras for HDR production in 4K resolution, the AG-DVX200 4K, 4/3” large-sensor camcorder and AK-UC3000 4K camera system.

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Panasonic HC-X1 http://www.personal-view.com/talks/discussion/15637/panasonic-hc-x1 Thu, 01 Sep 2016 04:19:47 -0600 Vitaliy_Kiselev 15637@/talks/discussions image

Modes

  • 4096x2160 24.00p 100 Mbit/s (VBR)
  • 3840x2160 59.94p/50.00p 150 Mbit/s (VBR)
  • 3840x2160 29.97p/25.00p/23.98p 1 100 Mbit/s (VBR)
  • 1920x1080 59.94p/50.00p/29.97p/25.00p/23.98p 200M ALL-Intra 200 Mbit/s
  • 1920x1080 59.94p/50.00p 100 Mbit/s (VBR)
  • 1920x1080 59.94p/50.00p/29.97p/25.00p/23.98p/59.94i/50.00i 50 Mbit/s
  • 1920x1080 59.94p/50.00p 25 Mbit/s (VBR)
  • 1920x1080 59.94i/50.00i/23.98p : Moyenne 21 Mbit/s (VBR)
  • 1280x720 59.94p/50.00p : Moyenne 8 Mbit/s (VBR)


Available for preorder: https://www.bhphotovideo.com/c/product/1277528-REG/panasonic_hc_x1_4k_ultra_hd.html


Panasonic is proud to introduce the HC-X1 (X1), a light, compact 4K Ultra HD professional camcorder that meets and exceeds professional video production needs. It supports 4K 24p, UHD 60p/50p, FHD 60p/50p multi-format recording and HD super slow-motion. The X1 includes desirable professional features such as 2-channel XLR Audio, Wired/Wireless remote control, triple manual rings, a user switch, timecode, ND Filters and twin SD card slots. Additionally, the X1 offers Live HDMI output along with a wide 24mm angle LEICA DICOMAR 4K Lens and optical 20x zoom. The X1 has amazing 5-Axis O.I.S. for 4K 24p recording, UHD 60p/50p recording, dual codec recording (UHD and FHD) and IR shooting. While offering high image quality and advanced functions allowing the user record images exactly as intended, it boasts high mobility and operational ease only a handheld camcorder can provide and streamlines workflows to support professional video production. In response to the rising demand for 4K video content, the Panasonic HC-X1 4K camcorder helps create attractive and beautiful 4K videos.

Newly Developed LEICA DICOMAR 4K Lens with the Industry’s Widest Angle 24mm and Optical 20x Zoom

The newly developed integrated lens system boasts the industry’s widest angle at 24mm. It allows low-distortion, wide-angle shooting without the use of a wide conversion lens, thus supporting professional video production. It is also equipped with a 1.0-type (inch) sensor to realize the world’s first optical 20x zoom. Quick zooming is possible from wide-angle to telephoto. The 4-Drive Lens System individually drives each of the four lens groups to minimize the drive range of each lens group and provide optical 20x zoom with its small body.

Panasonic HC-X1 Ultra HD Professional Camcorder

Equivalent to 35mm under 4K 24p (aspect ratio of 17:9). Wide angle 24mm is the widest in the industry for a camcorder with integrated lens. (As of 31st August 2016, according to Panasonic survey.) World’s first for a camcorder with integrated lens having a 1-type (inch) or larger sensor. (As of 31st August 2016, according to Panasonic survey)

High-image-quality, High-sensitivity 1.0-type (inch) 4K Sensor

The effective 1.0-type (inch) MOS Sensor (9.46 megapixels at 4K24p/8.79 megapixels at UHD, FHD) offers an appropriate depth of field and excellent balance between image quality and sensitivity. The HC-X1 can record in 4K24p (4096 x 2160), UHD 60p/50p (3840 x 2160) or FHD 60p/50p (1920 x 1080). For the global business of professional users, the system frequency can be flexibly selected from 59.94 Hz, 50.00 Hz and 24.00 Hz. The file format can be selected from versatile and easy-to-use MOV (QuickTime), MP4 and AVCHD. The variety of recording modes with selectable image quality, frame rate and bit rate settings respond to a wide range of applications from cinema production to online distribution.

Functions and Design to Support Professional Camera Work

The lens barrel features Triple Manual Rings for zoom, focus and iris operations. There are a total of 13 user buttons, nine on the body and four on the LCD touch panel. These user buttons can be allocated with desired functions. The 3.5-type (inch) monitor built into the handle section can be pulled out and turned 270 degrees in the vertical direction for high-angle, low-angle and selfie shooting. The EVF is a high-resolution (approx. 1,769,000 dots) color OLED display with superb color reproduction. What’s more, the HC-X1 is equipped with a wealth of focus assist functions to support quick and accurate manual focusing, such as MF Assist, One-Push AF, Expand/Peak, Focus Transition and Area Function.

The ND filter can be set to OFF, 1/4, 1/16 or 1/64. Gain selector and AWB selector are also provided. The controls are designed and engineered to meet the needs of video professionals.

Advanced Optical Image Stabilizer (O.I.S.)

The correction area was expanded to approximately 900%* of the conventional area to strongly correct low- and high-angle shots (compared with Panasonic’s AG-AC160). In FHD mode, a 5-Axis HYBRID O.I.S. + that adds electronic image stabilization to optical image stabilization detects and corrects 5 axes, including the roll rotation.

High-speed, High-precision Intelligent AF

The Micro Drive Focus Unit has achieved stable and high-speed AF with excellent tracking performance to ensure accurate focusing, which is extremely important in 4K shooting. The AF operation settings are customizable. By adjusting the speed, tracking sensitivity and area width, the user can program the AF operation exactly as intended in accordance with the subject type and application.

Super Slow Motion and VFR (2 to 60 fps)

The Super Slow Motion function records HD images at a high speed of 120 fps (59.94 Hz)/100 fps (50 Hz) to provide a slow-motion effect. The HC-X1 is also newly equipped with a VFR (variable frame rate) recording function that allows the change of frame rate setting in ten steps from 2 to 60 fps. This lets the user produce creative and expressive videos using techniques such as overcranking for a slow-motion effect and undercranking for a quick-motion effect.

Professional Interfaces for Smooth System Operation

The HC-X1 is equipped with two channel XLR audio inputs with switchable +48V phantom power supply/MIC/LINE and manual volume. It records high-quality sound in two channels using either a 16-bit linear PCM system (MOV/MP4) or Dolby Digital system (AVCHD). When mounted with the wireless module (AJ-WM50/AJ-WM30, sold separately),* an iPad installed with the AG ROP can be used for wireless remote control of camera settings, lens control and others.

The HC-X1 also offers expandability for users in commercial video production, such as the wired remote terminal, OSD level meter, 1-kHz test tone output and headphone output (3.5-mm-diameter stereo mini jack).

Double SD Card Slot and UHD/FHD Dual Codec Recording

Two SD memory card slots are provided. The recording media switches automatically and seamlessly from Slot 1 to Slot 2. By changing a full SD card with a new SD card, images can be recorded continuously for many hours.

Unlimited* Relay Recording: Data is recorded continuously by automatically switching the recording SD card from Slot 1 to Slot 2. By changing the full SD card with a new SD card, images can be recorded continuously for many hours. Simultaneous Recording: Identical data is recorded onto cards in both slots in this highly redundant recording mode. Background Recording: One SD card can be set in Slot 2 to record continuously, and another SD card can be set in Slot 1 to record necessary scenes by turning REC on and off. Dual Codec Recording: Records images simultaneously in two different formats, such as Main (UHD/FHD) and Sub (FHD), etc. This achieves an efficient workflow.

Broadcast-grade Camera Image Adjustment Functions

16-Axis Independent Color Correction Function: Allows color matching of multiple cameras under the same lighting condition as well as creative image rendering. Soft Skin: Makes skin colors appear soft and beautiful. Especially effective when recording a person up close. Master Detail: Adjusts the overall degree of contour enhancement. Scene File: Six sets of image quality settings are preset in scene files. Parameters in each set can be changed flexibly. One set can be saved in the main unit, and up to eight sets can be stored on an SD memory card. 8-Mode Gamma: Gamma setting can be selected from seven modes including two types of CINE-LIKE gamma. This allows the user to achieve the most suitable gradation according to the specific video production needed.

LCD/EVF Displays That Assist Shooting

  • Waveform and Vectorscope Display: WAVE (Waveform) and VECTOR (Vectorscope) can be easily displayed on a sub screen of the LCD monitor.
  • ZEBRA: Two zebra patterns are built in. The level can be changed from 50% to 105% in 5% steps.
  • Marker (Y Level): The brightness level in the center of the image is displayed in percentage.
  • Level Gauge: Horizontal or vertical tilting of the camcorder can be checked on the LCD and viewfinder.
  • A Safety Zone Marker and Center Marker can be displayed.
  • The HC-X1 will be available in December for $3,199.99.
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Canon EOS C300 MK II http://www.personal-view.com/talks/discussion/12755/canon-eos-c300-mk-ii Tue, 07 Apr 2015 23:31:04 -0600 Vitaliy_Kiselev 12755@/talks/discussions image

image


PR

Canon has unveiled the EOS C300 Mark II, a new 4K Digital Cinema Camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail.

Building on the unprecedented success of the acclaimed EOS C300, the more rugged EOS C300 Mark II features an advanced imaging engine with Dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date.

SUPREME 4K IMAGE QUALITY AND VERSATILITY

With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The camera offers professional filmmakers and broadcasters alike the very best image quality, recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions.

The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™* media, while simultaneously recording 4K RAW files to an external recorder, offering the flexibility and universal appeal for production at the highest quality available today. Additionally, the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process.

The EOS C300 Mark II features an all-new Super35mm CMOS sensor, designed by Canon, with a stunning ISO range of up to ISO 102,400. The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality.

To meet the requirements of a diverse range of shooting applications and lighting situations, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as a variety of automatic modes. These include enhanced Dual Pixel CMOS AF (now covering approximately 80% vertical x 80% horizontal of the image display), Auto White Balance and Face Detection AF, all of which make it easier than ever before for independent news gatherers and documentary filmmakers to shoot on the go without having to worry about settings.

INSTANT INTEGRATION INTO PROFESSIONAL WORKFLOWS

Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codec, offering post production flexibility and ease of use. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD.

The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16- or 24-bit and 48 kHz

DESIGNED FOR VERSATILITY

The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations.

A new modular body allows users to connect the EOS C300 Mark II to a host of professional accessories.
The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences.

Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option.**

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Official Sony NEX FS700 and FS700r, 4K cameras topic http://www.personal-view.com/talks/discussion/2728/official-sony-nex-fs700-and-fs700r-4k-cameras-topic Fri, 30 Mar 2012 09:10:40 -0600 leonbeas 2728@/talks/discussions image

Info:

PRICE IS INDEED SUB 10k in fact is SUB 8,6K with lenses

Available at:

Specs and related things

Specs:

4K-ready

The first 4K-ready Super35mm camcorder in its class – providing an assured upgrade path to 4K acquisition and delivery - with full HD 1080p for today.The camcorder will also have the capability to produce 4K RAW 3G-SDI output via a future upgrade.

Super slow motion at 10x at full HD or 40x at lower resolutions

Incredible super slow motion capability of up to 10x slow motion at full HD resolution or up to 40x slow motion at a reduced resolution, giving you creative options that were once only available with specialist high-end equipment.

E-mount interchangeable lenses offer a wide choice of lenses

The E-mount interchangeable lens system utilises an extremely short flange back distance allowing you to use a huge array of lenses via a range of adaptors giving you almost unlimited creative options.

Built-in ND filters

The NEX-FS700E features built-in, ultra-thin ND filters, offering exceptional shallow depth-of-field on highlights. It also means less accessories to manage as no external ND filters are required.

3G-SDI interface and HDMI

A 3G-SDI output enables easy integration with highest quality recording formats.

Exceptional ergonomics

The NEX-FS700E has a refined ergonomic design with a robust detachable handle and grip.

Switchable 50 Hz and 60 Hz shooting

The NEX-FS700E is switchable between 50 Hz and 60Hz to allow 24p shooting in PAL areas and no PAL/NTSC limitations.

Selectable magnification and positioning of expanded focus

Expanded focus improvement allowing 4x and 8x magnification and a moveable area of expansion for easy focusing with shallow depth of field.

Camera profile settings storage on memory card

Up to 99 camera profile settings can be stored, allowing rapid adaptation to multiple shooting environments without time wasted adjusting parameters. Settings are also easily shared in multi-camera productions

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Canon ME20F-SH http://www.personal-view.com/talks/discussion/13478/canon-me20f-sh Wed, 29 Jul 2015 22:44:15 -0600 Vitaliy_Kiselev 13478@/talks/discussions image

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Panasonic DVX200 - costly fixed lens 4K camera http://www.personal-view.com/talks/discussion/12574/panasonic-dvx200-costly-fixed-lens-4k-camera Thu, 12 Mar 2015 06:22:22 -0600 IronFilm 12574@/talks/discussions image

Specs

  • 4/3” MOS sensor
  • Fixed 13x zoom, 28mm-365.3mm, F2.8-F4.5
  • V-Log
  • 1080p120
  • 4Kp60
  • H.264 encoder

Not too long after the HDSLR revolution started, the companies started bringing out accessibly priced large sensor video cameras with interchangeable lenses. Such as the AF100, then later the FS100, then a bit later the C100.

Since then the C100 has been replaced with the (very disappointingly small update) C100mk2, the FS100's big brother the FS700 has been "replaced" (unofficially) with the FS7 (so surely the FS1 or FS200 is coming along next? Perhaps a topic for another thread...). Thus where is the AF200? One which has been waiting for an update for years and years longer than any of the others (and no, the AF100A hardly counts! Though I guess that is what Canon did with their "C100mk2"....).

Perhaps with the success of the GH4 (surely the most successful of the entire GH line so far), and the mainstreaming of 4K, those two factors will be sufficient to propel Panasonic to update the ageing AF100??

On a somewhat related point, how relevant is the AF100 still in 2015 and beyond? Some would think it still is: http://www.anycamerawilldo.com/old-but-not-out/

Am somewhat considering an AF100 myself, as planning on doing the next upcoming wedding season with one GH4 body and perhaps five or so GH1 bodies (maybe swapping out one GH1 for a GH2 with a monitor instead, for my second shooter to use). Thus I'll have a GH4 for single camera shoots (corporate ads / music videos / etc) and I'll have a heap of GH1 bodies to cheaply (only US$150 each!) cover the multiple angles needed for filming live events such as weddings. And I should be able to easily edit between them (making life an awful lot easier for me than this wedding season when I used: Nikon D5200 / Sony A5100 / Panasonic GH1 / G3 / GF3 / BMPCC).

However, half considering if it is worthwhile getting an AF100 as well if I see one cheap enough (say perhaps getting close to US$1,000-ish). As for appearances sake it could be reassuring for clients/brides to see my show up with an AF100, and not just a bunch of tiny GH1 bodies. Additionally I could have it handle some of the sound needs with its XLR inputs (additional to my usage of a Tascam DR-60D). And it is a camera which should cut in fairly easily enough with the bulk of the GH1 footage I'd hope?

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Canon Cinema EOS C100 camera topic http://www.personal-view.com/talks/discussion/4402/canon-cinema-eos-c100-camera-topic Wed, 29 Aug 2012 07:10:50 -0600 Vitaliy_Kiselev 4402@/talks/discussions image

  • EF mount
  • S35mm sensor
  • magnesium body
  • 2 XLR audio inputs
  • 24/25/30p and 50/60i (yep, no 50/60p)
  • ND filters
  • ISO 320 – 20.000
  • Canon Cinema Log Gamma
  • AVCHD only small bitrate codec
  • 2 slots for SD-/SDHC-/SDXC- cards
  • AF function is completely absent, could be added via FW in 2013
  • Price $7,999

Available at:


PR

Canon U.S.A., Inc., a leader in digital imaging solutions, continues its commitment to the advancement of tools for visual expression and expand its contribution to cinematic culture with the introduction of the new EOS C500 4K Digital Cinema Camera* and the EOS C100 Digital Video Camera*. The C500 will take its place as the flagship camera model in Canon's Cinema EOS System while the C100 provides another option for beginning filmmakers working on a budget. The C500 is Canon's high-end professional 4K (4096 x 2160-pixel) cinema camera capable of originating uncompressed RAW output for external recording to meet the demands of premium cinematic productions and other top-quality production markets. The C100 digital video camera is a compact, affordable entry-level model delivering full 1920x1080 HD video and integrating the popular AVCHD codec for universal compatibility with laptop and desktop editing systems. The C500 will be available in both EF- and PL-mount versions; while the C100 will be offered in EF mount only and will be compatible with the more than 70 zoom and prime lenses in Canon's EF, EF-S and EF Cinema lens lineups. All products in the Canon Cinema EOS line are engineered to provide exceptional image creation capabilities for professionals in the motion picture, television, and other diverse high-resolution digital production industries.

"We developed the Cinema EOS C500 digital cinema camera to deliver the benefits of full 4K motion capture to Hollywood's premier filmmakers, while the C100 is designed for economical productions that need sophisticated HD capabilities and optical lens diversity. As we said in November of 2011, the C300 was just the beginning to our Cinema EOS system and we now offer a more complete system of imaging solutions with a range of cameras for every level of production," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A., Inc.

The EOS C500 4K digital cinema camera and EOS C100 digital video camera join Canon's Cinema EOS System which includes two other camera models, the EOS C300 digital cinema camera for mainstream HD production and the EOS-1D C 4K Digital SLR cinema camera for 4K and HD filmmakers favoring the SLR form factor. The Cinema EOS System also offers filmmakers optical diversity with seven EF Cinema lens models: the compact and lightweight CN-E15.5-47mm T2.8 L wide-angle cinema zoom and the CN-E30-105mm T2.8 L telephoto cinema zoom (available in EF and PL versions); the CN-E14.5-60mm T2.6 L wide-angle zoom and CN-E30-300mm T2.95-3.7 L telephoto zoom (also available in EF and PL versions); and the CN-E24mm T1.5 L, CN-E50mm T1.3 L, and CN-E85mm T1.3 L prime lenses for EF-mount cameras, in addition to the more than 60 lenses in Canon's EF and EF-S lens lines (which include macro, fisheye, telephoto, and tilt-shift models).

4K, 2K, and Full HD Image Quality

The Canon EOS C500 and C500 PL digital cinema cameras are designed to provide a versatile high-quality 4K imaging solution to high-end productions. High-quality 4K resolution imaging has become the new standard for advanced effects and is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The C500 and C500 PL cameras output 4K resolution to external recorders as a 10-bit uncompressed RAW data stream, as well as offering the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All of these digital image source formats fully conform to established SMPTE production standards. All 4K formats can be selected to operate from one to 60 frames per second. When shooting in 2K, the C500 and C500 PL cameras employ a 12-bit RGB 4:4:4 signal format from one to 60 frames-per-second (fps) as well. For high-speed shooting and slow motion capture the cameras can be set to a 10-bit YCrCb 4:2:2 mode, and can output 4K or 2K video up to 120 fps.

While outputting 4K or 2K video to an external recorder, the Canon EOS C500 and C500 PL digital cinema cameras simultaneously record a 50 Mbps Full HD video file in-camera to the user's choice of one or two CF cards. The 8-bit 4:2:2 in-camera recordings can be used as a proxy for offline editing of 4K projects, and they are also suitable for various projects that do not require 4K resolution. Equipped with Canon's exceptional Super 35mm 8.85-megapixel CMOS sensor, both C500 camera models are compatible with a wide range of interchangeable Canon lenses – the C500 is compatible with EF, EF-S and EF Cinema lenses for Canon SLR cameras, while the C500 PL is compatible with PL-mount EF Cinema lenses and other PL-mount lenses. Highly mobile and compact, the C500 digital cinema camera provides the same ergonomic features as the C300 model, with the exception of a fixed hand grip that incorporates a pair of 3G-SDI ports for 4K video output and another pair of video ports for monitoring purposes. Canon is working with several independent manufacturers of external video recorders to support smooth workflow options, and these recorders are expected to be available by the time the EOS C500 and C500 PL 4K digital cinema cameras ship to authorized dealers later this year.

One-Person Full HD With Automatic Functions

A cost-effective camera solution for a wide range of everyday users, the EOS C100 digital video camera is ideal for many full HD applications such as:

Low-budget television production and independent moviemaking Museums, galleries, and film schools that utilize Full HD video Wedding, corporate and event videography

The EOS C100 digital video camera is approximately 85% of the size of the EOS C300 model, for maximum mobility. Designed for professional operability, the C100 includes a push auto iris function, one-shot auto focus (or full manual focus and exposure control), a multi-angle 3.5-inch LCD control panel, a high-resolution electronic viewfinder (EVF), built-in ND filters, dual XLR inputs, and a locking HDMI output. These features combine with such advanced technologies as reduced rolling shutter artifacts in 60i mode, enhanced gamma modes (including Wide Dynamic Range (DR) Gamma and Canon Log Gamma), cinematic depth of field characteristics, and excellent low-light performance. The C100 records to dual SD cards contributing to the camera's reduced size and convenience.

Like its C300 sibling, the EOS C100 employs Canon's uniquely designed Super 35mm 16:9 CMOS sensor that captures individual R, G, and B channels for each full HD 1920 x 1080 frame. This high-sensitivity CMOS sensor provides creative depth of field capabilities for an excellent "bokeh" effect, and provides an ISO range of from 320 to 20,000, enabling the capture of images in low light with minimal picture noise. The Canon DIGIC DV III image processor in the C100 helps ensure high color fidelity and smooth color gradations. The camera's AVCHD codec utilizes MPEG-4 AVC/H.264 compression similar to the codec used in Canon's XA10 professional HD camcorder. AVCHD features a maximum recording bit rate of 24Mbps in full HD 1920 x 1080 and 4:2:0 color space for sharp, vivid images. Multiple recording modes, resolutions, and frame rates (including 24p) make the C100 creatively flexible for many production environments. The C100 also offers enhanced gamma modes (including Wide DR Gamma and Canon Log Gamma) for a peak dynamic range of 800% and the wide exposure latitude needed for creative post-production image processing, color correction, and contrast manipulation.

Designed for extensive operational versatility, the Canon EOS C100 digital video camera features a mobile core configuration that allows users to flexibly add accessory parts to the main camera body according to their production needs. A removable side-mounted rotating grip with start/stop button and miniature "joystick" menu control provides traditional SLR camera-style operation. A detachable handle unit connects to the top of the C100 and includes dual XLR connectors, a built-in stereo microphone, a bracket for an external microphone, audio-input level adjustments, and a tally light. The C100 records linear PCM two-channel audio or Dolby digital two-channel audio.

In addition to its ability to record to both SD cards simultaneously, or relay-record from one card to the other, the Canon C100 Cinema EOS camera can also output uncompressed digital HD to an external recording device via its locking HDMI connector. This HDMI output includes superimposed time code and 2:3 pull-down marker information. Additional outputs include a USB connector and stereo headphone jack.

Pricing and Availability

The Canon EOS C500 and C500 PL 4K Digital Cinema Cameras are scheduled to be available in October for an estimated list price of $30,000.

The Canon EOS C100 Digital Video Camera is scheduled to be available in November 2012 for an estimated list price of $7,999

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Sony PXW-FS7 camera topic http://www.personal-view.com/talks/discussion/11257/sony-pxw-fs7-camera-topic Thu, 11 Sep 2014 23:58:06 -0600 Vitaliy_Kiselev 11257@/talks/discussions image

Specs

  • E-mount
  • 4K S35mm CMOS Sensor
  • S-Log3/S-Gammut3
  • XAVC QFHD/HD, MPEG2 HD 4:2:2, ProRes HD 4:2:2
  • RAW recording w/ Ext.Unit like HXR-IFR5, AXS-R5
  • 2 XQD slots
  • 3.5" LCD panel and EVF
  • up to 180fps, 240fps raw (for external recording)
  • XLR connectors - 2, HDMI, HD-SDI connectors - 2, LANC, DC-In
  • Magnesium body
  • Dust & Moisture sealed

Available at:

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Sony F3 topic, F3 now comes with free S-LOG http://www.personal-view.com/talks/discussion/2456/sony-f3-topic-f3-now-comes-with-free-s-log Thu, 01 Mar 2012 12:49:00 -0700 Vitaliy_Kiselev 2456@/talks/discussions PMWF3, F3, Models PMW-F3K, PMW-F3L are discontinued (as models only), F3 re-introduced as PMW-F3K/RGB, PMWF3L/RGB with SLog standard

PMWF3K/RGB, PMWF3L/RGB will have all features of CBK-RGB01 as standard without increase in price. SLog 422, RGB444, 3G, LUT's, etc

Via: https://twitter.com/#!/CineAltaNews

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Alexa mini prices and places to buy http://www.personal-view.com/talks/discussion/16890/alexa-mini-prices-and-places-to-buy- Tue, 09 May 2017 17:09:59 -0600 sammy 16890@/talks/discussions After a few days of going back and fourth ,a couple people and I decided to pull plug on alexa mini . Anyone know if the priceses are all the same with all retailers ? Or do some have more discounts than others in this camera .. a couple years ago when it came out they were saying package starts at 36000$ and go up to 45000$ .. I'm la guy and talk to local dealer able cine and they quoted me 41500$ for body with out any mounts or evf (which we won't need) ,that don't include any extra license ,which we will need to get the anamorphic one .. seeing that make me think basic package went up in prices since it came out? My thinking ,Saving a few thousands on picking the right dealer to buy from not bad thing .. thanks for any input on this

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New Panasonic Pro cameras and AF100 50p/60p software upgrade http://www.personal-view.com/talks/discussion/2880/new-panasonic-pro-cameras-and-af100-50p60p-software-upgrade Mon, 16 Apr 2012 00:07:08 -0600 bleach551 2880@/talks/discussions Panasonic AG-HPX600

image

http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=672507&modelNo=Content04022012054037684&surfModel=Content04022012054037684

Panasonic AG-HPX250 improvements

http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=673004&modelNo=Content04022012052929413&surfModel=Content04022012052929413

HPX250 owners can take advantage of a free software upgrade that will enable Focus-in-Red and “Turbo One” One-Push Auto Focus functionality

MicroP2 memory SD cards

http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=671502&modelNo=Content04022012052157415&surfModel=Content04022012052157415

Software upgrade for AG-AF100

http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=671505&modelNo=Content04022012052729863&surfModel=Content04022012052729863

Panasonic has introduced a software upgrade to augment the recording and shooting functions of its popular AG-AF100 Large Imager HD Cinema Camcorder. The upgrade (AG-SFU100) will enable acquisition in the 1080/60p and 1080/50p HD recording formats (in new 28Mbps PS mode), and will substitute the 2.39:1 aspect ratio marking for the current 2.35 marker.

Recording in the high-resolution 1080/60p and /50p master-quality formats is rapidly gaining popularity in broadcasting, sports and scientific analysis. The 2.39:1 marker in the AF100’s viewfinder/LCD monitor will be valuable for narrative and documentary shooters, as it is a standard aspect ratio for presenting films in movie theaters.

The AG-SFU100 software will be available in May at a suggested list price of $250.


So, this is all. Besides Jan Crittenden herself looks so upset with the things they introduced.

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Panasonic Varicam 35 and Varicam hs Professional Grade Camcorder Solutions http://www.personal-view.com/talks/discussion/9736/panasonic-varicam-35-and-varicam-hs-professional-grade-camcorder-solutions Fri, 28 Feb 2014 10:23:39 -0700 bannedindv 9736@/talks/discussions Panasonic has soft-Launched some new professional grade camcorders due to arrive in Fall 2014...

Nice Industrial design at least...

http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=707501&modelNo=Content02272014105102176&surfModel=Content02272014105102176

PR

Panasonic announced a third-generation VariCam® camera, the VariCam HS, that incorporates the company’s AVC-ULTRA family of video codecs and high speed 1080p image capture of up to 240fps to produce extraordinary high-definition imagery for the most demanding documentary, sports or SFX slow-motion applications.

Featuring an innovative modular design, the VariCam HS 2/3” camera head docks with the AVC-ULTRA recording module to provide the full functionality and ergonomics of a conventional production camera/recorder. This system flexibility can be expanded with an umbilical cable between the 2/3” camera module Unit (AU-V23HS1) and the recording module Unit (AU-VREC1), providing “box” camera functionality for jibs, cranes and other “remote” camera needs. This common recorder module is also interchangeable with Panasonic’s new s35mm 4K camera module unit (AU-V35C1) (see separate news release), enabling professionals to switch between 2/3” and s35mm camera heads to best suit their creative needs.

“Building on the esteemed VariCam legacy of breathtaking image rendition and versatile off-speed effects, this next-generation modular design will deliver unprecedented flexibility to users, who can move between the worlds of sports, documentary, and other content creation with extraordinary ease and efficiencies,” said Steve Cooperman, Product Manager, Panasonic System Communications Company of North America.

The VariCam HS utilizes three newly-developed, 1920 x 1080p MOS imagers with an extraordinary 14 stops of dynamic range, providing full control over wide range lighting conditions for unparalleled 1080p native recording/operation. The camera/recorder boasts a classical RGB imager/prism system that provides equi-band full resolution color processing for critical applications. Among the camcorder’s key features are real-time high frame rate and off-speed recording to 240fps in 1080p (using AVC-Intra Class100), plus the ability to ramp / change frame rates during record. To complement the impressive video quality, the new VariCam boasts 24-bit LPCM audio capabilities. Powerful yet creative image controls such as matrix, detail, gammas and a new Log recording capability, allow precise, powerful creative control over image parameters.

The VariCam HS will feature a range of high-quality recording formats including AVC-Intra Class100 (recording as 1080/24p, 30p or 60p format with VFR (up to 240p), AVC-Intra Class200 (up to 30p/60i) and AVC-Intra Class4:4:4 (up to 30p). Both AVC-Intra Class200 and AVC-Intra Class4:4:4 deliver spectacular performance in applications where image quality is the utmost consideration.

The VariCam HS adds Log to the well-respected FilmRec, VideoRec and Dynamic Range Stretch (DRS) image contrast management controls. The VariCam HS will feature Panasonic’s Emmy® Award-winning Chromatic Aberration Compensation (CAC) technology to minimize lateral chromatic aberrations and dramatically improve the Modulation Transfer Function (MTF) of the optical system.

AVC-Intra Class4:4:4 supports 12-bit recording for 1080p content, allowing file-based 4:4:4 workflows with the unparalleled ability to handle the finer tonal graduations and color fidelity that the 12-bit format provides. AVC-Intra Class200, at twice the bit rate per frame of AVC-Intra Class100, is visually lossless, delivering studio master quality for recording network-level programming and archiving. AVC-Intra Class200 is ideal for field capture of content for film-outs; the higher quality greatly enhances color correction processes, as well as green screen and compositing applications.

The VariCam HS will use Panasonic’s new expressP2 card for high frame rate recording (frame rates above 60fps: see separate news release). The camera recording module unit is equipped with a total of four memory card slots, two for expressP2 cards and two for microP2 cards. The new expressP2 card can record about 32 minutes of 240p 1080 HD video. The microP2 card is designed for recording HD or 2K at more typical production frame rates.

Addressing the need for high-speed file exchange, the VariCam HS encodes high-resolution proxy files in parallel with higher bandwidth production formats, enabling fast, efficient offline editing, at bit rates from 6 Mbps down to 1.5Mbps.

Professional interfaces include: RGB4:4:4; a 3G-HD-SDI out to support 1080/60p, an HD-SDI out for monitoring; and two XLR inputs to record four channels of 24-bit, 48KHz audio. A multi-connector facilitates docking the camera head to the recording module. In another innovative design addition, the VariCam HS boasts a removable control panel to facilitate real-time control and easy menu access when the camera is in a fixed or remote position. The camera’s 2/3” B4 lens mount enables use of a remarkable variety of prime lenses and servo zooms, lensing possibilities simply not available on larger formats.

The VariCam HS will launch fall 2014, with pricing to be announced. For further information about Panasonic professional video products, visit http://www.panasonic.com/broadcast.

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Sony PXW-Z150, 4K, 1080p120 http://www.personal-view.com/talks/discussion/14638/sony-pxw-z150-4k-1080p120- Tue, 23 Feb 2016 03:21:36 -0700 Vitaliy_Kiselev 14638@/talks/discussions

  • Stacked 1" Exmor RS CMOS image sensor
  • 12x zoom lens
  • 4K 100Mbit XAVC
  • 4 step ND filter
  • 0.39" 1440K OLED viewfinder
  • 3.5" 1550K LCD panel

Nothing amazing, just RX compacts tech go to other package.

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ARRI ALEXA SXT http://www.personal-view.com/talks/discussion/12633/arri-alexa-sxt Wed, 18 Mar 2015 11:00:44 -0600 Vitaliy_Kiselev 12633@/talks/discussions

ARRI's new ALEXA SXT (Super Xtended Technology) cameras represent the next exciting step in the continuing evolution of the ALEXA family. Retaining the rock-solid foundation on which ALEXA is built, ALEXA SXT cameras additionally offer ProRes 4K recording, improved image quality, powerful color management and three fully independent HD-SDI outputs.

image

The first ALEXA SXT cameras are planned for release around mid-2015; the full range will comprise ALEXA SXT EV, SXT Plus and SXT Studio models, replacing current ALEXA XT cameras (though the ALEXA Classic EV model will remain in the line-up). ALEXA XT cameras (except ALEXA XT M) shipped between 1st Jan. 2015 and the first shipment of SXT cameras will be eligible for a full SXT upgrade, free of charge.

  • ProRes 4K UHD (3840 x 2160)
  • ProRes 4K Cine (4096 x 2637)
  • 3D Look-up Tables, ASC Color Decision List, Rec 2020 gamma

Easy ProRes 4K recording
With in-camera recording of ProRes 4K UHD (3840 x 2160 pixels) and ProRes 4K Cine (4096 x 2637 pixels), ALEXA SXT cameras are the ideal choice for productions that need 4K UHD TV or 4K DCI cinema deliverables, so filmmakers can continue using the ARRI ALEXA platform they know and love.

Improved image quality
ALEXA SXT cameras keep the acclaimed 3.4K ALEV III sensor of previous ALEXAs and add the state-of-the-art electronics of ARRI's groundbreaking ALEXA 65 camera. These high-performance electronics combine the latest generation of FPGA processors with a lightning-fast internal backplane and form the basis of a completely overhauled image processing chain, advanced pixel correction and optional noise reduction. This results in a further improvement in overall image quality. Like their XT predecessors, ALEXA SXT cameras retain the unique and popular Open Gate, 4:3 and 16:9 sensor modes, which can be recorded in ARRIRAW or ProRes.

New Looks and smoother workflow
The creation of new, powerful and unique looks has been made possible by utilizing the advanced color management engine originally developed for the ARRI AMIRA. Taking advantage of the extremely wide native color gamut of the ALEXA sensor, this new engine allows unprecedented control, which in the end means greater creative freedom for the filmmaker. In addition, previewing of looks on-set is improved, including the option to use the wide color gamut of Rec 2020 gamma, while dailies creation is made more efficient and final grading made faster.

A new type of look file, the ALF-2 (ARRI Look File 2), contains an ASC CDL (American Society of Cinematographers Color Decision List) as well as a 3D LUT (look-up table). ALF-2 files can be created with a new ARRI Look Tool, which can also import standard 3D LUTs. ALF-2 files and the tools that create them are compatible between ALEXA SXT, ALEXA Mini and AMIRA. Once loaded into the camera, CDL parameters and/or 3D LUTs can be applied to any of the three HD-SDI outputs or the viewfinder. For those who need faster workflows, CDL parameters and/or 3D LUTs can also be applied directly to the ProRes recording.

The new color management engine can easily match the look of current ALEXA cameras, but also provides the basis for radically different looks.

Super flexible on-set monitoring
To further streamline on-set workflows and deliver what has been asked for by crews all over the globe, ALEXA SXT cameras include three fully independent HD-SDI outputs. This allows, for instance, a Log C image to be used to show the director a pristine image with live grading, a clean Rec 709 image to be fed to video village, and a Rec 709 image with status information overlays to be displayed on the camera's on-board monitor.

Future-proof technology
ALEXA SXT cameras are designed to keep up with the growing needs of changing production methods: their powerful electronics offer significant potential for future hardware and software upgrades, illustrating ARRI's continuing commitment to the future-proof technology concept behind the ALEXA system.

http://www.arri.com/camera/alexa/cameras/camera_details/alexa-sxt/subsection/overview/

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Canon Cinema EOS C300 topic http://www.personal-view.com/talks/discussion/1350/canon-cinema-eos-c300-topic Thu, 03 Nov 2011 17:56:40 -0600 Vitaliy_Kiselev 1350@/talks/discussions
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•Single 8.3 megapixel 2160×3840 Super-35 CMOS sensor (4K resolution) with Digic DV III processor
•Canon XF codec (50Mbps 4:2:2 1080p30 MPEG2 MXF) records to two Compact Flash card slots
•Canon Log gamma, SDI, compact body, Custom Presets and menus similar to Canon XF series
•Exposure and focus control are completely manual — there is no AE or AF on either camera
•Sold as a system, incl. LCD monitor / XLR audio unit, side grip, top handle, batt. & charger
•Availability: Jan. 2012; Price: appx. $16,000 USD (for C300)

Canon claims the camera resolves 1,000 TV lines

Links:

http://learn.usa.canon.com/resources/articles/2011/c300_for_cinematographers.shtml?categoryId=22
http://learn.usa.canon.com/resources/articles/2011/understand_log_gamma.shtml?categoryId=22
http://www.thec47.com/gearbox/c300-day.html

Available at:

* http://www.bhphotovideo.com/c/product/839220-REG/Canon_5779B002_C300_Cinema_EOS_Camcorder.html
* http://www.bhphotovideo.com/c/product/839221-REG/Canon_5819B002_EOS_C300_PL_Cinema.html


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Wi-Fi remote control from tablet:

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Lenses:

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Panasonic HC-PV100 or AG-AC30 camcorder http://www.personal-view.com/talks/discussion/15291/panasonic-hc-pv100-or-ag-ac30-camcorder Tue, 28 Jun 2016 22:47:09 -0600 Vitaliy_Kiselev 15291@/talks/discussions

Specs

http://www.panasonic.com/au/consumer/lumix-cameras-video-cameras/video-cameras/hc-pv100.html

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Canon EOS C500 topic http://www.personal-view.com/talks/discussion/2839/canon-eos-c500-topic Wed, 11 Apr 2012 18:35:29 -0600 leonbeas 2839@/talks/discussions image

Links

http://www.cinemaeos.usa.canon.com/products.php?type=Camera-c500
http://cweb.canon.jp/cinema-eos/lineup/digitalcamera/c500/index.html

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