Pro Video Cameras http://personal-view.com/talks/categories/professional-cameras/feed.rss Mon, 17 Feb 20 09:48:22 +0000 Pro Video Cameras en-CA Canon EOS C500 Mark II coming soon http://personal-view.com/talks/discussion/18649/canon-eos-c500-mark-ii-coming-soon Thu, 04 Jan 2018 23:44:28 +0000 Vitaliy_Kiselev 18649@/talks/discussions It'll have Dual AF Sensor, 4K at 60fps, possible optional internal raw recording.

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RED surpassed Beats by Dr Dre margins record selling you just consumer SSD http://personal-view.com/talks/discussion/22255/red-surpassed-beats-by-dr-dre-margins-record-selling-you-just-consumer-ssd- Fri, 05 Jul 2019 06:25:53 +0000 Eimulis 22255@/talks/discussions

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Canon ME20F-SH http://personal-view.com/talks/discussion/13478/canon-me20f-sh Wed, 29 Jul 2015 22:44:15 +0000 Vitaliy_Kiselev 13478@/talks/discussions image

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Canon Cinema EOS C100 camera topic http://personal-view.com/talks/discussion/4402/canon-cinema-eos-c100-camera-topic Wed, 29 Aug 2012 07:10:50 +0000 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 FX9 Camcorder http://personal-view.com/talks/discussion/22566/sony-fx9-camcorder Thu, 12 Sep 2019 04:44:18 +0000 Vitaliy_Kiselev 22566@/talks/discussions image

PR

Sony launches flagship FX9 camcorder with newly-developed Full-Frame¹ sensor, Fast Hybrid Auto Focus system and enhanced mobility features

Next generation camcorder offers content creators greater creative freedom, flexibility and custom features to help bring their artistic vision to life

Sony today unveils the PXW-FX9, its first XDCAM camcorder featuring an advanced 6K² Full-Frame sensor and Fast Hybrid Auto Focus (AF) system. The new flagship camcorder offers content creators greater creative capabilities to capture stunning images that truly resonate with audiences.

Building on the success of the PXW-FS7 and PXW-FS7M2, the FX9 uniquely combines high mobility with an advanced AF system, impressive bokeh and slow-motion capabilities thanks to its newly-developed sensor. The FX9 also inherits its colour science and Dual Base ISO 800/4000 from the VENICE digital motion picture camera and represents the ultimate tool of choice for documentaries, music videos, drama productions and all-round event shooting.

The FX9 was designed in close collaboration with the creative community and is another example of Sony continuously evolving its proposition to innovate with the customer and market needs. The camcorder benefits from the versatility, portability and performance expected of an FS7 series "Run & Gun" style camcorder, while also offering High Dynamic Range and Full Frame shooting features.

"Today's content creators require a camcorder that is agile, versatile and customizable to their specific creative needs, yet also offers superior performance and image quality. With the new FX9 we are striking the perfect balance between agility, ergonomics and powerful features, offering content creators the complete toolset to achieve their full artistic intention," explained Hany Bartella, Business Head -- Broadcast & Media ME, Sony Professional Solutions MEA. "At Sony, we consistently listen to our customers and every product, solution or service we unveil has always been developed with their specific needs in mind. Our latest flagship camcorder is no different and we are excited to see how it will help content creators to go make tomorrow."

Powerful features for creative content creators

The newly-developed 6K Full-Frame sensor offers wide dynamic range with high sensitivity, low noise and over 15 stops of latitude that can be recorded internally in 4K 4:2:2 10bit. Oversampling by the Full-Frame 6K sensor allows professionals to create high-quality 4K footage with impressive bokeh effects through shallow depth of field, while wide-angle shooting opens new possibilities for content creators to express their creativity. This means that every scene captured looks true-to-life whether it's shot in broad day light or in the middle of the night. The camcorder can also capture content up to five times the slow-motion speed with FHD 120fps shooting.

With the same colour science and Dual Base ISO 800/4000 as the VENICE camera, the new sensor can also create softer and more alluring facial tones.

The enhanced Fast Hybrid AF system with customisable AF transition speeds and sensitivity settings also combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. The dedicated 561-point phase-detection AF sensor covers approximately 94% in width and 96% in height of imaging area, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects while maintaining shallow depth of field.

Limitless creativity and flexibility

Inspired by the high mobility "Run & Gun" style approach from the FS7 series of camcorders, the FX9 offers content creators even greater flexibility thanks to Electronic Variable ND Filter. This allows more creative effects for content creators and instant exposure level changes depending on the filming environment -- even when it's moving from an inside space to outdoors or while filming in natural light conditions. By recording image stabilisation information and using it on the Catalyst Browse/Prepare⁴ option, content creators can capture incredibly stable visuals even in handheld mode. Sony is also working to encourage other third party none-linear editing tools to adopt this functionality.

The FX9 comes with a range of customizations and expansion features. These include compatibility with the new UWP-D series of wireless microphones via Multi Interface Shoe™ (MI Shoe) with digital audio interface, the XDCA-FX9 extension kit enabling 10bit S35 4K 120fps and 16bit RAW output⁵, compatibility with Sony BP-GL and BP-FL series batteries, D-Tap, RJ-45 interface and stable "Dual Link" streaming by using two carrier lines, as well as DWX slot-in type digital wireless receiver commonly used in broadcasting settings⁵. The FX9 will also be compatible with the newly launched E-mount lens FE C 16-35mm T3.1 G, which uniquely balances full manual operability for movie shooting and auto-control functions.

"Based on our ongoing conversations with customers, partners and the wider industry, we at Sony understand the needs of today's creative storytellers -- from the world's top cinematographers, to documentary film makers, music video directors or broadcasters. What they all need is a flexible camera that allows them to tell their own unique story, no matter the environment they operate in. Our next-generation FX9 not only captures stunning visuals with life-like image quality, but it also offers advanced AF features and customisation options. This makes it the ultimate creative tool for modern content creators," concludes Hany Bartella.

The FX9 will be available towards the end of 2019 and on display at the Sony stand (A10, Hall 13) at IBC 2019 from the 13th -- 17th September. For more information please visit www.pro.sony/ibc

  • Initially supported recoding aspect is 16:9. 17:9 (active about 19M pixel) will be supported by future update.
  • 6K Oversampling, not capable of 6K recording
  • 3840×2160 recording is initially supported and 4096×2160 recording will be supported by future update.
  • Planned to be supported by Ver.2019.2 in December 2019
  • Raw output function and DWX compatibility will be supported by future update
  • A future update will be scheduled sequentially for summer 2020. Further details will be announced.
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BOSMA 8K Cinema Camera http://personal-view.com/talks/discussion/23348/bosma-8k-cinema-camera Fri, 10 Jan 2020 16:22:16 +0000 jleo 23348@/talks/discussions BOSMA Envy 8K Cinema camera estimated $5000 MSRP

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Sony PXW-FX6 Coming Soon http://personal-view.com/talks/discussion/23274/sony-pxw-fx6-coming-soon Tue, 24 Dec 2019 10:26:47 +0000 Vitaliy_Kiselev 23274@/talks/discussions Rumored specs

  • FX9 sensor
  • 6K resolution
  • XAVC-L
  • Double SDXC slots
  • Release around February 2020
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Panasonic AG-CX350 4K Camcorder with 4Kp60 10bit HEVC http://personal-view.com/talks/discussion/21370/panasonic-ag-cx350-4k-camcorder-with-4kp60-10bit-hevc Tue, 22 Jan 2019 23:54:41 +0000 Vitaliy_Kiselev 21370@/talks/discussions

Panasonic has announced the AG-CX350, a 4K 1.0-type handheld camcorder that offers both creativity and connectivity for live events, IP Production, sports, and news gathering.

The CX350 is a handheld camcorder that is optimized for 4K/HD production with live broadcasting capabilities. With its integrated lens design, the CX350 brings impressive new features including 4K 10-bit 60p capture, HDR recording, and is equipped with the RTMP/RTSP/RTP protocol for live streaming and NDI | HX-ready IP connection. At only 4.2-lbs. (body only), the CX350 is also the lightest 4K 10-bit fixed-lens camcorder in its class.

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The 1.0-type MOS sensor (approx. 15.03-megapixels in UHD/FHD) provides exceptional depth-of-field and offers a great balance between image quality and sensitivity (F12/F13 in High Sensitivity Mode). The CX350 can capture in UHD (3840x2160), Full HD (1920x1080), HD (1280x720), and SD (720x480). Like the EVA1, the CX350 offers 10-bit 4:2:2 color sampling with ALL-Intra (400-Mbps) and LongGOP (150Mbps) and can be recorded in UHD up to 29.98p/25p and FHD up to 59.97p/50p. It also supports the 10-bit HEVC codec at UHD up to 59.97p/50p with a low bit rate of 200Mbps. The HEVC 10-bit codec can be natively decoded and played by computers with 7th Generation (or later) Intel Core i7 chips. All of these formats and compression rates can be recorded internally to lower cost SD cards.

The CX350 offers multiple forms of IP connectivity. It is the first handheld camcorder with in-camera NDI | HX compatibility (requires license purchase), allowing for high-quality IP video connectivity with live production switchers, including the Panasonic AV-HLC100 Stream Studio. The CX350 contains the RTMP (Real Time Messaging Protocol) function, which enables video streaming to key social platforms like Facebook Live and YouTube Live. Internal HD recording (MOV) while streaming content is also available. The CX ROP app for iOS/Android tablets enables IP remote control of the CX350 with Gigabit Ethernet LAN connector (RJ45), or wireless module (AJ-WM50). With the app, you can control functions such as camera settings, picture quality adjustment, REC start/stop, menu settings and more.

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The CX350’s integrated lens contains a wide angle of 24.5mm at the wide-angle setting with minimal distortion. The 20x optical zoom lens covers the range from 24.5mm to 490mm (35mm film equivalent at 4K/HD). It also has the 35x(HD) / 24x(4K) Intelligent Zoom function. In both 4K and HD shooting modes, the CX350 uses 5-axis hand-shake correction that combines the effects of both optical and electronic image stabilization, providing a steadier image in unstable shooting conditions.

In addition to capturing conventional gamma modes (HD, SD, FILMLIKE 1/2/3 FILM-REC, VIDEO-REC), the CX350 now supports HLG (Hybrid Log Gamma) to capture a wider dynamic range. The HLG standard was developed jointly by the BBC (British Broadcasting Company) and NHK (Japan Broadcasting Corporation) and is currently supported by both TV stations and streaming services. When shooting HLG, the CX350 can be set to HDR or SDR Color Setting on each output – LCD/EVF, SDI and HDMI.

For sports shooters, Variable Frame Rate (VFR) recording can be set in the range of 1-fps to 60-fps (59.94Hz). In FHD mode, Super Slow motion can be achieved at 120-fps/100-fps (59.94Hz, 50Hz). The CX350 can also capture 720p AVCHD 8-Mbps, for a video analysis and compatibility with DV Sports and XoS Digital, plus an interchange format.

Additional key features of the CX350 include support for AVCHD, simultaneous SDI and HDMI output (UHD video via HDMI and output of HD video via 10-bit, 4:2:2 SDI), two audio channels from the built-in stereo mic or two XLR audio inputs, and low power consumption at 17 W. Two toggle switches for GAIN and WHITE BALANCE are available, as well as two Accessory Shoes for additional versatility.

The CX350 will be available in late February 2019 with a suggested list price $3,995.

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Panasonic AJ-CX4000 4K HDR ENG Shoulder-Mount Camera http://personal-view.com/talks/discussion/23213/panasonic-aj-cx4000-4k-hdr-eng-shoulder-mount-camera Sat, 07 Dec 2019 18:47:57 +0000 Vitaliy_Kiselev 23213@/talks/discussions image

PR

Panasonic announced that its new AJ-CX4000, a 4K/HDR shoulder-mount camcorder with B4 lens mount and interchangeable lens, will be available at the end of December at a suggested list price of $25,000. Ideal for network news, sports, blue-chip nature films and travel documentaries, the AJ-CX4000 follows the handheld AG-CX350 to expand the CX Series of 4K camcorders.

Offering many of the features and formats of the AG-CX350, the AJ-CX4000 shoulder-mount also shares key imaging features with Panasonic’s AK-UC4000 flagship studio camera system. Like the AK-UC4000, the AJ-CX4000 is equipped with a large-sized 4.4K image sensor that facilitates ultra-high-definition resolution (horizontal, 2000 TV lines), high sensitivity, low noise and a wide dynamic range. Also common with the studio camera system is LSSIEL technology, allowing a 2/3 lens to be used without an external adapter, with the internal lens specially designed for large sensors.

The AJ-CX4000 features HLG (Hybrid Log-Gamma) for recording of HDR (High Dynamic Range) video in compliance with BT.2100 and BT.2020 standards, and is equipped with such HLG recording assist functions as SDR Monitoring Gamma, HDR/SDR Parallel Output, VF/LCD HDR/SDR Selector and eight-mode Gamma selection.

The AJ-CX4000 has a fast, connected workflow, including RTMPS and RTSP for live streaming and NDI/HX* for live production. In addition, its HEVC codec offers extended recording with 4K/10-bit high image quality, all while keeping bitrate and storage size low. The AJ-CX4000 records MOV files that are highly compatible and easy to use. This file format is the same as that used on the AG-CX350 and Panasonic's AU-EVA1 compact cinema camera, and supports long file names with up to 20 characters, allowing recorded video clips to be easily managed. The AJ-CX4000 also supports the MXF P2 file format for broadcasting, enabling AVC-Intra or AVC-LongG HD recording with fast, reliable expressP2 cards, cost-effective microP2 cards, or low-cost SDXC memory cards.

The camera supports high-quality 24-bit/48 kHz four channel digital audio recording. The audio source for each channel can be selected, choosing from mic-in, line-in and wireless receiver. A LAN terminal with a lock mechanism is provided, enabling IP remote control. The AJ-CX4000’s NDI|HX mode allows video transmission and camera control via IP connection, without using an external converter. When connected to a system configured with Panasonic’s AV-HLC100 Live Production Center and HN/UN series PTZ integrated cameras, the AJ-CX4000 realizes end-to-end live video production as well as web distribution.

The standard 12G-SDI output terminal delivers high-image-quality UHD 60p (50p) 10-bit 4:2:2 output. Also provided are XLR audio input (2CH) terminals compatible with +48-V phantom power supply, as well as HDMI OUT, TC IN/TC OUT, GENLOCK IN, USB3.0 (DEVICE) and USB2.0 (HOST, wireless module) terminals.

The AJ-CX4000 can be controlled remotely and wirelessly using the tablet/smartphone app “CX ROP” (downloadable for free from the App Store** or Google Play), allowing the user to display camera information and change camera settings. The CX ROP provides a wealth of remote functions for output signal selection, USER button setting, REC S/S and many others. The app can also be used to select which camera to control from up to eight cameras in the CX Series.

The camera’s standard 3.5-type color LCD with approximately 2.76 M pixels allows for high-definition color monitoring, with a touch panel enabling easy operation. The 2.4-type black-and-white organic EL display offers high brightness and clearly shows the status information—such as the timecode and audio input level--even in outdoor environments.

The AJ-CX4000’s shooting assist functions encompass: two optical filters, ND and CC, with four positions each; Chromatic Aberration Compensation; Dynamic Range Stretch; Advanced Flash Band Compensation; 2x/3x/4x digital zoom boost; Focus Assists--“Expand”, “Peaking” and “Focus Square”; Shockless Automatic White Balance (AWB); simplified WFM/Vectorscope display on LCD and VF; High-Brightness Zebra Display; Y-GET to measure brightness at center and display numerical data; Lens Files to store settings for interchangeable lenses; Setup Files; Mode Check to display a list of the camera settings on VF and LCD; Rec Check; and five assignable User Buttons.

For more information about the AJ-CX4000, visit https://bit.ly/2P9gANk.

  • NDI|HX, a technology of NewTek, Inc. To use this function, an activation keycode from NewTek is required.
  • The Apple App Store is a trademark of Apple Inc. registered in the United States and other countries
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Z Cam E2C: $799 for ProRes http://personal-view.com/talks/discussion/22417/z-cam-e2c-799-for-prores Wed, 14 Aug 2019 13:58:48 +0000 markr041 22417@/talks/discussions

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JVC 4K cameras, including GY-LS300 - 4K for $2995, GY-HM200 and GY-HM170 http://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 +0000 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 XF705 Pro HDR Camera http://personal-view.com/talks/discussion/20409/canon-xf705-pro-hdr-camera Tue, 11 Sep 2018 03:53:35 +0000 Vitaliy_Kiselev 20409@/talks/discussions image

Specs

  • 1.0-inch 4K UHD CMOS Image Sensor
  • 15x Optical 4K UHD Zoom Lens with Optical Image Stabilization
  • Dual DIGIC DV 6 Image Processors
  • 4K UHD 59.94p 4:2:2 10-bit Recording
  • Dual Pixel CMOS AF
  • HDR Recording with HLG/PQ Shooting Assist
  • Canon Log 3
  • Wide DR Gamma (800%)
  • 4.0-inch Rotating Touch Panel LCD and 0.46-inch OLED Electronic Viewfinder
  • HDMI 2.0 Terminal with 4K UHD 60p Output Support
  • 12G-SDI, Genlock SMPTE Time Code and Other Terminals
  • Live IP Streaming
  • Flexible Audio Inputs with Linear PCM 4-channel Support
  • RC-V100 Remote Controller Support
  • Compact, Lightweight and Ergonomic Design
  • Network Connections for FTP Transfer and Browser Remote (Wired and Wi-Fi® Connectivity)
  • Available for $6999 at
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JVC GY-HC500 and HC550 Connected Cameras - JVC looks into future http://personal-view.com/talks/discussion/20406/jvc-gy-hc500-and-hc550-connected-cameras-jvc-looks-into-future Tue, 11 Sep 2018 01:13:22 +0000 Vitaliy_Kiselev 20406@/talks/discussions image

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  • 1” 4K CMOS sensor
  • 20x zoom lens (F2.8 ~ F4.5、 20x zoom)
  • 3-ring control (iris, focus, zoom)
  • 4K 50/60p
  • 10-bit ProRes 422 support
  • H.264 and MPEG-2 options - 4K(150Mbps):UHS-I U3,4K(70Mbps)/HD (50Mbps)
  • BT709, BT2020, BT2100 HLG color spaces
  • live streaming (up to 1080p50/60)
  • remote control
  • HC550 only - Wireless LAN antennas, graphics overlays, Zixi protocol support
  • NDs -OFF, 1/4, 1/16, 1/64
  • 3G-SDI (BNC × 1)、HDMI × 1、AV (Φ3.5mm) XLR × 2(MIC、+48V/LINE), φ3.5mm
  • RCA × 1
  • USB(3.0)
  • Ethernet RJ-45 ×1
  • LAN 2.4GHz/5GHz MIMO
  • SSD
  • ship in early 2019
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Phantom Flex 4K @ 1000fps in 4K http://personal-view.com/talks/discussion/6629/phantom-flex-4k-1000fps-in-4k Sun, 07 Apr 2013 22:29:17 +0000 Manu4Vendetta 6629@/talks/discussions First video with this dream machine

I took the info from nofilmschool.com:

  • 1000fps in 4k (4096×2160) for ~5 seconds (64gb internal memory) / 3.2 minutes @ 24fps
  • Uncompressed RAW on CineMag IV cards, with optional compressed ‘industry standard codec’ (TBA)
  • Super 35 CMOS Sensor size, 4096×2304 (16:9)
  • 12+ stops of Dynamic Range
  • Optional 1920×1080 shooting mode in 23.976 with a Super 16mm sensor crop (up to 2,000 frames per second)
  • Lens mounts come in PL, PV, Nikon F/G & Canon EF
  • Weighs in at 13 lbs
  • $140,000 with a 2 Terabyte CineMag
  • Expected to be delivered by October, from AbelCine
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Canon C300 Mark III coming sometimes http://personal-view.com/talks/discussion/18390/canon-c300-mark-iii-coming-sometimes Mon, 04 Dec 2017 18:56:38 +0000 Vitaliy_Kiselev 18390@/talks/discussions Rumored specs

  • 6K Super35 sensor
  • IBIS
  • 16-17 stops DR
  • 1080p up to 180 frames per second
  • UHD at 50-60 frames per second
  • UHD high speed mode at 120fps
  • Internal RAW recording (compressed)
  • External RAW output (at 6K)
  • Around 20% price premium compared to previous model
  • Around $18000-19000 price
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Sony PXW-FS7 camera topic http://personal-view.com/talks/discussion/11257/sony-pxw-fs7-camera-topic Thu, 11 Sep 2014 23:58:06 +0000 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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Panasonic AK-SHB800 8K Camera with organic sensor http://personal-view.com/talks/discussion/22573/panasonic-ak-shb800-8k-camera-with-organic-sensor Thu, 12 Sep 2019 12:01:56 +0000 Vitaliy_Kiselev 22573@/talks/discussions image

Introduces 8K Organic Sensor innovation

Panasonic will also be demonstrating its latest 8K Organic Sensor technology at IBC 2019. Designed for wide camera angle shots with high resolution, the sensor is set to revolutionise commercial sports and live event coverage.

With first commercial use anticipated at the 2020 Olympic Games in Tokyo, the organic sensor technology has a number of competitive advantages. It comes with a wide dynamic range delivering more colours and higher quality images than ever before. Its Electronic Neutral Density Filter (ENDF) can reduce or introduce light more smoothly than its traditional Optical Neutral Density (OND) counterparts and its innovative Global Shutter delivers advantages over current Rolling Shutters by removing the skew when shooting fast moving images and eliminating flashband from still camera lighting at live events and press conferences.

8K ROI camera available later this month

Panasonic is also showcasing its new 8K ROI (Region of Interest) multi camera system that promises to change the landscape of broadcast production. This system includes a 8K multi-purpose camera (AK-SHB800), a processing unit (AK-SHU800) and framing control software (AK-SFC101) and goes on sale in Europe later this month at an RRP* of 130.000 €.

The 8K ROI system is able to produce 4 different HD signals or “virtual cameras” from a single 8K camera system. The 8K sensor produces a wide angle, large canvas, out of which four separate “crops” can be generated out of the processing unit.

The system improves operational efficiency, reducing operating costs on a multitude of potential production applications such as sports broadcasting, staging and studio applications. Featuring automated picture correction technology, the camera system also ensures that any distorted images are corrected and cropped with a natural, cut out, Full HD image from within the main 8K image.

Multiple cameras can be integrated across the system, with a main operator controlled camera linked to further sub-cameras, which can also be pre-programmed prior to the event. As a result, a single operator can control multiple cameras each with several pre-set crops for versatile, yet cost effective multi-camera operation.

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Canon EOS C300 MK II http://personal-view.com/talks/discussion/12755/canon-eos-c300-mk-ii Tue, 07 Apr 2015 23:31:04 +0000 Vitaliy_Kiselev 12755@/talks/discussions image

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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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Canon C200 Camera http://personal-view.com/talks/discussion/17040/canon-c200-camera Mon, 29 May 2017 07:37:40 +0000 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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Official Sony CineAlta F65 topic, 8K 16bit raw camera http://personal-view.com/talks/discussion/872/official-sony-cinealta-f65-topic-8k-16bit-raw-camera Wed, 07 Sep 2011 05:17:45 +0000 Vitaliy_Kiselev 872@/talks/discussions

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Sony F3 or BMCC (ended up with a Sony F35) http://personal-view.com/talks/discussion/5511/sony-f3-or-bmcc-ended-up-with-a-sony-f35 Mon, 17 Dec 2012 16:44:48 +0000 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 New CineAlta Venice http://personal-view.com/talks/discussion/17086/sony-new-cinealta-venice Sat, 03 Jun 2017 05:07:46 +0000 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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Panasonic Varicam LT official topic http://personal-view.com/talks/discussion/14465/panasonic-varicam-lt-official-topic Thu, 21 Jan 2016 12:04:58 +0000 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 C700 http://personal-view.com/talks/discussion/15632/canon-cinema-eos-c700 Wed, 31 Aug 2016 11:23:59 +0000 Vitaliy_Kiselev 15632@/talks/discussions

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Panasonic EVA1, like in WALL-E, S35 Camera http://personal-view.com/talks/discussion/17005/panasonic-eva1-like-in-wall-e-s35-camera Wed, 24 May 2017 06:50:11 +0000 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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Arri Alexa LF - 4K finally http://personal-view.com/talks/discussion/18921/arri-alexa-lf-4k-finally Fri, 02 Feb 2018 09:12:41 +0000 bannedindv 18921@/talks/discussions New 4K Alexa with Full Frame ~36x24 Sensor

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At the BSC Expo in London, Arri (www.arri.com) unveiled a new large-format camera system. Based on a large-format 4K version of the Alexa sensor, the system comprises the Alexa LF camera, Arri Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. It is also compatible with existing lenses, accessories and workflows.

Featuring a sensor slightly bigger than full frame, Alexa LF records native 4K with Arri’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ArriRaw up to 150fps, provide total flexibility.

“The larger Alexa LF sensor has the same optimal pixel size as other Alexas, resulting in a 4,448 x 3,096 image,” says Marc Shipman-Mueller, Arri product manager for camera systems. “This doesn’t just add definition, it creates a whole new look — one that is truly immersive, with a three-dimensional feel. The various recording formats and sensor modes make this look available to all productions and satisfy any possible deliverable requirement.”

Accompanying the Alexa LF camera are 16 large-format Arri Signature Prime lenses, ranging from 12mm to 280mm and fitted with the Arri LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotionally engaging images, gently softening and texturizing the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

Optimized for large-format sensors, the new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other cameras and is being licensed to third-party lens and camera manufacturers.

Although the camera, lens mount, and lenses are new, full compatibility with existing PL mount lenses and Alexa accessories is a cornerstone of the system's design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame.

The first Alexa LF cameras will be shipped at the end of March 2018. The initial set of four Signature Prime lenses (35mm, 47mm, 75mm, and 125mm) will be shipped in early June 2018. The remaining lenses will be available over the course of the year.

https://www.arri.com/largeformat/

[Image and PR added by VK]

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Canon is going 8K http://personal-view.com/talks/discussion/21728/canon-is-going-8k Sat, 16 Mar 2019 00:17:17 +0000 Vitaliy_Kiselev 21728@/talks/discussions

Canon, in cooperation with Miyazaki Prefecture, has produced a new, ultra-high-resolution 8K video highlighting some of the prefecture’s most iconic sightseeing locations and cultural elements. The project, entitled “Origins of Japan’s Mythology,” aims to promote tourism to Miyazaki and to preserve its natural beauty and cultural heritage. Using a Canon 8K camera equipped with the Company’s rich lineup of EF Cinema Lenses covering the full range from wide-angle to telephoto, this video features such scenes as Takachiho Shrine and ritual Kagura dancing, Amanoyasugawara cave and sake making at a brewery in the town of Hinokage. Watch the video and experience the majesty of Miyazaki in exquisite detail!

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Canon Cinema EOS C100 mk.II http://personal-view.com/talks/discussion/11611/canon-cinema-eos-c100-mk.ii- Tue, 21 Oct 2014 22:20:19 +0000 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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How to clean glass in front of sensor on JVC LS300 http://personal-view.com/talks/discussion/15331/how-to-clean-glass-in-front-of-sensor-on-jvc-ls300 Sat, 09 Jul 2016 10:21:14 +0000 belfryman 15331@/talks/discussions I have a smudge on what looks like glass in front of the sensor, does anyone have a recommended method for cleaning it? Thank you. Not super sharp pic but you can just see it.

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Canon Vixia X40 and Canon XA45 coming soon http://personal-view.com/talks/discussion/21445/canon-vixia-x40-and-canon-xa45-coming-soon Thu, 31 Jan 2019 06:37:08 +0000 Vitaliy_Kiselev 21445@/talks/discussions Both passed certification stage in Korea

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