It is light-weight high-speed camera with 1,280 x 1,000 resolution at a frame rate of 5,000fps. With a resolution of 640 x 480 pixels, it can take images at a rate of 10,240fps. Its maximum frame rate is 800,000fps with a resolution of 640 x 8 pixels

The monochrome model has a 12-bit color scale while the color model has a 12-bit color scale for each of red, green and blue colors. It has up to 16 Gbytes of memory.

Weight of Fastcam Mini UX100 is just 1.5kg.

The size of the camera is 120 x 120x 90mm.

Price - US$47200.

http://www.photron.co.jp/products/image/fa_mini/index.html

When using the HD-SDI output on the Canon XA25 to record to something like the "Blackmagic Hyperdeck Shuttle" or the "Atmos Samurai"

Do you get footage in 10bit / 4:2:2 color spaces as both of these recorders promise?

Thanks,

http://www.kickstarter.com/projects/1521768569/edgertronictm-the-first-affordable-high-speed-vide

http://www.panavision.com/spotlight/tour-panavised-sony-f55-digital-camera

I'm not a professional, just an amateur/enthusiast obsessed with great video quality. I'm primarily looking for something that has a large sensor and can produce sharp, detailed images with minimal noise. I'd like something good for narrative with the bonus of having something I can run and gun with if I want to. I can hold my own with basic color grading, but I'm by no means highly skilled at it, so I feel I wouldn't lose too much if I no longer had RAW.

I've narrowed my options to either selling the BMCC and buying a C100 or FS100, or sucking it up and keeping the BMCC. As for price I feel they are all somewhat similar. If I keep the BMCC I need to still buy ND's, a battery solution, a better rig for handheld, a wider lens, and probably some type of storage array for all this footage I'm amassing. For the FS100 I'd need to add the Speed Booster and ND's to get it up to the C100 configuration.

For the C100, I'd probably pick up an Atomos recorder at some point in the future. For the FS100 I'd be shooting only with the Speed Booster as I have only EF glass.

From what I've read it seems like the C100 should be an easy choice over the FS100, but I feel like the FS100 looks much more cinematic (maybe it's just that I've stumbled upon videos made by FS100 users with better skills than the C100 users? Or maybe it's just because the FS100 has been out longer?). Honestly all of these very cinematic pieces shot with the FS100 are pretty much the only reason it's on my radar as otherwise I believe the C100 to be superior.

Any advice from people who have shot with either camera would be much appreciated. Is the C100 just as good or better than the FS100 when it comes to image quality?

C100 Concerns: -Possibly not as cinematic as the FS100

FS100 Concerns: -Would only be shooting with the Speed Booster (bugs/issues/etc. with this?) -It's a couple year old camera, so I'd probably be disappointed if Sony released a replacement shortly after I bought one -No ND's -Form factor not as much to my liking as the C100

Specifications:

• Less moire
• Phase AF on the sensor
• Better EVF - OLED XGA
• HD PS:Approx.28Mbps/FX:Approx.24Mbps/FH:Approx.17Mbps/HQ:Approx.9Mbps/LP:Approx.5Mbps; STD HQ:9Mbps
• Otherwise similar specs with AVCHD recording up to 1080p60 (see other NEX cameras)
• Better screen
• Dimensions (Approx.) : Approx. 3 5/8in x 5 1/8in x 8 3/4in (WxHxD with including supplied NP-FV70 battery)
• Weight (Approx.) : Approx. 1 lb 6 oz (650g) (with supplied NP-FV70 battery)
• Price: $1800

Available at:

• US : http://www.amazon.com/Sony-NEX-VG30-Handycam-Interchangable-Camera/dp/B0097G4TZU/
• US kit : http://www.amazon.com/Sony-NEX-VG30H-Handycam/dp/B0097CXFJU/
• US : http://store.sony.com/webapp/wcs/stores/servlet/ProductDisplay?storeId=10151&catalogId=10551&langId=-1&productId=8198552921666489331#features
• US : http://www.adorama.com/SONEXVG30H.html
• UK : http://www.wexphotographic.com/buy-sony-nex-vg30-interchangeable-lens-high-definition-camcorder-with-18-200mm-lens/p1532758
• DE : http://www.sony.de/product/cam-high-definition-on-memory-stick/nex-vg30eh

Reviews and previews:

• PR: http://www.dpreview.com/news/2012/09/12/Sony-NEX-VG900-full-frame-camcorder-and-VG-30-APS-C-model-and-18-200-power-zoom-lens
• http://www.engadget.com/2012/09/12/sony-nex-vg30-vg900-hands-on/

The film is a study of those for which detail and precision are at the heart of their work. At a time when machine work is increasing its presence within firms, tailors are looking to stress the quality of their true bespoke work – a suit made entirely by hand. Tailoring is a craft surviving 200 years and takes highly skilled individuals 8 -10 weeks to create a unique suit. For the tailors, cutters and finishers; bespoke is the epitome of their craft.

I decided to shoot super 16. Film is a physical medium, one that you can touch and feel and i felt that using a traditional photochemical based capture format demanded a level of precision and craftsmanship not too dissimilar to that of a bespoke tailor. Therefore i believed that shooting on film brought an extra dimension to the documentary that would be lost with digital capture.

We had 2,000feet of film stock which equates to less then a hour of footage around 50odd minutes for a 15 min film and had a back up camera in the bag (a hacked gh2 and a 7d) much like Top Gear have the bastard car on their epic journeys incase it all goes tits up, but thankfully we did not have to as i was not happy with a few test shots and stills that we took on the 7d.

Anyway here are some pictures unfortunately from a compressed version. I would love to share a link but we are currently about to hit the festival circuit and have had our first screening at the BFI Southbank in London, I really find the work posted here of a high standard and would love to hear feedback and thoughts? would any of you consider shooting film if the project would seem more authentic with it?

On a plus note i really love Super 16mm, It was a sad day when Fuji finally shut up shop I have only shot one narrative short and this documentary on the stuff and another short on a Bolex and yes it is a very grainy medium but it resolves colour beautifully and has great dynamic range and uncompressed from a 2k scan it is mint! I will shoot film as and when i can but for budgetary reasons this may not be possible..... Sooooo i cant wait for the Black Magic Pocket as it would mean the same field of view and a chance to stick on some Zeiss super 16mm Cine lenses.

• CMOS sensor
• 4K2K modes 3840×2160/60p/50p/24p　
• Encoding - VBR、144Mbps(Max) MPEG‐4 AVC/H.264、
• Audio ： AAC 2ch 48kHz 16bit 384kbps
• uses 4xSDHC cards

Via: http://www3.jvckenwood.com/press/2013/jy-hmq30.html

Low light performance is important to me, so one of the things I did was take the ISO up to it's maximum - 16,000. The people with me couldn't believe what they saw. There was almost no noise! The picture looked essentially the same as it did at the lowest ISO, (which is 2000). This is phenomenal performance. I did notice a slight reduction in latitude at ISO 16000, but since you're starting with 14 stops, this is not a big deal. This camera is going to be killer in the night.

Next I tested the rolling shutter by whip panning the camera back and forth as fast as I could. I and the people had a hard time seeing any skew. There probably was a little, but it wasn't much. This is not your father's rolling shutter. Many people may write off the F5 in favor the more expensive F55 because the F55 has a global shutter. But, I wouldn't be so hasty. The F5 definitely deserves to be tested.

The OLED viewfinder is very nice, but $5000 is a bit steep for it. If I was buying the camera, this is one thing I would probably omit. You can easily attach any good LCD panel through one of the SDI ports or the HDMI port.

Another thing that impressed me was how easy it was to operate the camera. The menu structure is very similar to other Sony cameras. If you have experience with the EX1/3, FS100/700, F3, you'll be up and running in minutes.

All in all, the Sony F5 is a great camera.

I guess it is hacked GH2 and GH3 that is the best call. The Black Magic are not available for a long time. Would be interesting to get some perspective here.

Leif

Is it just me or does the video they shot look very... video-y. Over-saturated. Skin tone looks unnatural. This project is sponsored in part by my favorite camera house, but man... not impressed with the footage.

Probably just bad grading...

Any thoughts?

Oh, and they advertise it with "easy to use". It´s not. (well maybe when it´s set up and properly functioning; it´s easy to zoom, pan & tilt and make presets, however when you need to dig into the menus you need their equally abysmal manual) It´s the most counter-intuitive piece of equipment I´ve used.

Osaka, Japan (November 5th, 2012) — Panasonic Corporation will release the new AG-AF100A Series Memory Card Camera Recorder in November 2012.

The AG-AF100A Series is the professional HD camera recorder with a Micro Four Thirds mount. As with the conventional model AG-AF100 Series, AG-AF100A Series can use a wide range of lenses including Micro Four Thirds compatible DSLR (Digital Single Lens Reflex) lenses and Cinema lenses with a mount adapter. AG-AF100A Series also features two-channel XLR audio input terminals and more functions to meet the professional needs.

In addition to the professional high quality PH mode (average approx. 21Mbps, maximum 24Mbps), AG-AF100A Series complies with the AVCHD ver. 2.0 (AVCHD Progressive) standard in its new PS mode (average approx. 25Mbps, maximum 28Mbps) for recording, playing and outputting (via HDMI only) Full-HD progressive (1080/59.94p, 1080/50p) images. The PS/PH modes support uncompressed 16 bit LPCM 2-channel audio recording.

The AG-AF100A Series can newly output HD signals with 10 bit 4:2:2 quality via the camera’s live output function and record onto the external devices, such as P2 Recorder, compatible with 10 bit high quality recording through SDI. P2 Recorder also syncs Rec Start/Stop with the AG-AF100A series trigger.

The AG-AF100A Series is newly equipped with the expand focus assist function, which enlarges the center of the displayed image, and 2.39:1 (cinema scope size) safety zone marker.

The AG-AF100A Series will be available in November 2012 at an open price in Japan.

Via: http://av.watch.impress.co.jp/docs/news/20121105_570918.html

I understand that the price is important but if I want to go with the Lumix GH3 I have to buy the Rig and all accessories so it will end up with the same price as C100 camera with lenses as will as FS100.

Lets get every one and Pro film makers opinion...

any ideas?!

Sony EVI-H100s seems reasonable from the spec sheet but it seems impossible to find any footage from it.

I´m sure there are other options out there as well.

(edit: Vitaliy, feel free to move topic if you think it´s better suited elsewhere)

My m43 engagement began with a GH1 which did not quite satisfy my expectations for stability and picture quality. Now I own a GH2 which is a significant improvement. Unfortunately I have to shoot 25p which we all know is only second best. The other well known issues are noise, dynamic range and picture styles. Despite these shortcomings I have invested in several m43 lenses which I am quite happy with. What I particularly like about m43 is the smaller sensor. It is large enough for shallow DOF esthetics but it gives me deep DOF if I need it, which actually is more often the case than with shallow DOF.

What's lacking is a serious professional camcorder with a m43 mount, something that can compete with the Sony FS100 and 700. Who knows whether and when Black Magic will come out with a m43 cinema camera. I am sure that Panasonic has the technology for a professional m43 camera and I am pretty sure that there is a large enough market for it. Instead all Panasonic offers is the lackluster AF100. Therefor I would like to start a thread with suggestions for a better camcorder offer for m43 film folks. If not Panasonic, maybe Olympus will cash in on it.

Sony introduces the full-featured yet light and compact PMW-100 handheld camcorder.

The PMW-100 joins the ever popular XDCAM HD422 line-up – making it the smallest and lightest camcorder in the XDCAM family.

Advancement in digital imaging technology has enabled professional journalists and videographers to cover stories by using portable devices such as mobile phones, DSLRs and consumer camcorders. However, when compared to main-stream shoulder mount camcorders, there is still a significant gap in image quality, ease of editing and data management. The PMW-100 achieves the best of both worlds, by recording full broadcast quality MPEG HD422 video within a hand-held form factor.

Equipped with a newly developed 1/2.9-inch "Exmor" CMOS sensor, it delivers excellent picture performance and also achieves the minimum illumination of 0.08lx. Featuring a 5.4-54mm (40-400mm in 35mm equivalent) zoom lens, the versatile PMW-100 allow users to work in virtually any production environment where mobility and flexibility is highly valued.

"The PMW-100 combines exceptional picture quality with portability and outstanding manoeuvrability based on the proven XDCAM workflow, taking professional users to a whole new level of productivity. The development of the PMW-100 is a natural step in the progression of the XDCAM range and is a direct response to our customers requirements. Long-time XDCAM users requested a light and compact camcorder that will not only work seamlessly on its own, but also alongside other XDCAM cameras such as the acclaimed PMW-500," said Bill Drummond, Strategic Marketing Manager, Sony Europe.

The PMW-100 supports full-HD video at 1080i, 1080p and 720p up to 50 Mbps MXF recording and playback based on the MPEG HD422 codec using the standard MPEG HD422 Long GOP compression technology. It is also switchable to MPEG HD420 35/25Mbps or DVCAM 25Mbps. The PMW-100 can also record high quality 24-bit four-channel audio at an uncompressed 48kHz.

It offers utmost flexibility of using a variety of recording media including the high speed SxS memory card as well as Memory Stick, SD card and XQD as the emergency secondly media. The new "SxS Memory Card Management Utility"* software will provide additional operational convenience with SxS memory card, such as the data back-up function and the lifetime indication of the card in use.

Focusing on your subject and reviewing recorded footage is a breeze with the full colour 3.5-inch WVGA (852x480) LCD. The Slow & Quick Motion function enables users to create artistic fast and slow-motion footage from 1fps to 60fps in 720p mode and from 1fps to 30fps in 1080p mode.

The camera also incorporates HD/SD-SDI output, Composite output, Genlock input, time code input/output, i.LINK (HDV/DV) input/output, and A/V output.

The PMW-100 will start shipping in May 2012.

"The BBC uses the EBU’s Recommendations for high definition cameras. The current document EBU R118 gives details of camera criteria and how they can be tested. The site also has recommended set-ups for all cameras currently tested…Cameras usually have a minimum of 3×1/2” sensors or 1×1” and a recording format of a minimum of 50Mbs inter-frame or 100Mbs intra-frame."

More here: http://nofilmschool.com/2012/07/sony-pmw-100-will-not-get-bbc-certification