Sony has really earned itself being slapped by investors, consumers and malicious hackers alike.

Test footage details:
The choice of lenses was done very carefully. Considering different crops of the APS-C and micro-four-thirds sensors (1,5x vs 1,86x recpectivelly) I've used the lenses that have similar view angle, same speed and extremely similar optical performance. All lenses had proper lens hood at all times. The aperture was most of the time stopped down for one step (day at f/4.0, night at f/2.8) except in very dark scenes, where both Nikkors had fully open diaphragm. In the NEX-7 there is no possibility of shooting in 24fps mode so I set it to 25fps and adjusted the GH2 to HBR and 25fps.

NEX-7 with stock firmware (PAL) // GH2 with the patch Cake 2.3 by @balazer
AVCHD 25fps 1080 // AVCHD HBR 25fps 1080
The GH2 camera files were quite exactly double-sized compared to the NEX-7

Daylight footage settings:
Lens: Canon FD 35/2.8 // FD 24/2.8
Lens aperture: (always) 4.0, no filters
Crop: 1.5x35=52,5mm equivalent // 1.86x24=44,6mm equivalent
ISO: 200 // 200 (always)
AWB // AWB
EV 0.0 // 0.0
Metering: multi // frame+center
Colors progr.: standard // standard
In-camera setting: default // default (0,0,0,0)
Mode: aperture priority (both)

Night footage settings:
Lens: Nikkor 35/2.0 Ai // Nikkor 28/2.0 Ai
Crop: 1.5x35=52,5mm equivalent // 1.86x28=52,1mm equivalent
Lens aperture: 2.0-2.8
ISO: 1600-1600
AWB // AWB (one take manually set to 2500K both)
EV: at first 0.0 both, later -0.3 / +0.7
Metering: multi // field+center
Colors progr.: standard // standard
In-camera setting: default-default (0,0,0,0)
Mode: manual (both)

Comments and bit of my subjective impressions:

Exposure: by default settings (EV 0.0), NEX-7 tends to overexpose EV+2/3, GH2 to underexpose EV-2/3
Colors: NEX-7 tends to reddish, GH2 to greenish colors. The NEX-7 has possibility of adjusting the color tones for every color mode, also for AWB.
White balance: NEX-7 is capable of getting much cooler AWB, extremely weird situation occurs at 2m45" when the WB in both cameras was set manually to 2500K
Moiré: two tipical situations by 1m40" but generally, the NEX-7 has obviously less moiré
ISO: NEX-7 has feature of changing the ISO sensitivity during the recording, the GH3 offers this but GH2 and GH1 not. In the daylight ISO was set manually to 200, in the night to 1600 in both cameras.
Sharpness: I was expecting clear winner GH2 and much worse NEX-7. Yet, the result is very similar. Please mind that in one scene I forgot to focus the lens (by 2m35") mounted to the NEX-7
Contrasts: in all test situations the NEX-7 shows more details in the shadows, but it would need bit more testing because of the camera's propensity to overexpose what I didn't notice at first.

The NEX-7 is even smaller than GH1 or GH2 and it has bigger sensor.... I like its concept, very minimalistic- pure idea of the "mirrorlessity". Its big advantage is the still photography, such a comparison wouldn't make much sence because it simply blows off not only the GH2 but even most of the DSLRs with APS-C sensor.... it's newer generation. The big drawback of the NEX-7 considering its video functionality is its sensor overheating. On the room temperature, some 20min are maximum one can expect, regardless if the display is lifted or left in its position. I am kind of very pleased to see that the NEX-7 renders the shadows very smooth and in cinematic spirit, with lots of details. It is a feature that we are struggling to get with our GHx cameras. This cinematic image gets more obvious by using a bit less sharp lenses than Canon FD or Nikkor that I used in this test.

a word of caution: it is german. Also: who can spot the 2 GoPro shots? (easy)

Storyboard

The storyboard feature allows you to organize and sequence a set of clips into a rough cut. Add clips to the story, change the sequence, and edit in/out points for individual clips. From there, render your storyboard out to a single file for review; the perfect solution for keeping your team informed and in sync, right from the start.

Color correction

Work in the same High Dynamic Range and Ultra-Wide Color Gamut as professional cameras. Set source, convert-to, and grade-in color spaces. Apply a look profile. Use tone curves, color wheels, and color correction sliders to adjust color while viewing the waveform and histogram displays. Transcode files that carry the new color adjustments, or save the settings as standard ASC-CDL to apply later in the finishing session. Compare before-and-after adjustments by setting the preview display to a before, after, split, or 2-up view

Logging and simple editing

Edit mode enables additional logging, adjusting of in/out points, creation of subclips, and first-pass color correction.

Transcode or copy

Export Mode can export files in their native formats as well as a wide variety of NLE-specific formats. During this process, files can be renamed with a prefix or suffix, creating a more intuitive reference as they move to the editing stage.

http://www.sonycreativesoftware.com/catalystprepare

Because I've just joined on as the DoP to shoot a feature on a BMCC, but given the nature of the film (shooting most of the time late at night), am wondering if a Sony A7s is better.

Am curious about some direct comparisons between an A7S and a BMCC at night, and how they'd be able to grade, and how they'd be used in practise with lighting set ups (as if we can use a smaller lighting kit, that might help mitigate some of the cost of an A7S), their look, etc.

As if so, I might then recommend to the director trying to find space in the tiny budget to switch to a Sony A7S instead.

What I really wish Sony would do is make something like an A7S version of the Sony A5100. So perhaps an APS-C version with merely a 5 megapixel sensor and the same amazing low light performance as the A7S but with the cheap price of the A5100!

As I don't need a "full frame" sensor, neither do I need more than 5 megapixels so as to have enough for 4K video. I'm content with 1080p.(after all, even with the A7s, most are not shooting 4K because it doesn't do internal 4K)

Unfortunately I don't think a 5 megapixel camera would go down well at all with the typical 2014 consumer, even though I've shot plenty with my old Nikon D50 which was only 6 megapixels. So I think 5 megapixels would do just fine for casual photography, especially as it would be a very very good 5 megapixels. (plus of course I wouldn't be getting it for photography, but video)

Lenses used: Jupiter 3 50mm f1.5, and Jupiter 9 85mm f2.0 M39 mount adapted to M4/3 A few clips were colored with FilmConvert. Edited in Sony Vegas. Enjoy!

It works great and the files play back in VLC no problem, but when I bring them into Sony Vegas they show up as black screens.

Can anyone tell me what the problem is here?

You can download the file here to test https://www.dropbox.com/s/0qlmbrejroq676o/testcapture.mp4?dl=0

Thanks

I'm making a trailer for my shortfilm. I don't think it's very easy because, the short is only 15 minutes.. and i want to make a trailer with not to much spoilers (yeah duh!! i know :P but it's difficult because it is already a short movie)

You guys probably didn't see my short film, so you are neutral public. Are you guy's (and girls) interested in seeing this short after seeing the trailer? And are there any tips, suggestions to make the trailer better?

PRESS RELEASE

Sony grows large sensor camera family with new 4K camera systems

Sony is unveiling two new CineAlta™ 4K cameras, complemented by a full line-up of new accessories. The new cameras, the PMW-F55 and PMW-F5, fill a critical gap in large-sensor acquisition between Sony's PMW-F3 camcorder and its F65 CineAlta Premium 4K camera, giving content creators new levels of flexibility and creative options for HD, 2K or 4K acquisition and production.

With a modular and compact design for easy configuration, each camera features a new type of 4K Super 35mm image sensor with a 4096 x 2160 resolution (11.6M total pixels).

The 20 megapixel F65 remains the flagship of Sony's large sensor camera family. The 8K sensor-equipped F65 continues to evolve, with new features designed for the most demanding high-end imaging applications. These features include a new high frame rate mode for 4K RAW recording at 120P to deliver stunning 4K images with super smooth slow motion capabilities, and image capture using the SR codec at 12-bits. Future updates to the F65 will deliver 6K de-mosaicing, along with other major new features.

New PMW-F55 and PMW-F5 Cameras

The new PMW-F55 and PMW-F5 CineAlta 4K cameras deliver unprecedented creative options for HD/2K/QFHD/4K (PMW-F55) and 2K*/HD (PMW-F5) production. Both offer multi-codec support featuring Sony's new XAVC MPEG-4 AVC/H.264 format, the SR codec (MPEG4 SStP) and the industry-standard High Definition XDCAM 50Mbps 4:2:2 codec. In-camera recording is on Sony's New SxS media, SxS PRO+ (Plus ) – which can be used to record XAVC in HD High Frame Rate and in 4K at up to 60fps (in the PMW-F55), and XAVC HD High Frame Rate in the PMW-F5.

In addition to on-board recording onto SxS PRO+, the PMW-F55 and PMW- F5 can also be connected to the new AXS-R5 RAW recorder. Slow-motion imagery at up to 240fps** (PMW- F55) and up to 120fps** (PMW- F5) can be captured as 4K RAW files on newly developed AXS memory.

The PMW-F55 features a global shutter to eliminate rolling shutter skew and flash band, and features a wider colour gamut for exceptional colour reproduction. The cameras are further distinguished by wide (14 stops) exposure latitude, high sensitivity, and low noise.

New Options for Monitoring

The PMW-F55 can connect to the new 4K 30-inch LCD monitor, PVM-X300, using four 3G-SDI interfaces to monitor pictures at 4096x2160 resolution at up to 60p, while recording and playing back XAVC 4K images. Similarly, it is also possible to connect directly to the 84" BRAVIA 4K LED TV for large-screen monitoring of the camera's 4K 60P images (at resized horizontal resolution of 3860 pixels).

PL Lens System – The Second Generation

The PMW-F55 and PMW-F5 cameras continue Sony's efforts to offer the most flexible lens options. A PL-mount lets users choose cinematic lenses from suppliers such as Angénieux, ARRI, Canon, Carl Zeiss, Cooke, FUJIFILM and Leica.

Sony is also launching a second generation of cost-effective PL mount prime lenses. Each is certified for 4K capture, and is designed to minimize geometric distortion, vignetting and breathing. A 9-blade iris delivers beautiful bokehs and the focus rings rotate 240°. The new lens series includes focal lengths of 20, 25, 35, 50, 85 and 135 mm. For easy lens changes, each has the same T2.0 aperture, the same external diameter, matte box diameter, and gear locations for follow focus and aperture. All are the same height except for the 135 mm lens.

Shooters can use stills lenses by removing the supplied PL-mount adaptor to reveal the native FZ mount. This makes it easy to accept commercially available adaptors for third-party lenses, including Canon® EF, Canon FD, Nikon® DX, Nikon G, Leica® M and even 2/3-inch B4 lenses. A third option is the use of Sony FZ-Mount lenses with auto focus servo zoom (model SCL-Z18X140.)

Viewfinders

Using a new digital interface, PMW-F5 and PMW-F55 users can take advantage of a new series of high-quality OLED and LCD viewfinders. The DVF-EL100 OLED viewfinder measures 0.7-inches with 1280 x 720 HD resolution, superb brightness, contrast and response. The DVF-L350 3.5-inch LCD viewfinder offers 10 times the contrast of previous Sony LCD viewfinders, with a flip-up eyepiece for direct monitoring. A third option is the full HD DVF-L700. This compact 7-inch LCD viewfinder enables high resolution when shooting in 2K and 4K, with pixel-to-pixel 1920 x 1080 representation of HD images.

New RAW Recording System

Sony is also unveiling the AXSM™ Access Memory System for 2K*/4K RAW recording, based on Sony's unique recording technology. Optimised for this new platform is the AXSM memory card (512 GB capacity, model AXS-512S24), using the generic file system exFAT. Users can record 4K RAW data up to 60 fps and 2K RAW up to 240 fps**, with a 300MB/s sustained transfer speed. PC-friendly operation is enabled through use of the AXS-CR1 card reader, offering a USB 3.0 interface for high speed transfer.

Additionally, the new AXS-R5 RAW recorder directly docks onto the PMW-F5 and PMW-F55, for an extremely elegant and compact recording system for 2K** and 4K RAW recording.

New Recording Media

The cameras support Sony's new high-speed, enhanced versions of its SxS PRO memory cards: the "SxS PRO+(PLUS)" series (in 128 and 64 GB capacities, models SBP-128B and SBP-64B). Based on the format long used in Sony's XDCAM EX camcorders, the cards support XAVC 4K and XAVC HD high frame rate recording, and can be directly inserted into the cameras.

New Battery and Charger

The PMW-F5 and PMW-F55 cameras take advantage of Sony's new BP-FL75 battery pack, which uses Olivine-Lithium Iron Phosphate-instead of conventional Lithium Ion cathodes. The result is a substantial increase in charge-discharge cycles, compared to previous Sony batteries. The Olivine battery works with Sony's BC-L90 quick charger. The new battery supports outstanding mobility for on-set shooting enabling two times higher speed charging than current chargers and a maximum 150 minutes of consecutive shooting.

The PMW-F5 and PMW-F55 cameras are also compatible with Sony's BP-GL95A, GL65A, L80S and L60S batteries, which use the BC-L70 and L160 chargers.

Shoulder Rig

Delivering advances in ergonomics specifically requested by cinematographers, the PMW-F5 and PMW-F55 feature Sony's newest shoulder rig for extra stability and comfort. The rig is sturdy, lightweight and uses industry-standard rosettes on both sides for quick and easy attachment of third-party hand grips and other accessories.

Pricing and Availability

The new cameras are scheduled to be available in February 2013, with suggested list pricing to be announced. For more information, visit

http://www.pro.sony.eu/pro/product/f55

or

http://www.pro.sony.eu/pro/product/f5

• 2K/QFHD for PMW-F55 and 2K for PMW-F5 will be available with firmware version up.
  **High frame rate higher than 60fps will be available with firmware version up.

This music video was shot with a Sony Fs700 and Samyang lenses.

Check the shots at night, they were all made at 50 fps, without help of any speedbooster, just the combination of the Samyang lenses and the right exposure.

We had no help of any kind of light equipment, because we didn't have the budget... just the street lights. For those who are thinking to buy this camera, I can just say that the Sony Fs700 is really a good deal for what it can deliver. See for yourself. And the grain... was put on purpose on post-production to have that dirty effect.

On paper the specifications and level of A6000 seems better. However in my experience with the NEX-5N even consider Sony in color reproduction is some steps below respect to M4/3 (in FF is another story), the A6000 has greatly improved with colors, but I dont have seen a video that me is convincing in paragraph colorful as offering GX7, which seems a kind of mini GH4, si I do not understand that the manufacturer block the HDMI output when recording video.

If you were to stay with one camera between these two, with which you stay?

No issues when opening MBLooks 2.5 in Sony Vegas 13 Pro 64-bit (Windows 7 Ultimate x64). But after clicking on FINISHED button to go back to the Sony Vegas interface, it freezes Sony Vegas. Every time, even if the interface of MBLooks is not being opened, i.e. when selecting a Sony Vegas preset which includes MBLooks, the same hanging issue appears. The same issue exists even in 8-bit, especially when using LUT(!!!) "Video Track FX (Not Responding)" Any suggestions how to fix this?

That's what the system displays:

A problem caused this program to stop interacting with Windows.

Problem signature:
Problem Event Name: AppHangB1
Application Name: vegas130.exe
Application Version: 13.0.0.310
Application Timestamp: 535adb1f
Hang Signature: ede8
Hang Type: 0
OS Version: 6.1.7601.2.1.0.256.1
Locale ID: 1026
Additional Hang Signature 1: ede80a2a4e4831f92d6b096ec5dccc6f
Additional Hang Signature 2: 3836
Additional Hang Signature 3: 38369ac6e69095a6cb992d0651fd60c7
Additional Hang Signature 4: ede8
Additional Hang Signature 5: ede80a2a4e4831f92d6b096ec5dccc6f
Additional Hang Signature 6: 3836
Additional Hang Signature 7: 38369ac6e69095a6cb992d0651fd60c7

QX100 specs:

• Manual control via smartphone
• 1" sensor, back-illuminated, 20MP
• F1.8 Carl Zeiss lens with 3.6x optical zoom
• Price - below $499

Available at:

• http://www.amazon.com/Sony-DSCQX100-Smartphone-Attachable-Lens-style/dp/B00EVIBN26/

QX10 specs:

• Manual control via smartphone
• Back-illuminated 18MP 1/2.3” CMOS
• 10X zoom with Optical SteadyShot
• 1080p30 video
• Price - below - $249

Available at:

• http://www.amazon.com/Sony-Smartphone-Attachable-4-45-44-5mm-Lens-Style/dp/B00EVIJWXS/

The sound check (by ear) was very good in the configurations that did not use the Sennheissers. The Sennheissers introduced their typical noise. When pre amps from the Sony PCM-M10 recorder, or the sennheissers are used, set the camera level to one click above off. The Sony M10 has cleaner sound than many larger and more expensive recorders, and is 1/4 the size. The best sound recorded to the camera was obtained by going through the M10. Having 3.5mm connectors makes it a bit more fragile. I suggest using all right angle connectors.

I found that the lavs with power supplies directly connected through the Azden Cam-3 mixer was clean enough for speech, although it does depend on the pre amps of the camera you are using which typically has some noise on the floor. I used Countryman B6's. They are one of my favorite lavs. The sound quality is excellent and they are so small I can push them through button holes. That way they are virtually invisible, and I do not have to contend with clothing ruffling. I advocate not using transmitters whenever possible such as sit down interviews. If you are fortunate to have Lectros wireless, then there is no noise issue.

What is very cool is using the mixer connected directly to the camera. The entire sound kit fits in a pocket. The miniature boom mic is a "Que Audio DSLR-Video Microphone Kit"

I did a bit more testing and it looks like some noise is being introduced by the lav power supplies. The unit itself only supplies power and has a passive volume control. My guess is that it is the 4 meter cable which is probably low quality. I will shorten the cables and report back.

I tested the mic power supplies and found almost no difference with them in, or out. I am concluding that they are not a significant noise contributer, although I still think think the cables are not very good, and i will replace them with higher quality. The cases snap open and it looks like an easy fix.

http://en.akihabaranews.com/110816/camcorder/sony-hxr-nx30-a-compact-professional-grade-nxcam-from-sony

http://www.engadget.com/2012/04/02/sony-hxr-nx30-camcorder/

Specifications and info:

http://pro.sony.com/bbsc/ssr/product-HXRNX30U/

Could we get a dedicated thread, or formal FAQ, going about this? A list of cards, their read/write speeds and general reliability? Names of patches and which cards they work with?

For example: "Sandisk Extreme Pro 32gb: Form: SDHC Read: 95mbps Write: 90mbps Spans with: basic firmware, Cake 2.3 ( both 24fps and HBR modes) Does NOT span with: MoonT7, quantum v9 Known Issues:

Full HD MPEG-2 HD 422 50 Mbps recordings plus XAVC in the future

The PMW-300K1 uses an MPEG HD 422 codec, recording Full HD (1920 x 1080) at 50 Mbps in industry-standard MXF files, along with 24-bit 48 kHz, 4-channel audio. It is also capable of recording MPEG-2 HD 420 in Full HD (1920 x 1080) at 35 Mbps. Standard Definition options include MPEG IMX and DVCAM. The camcorder can also be upgraded in the future to support Sony’s revolutionary XAVC codec, extending the lifecycle of the product to ensure maximum return on investment*.

XAVC support for HD will be available in 2014.

Three 1/2-inch type Exmor™ CMOS Full HD sensors and low-light 3DNR technology for a wide range of shooting conditions

Interchangeable lens system with 14x Fujinon HD lens package option (PMW-300K1)

The PMW-300K1 features the same EX-mount interchangeable lens system as the PMW-EX3, making it compatible with a wide range of 1/2-inch and 2/3-inch lenses (with optional ACM-21 adaptor). The camcorder also comes with two auto-focusing zoom lens packages, one for a 14x (PMW-300K1) and the other a 16x zoom lens (PMW-300K2). Both lenses include a focus ring for quick switching between auto and manual focus.

Precision focusing with 3.5-inch colour LCD viewfinder

An enhanced HD-resolution 3.5-inch colour LCD viewfinder (960x540 pixels) enables precision focusing for HD camcorder work, while the 8-pin remote-control and multi-camera operation capability allows the PMW-300K2 to be used in 3D configurations and high-end camera systems.

Multi-camera operation with 8-pin remote control

The camcorder has a Genlock In and Timecode In/Out interface, so that it can link together with other cameras for multi-camera operation capability and 3D configurations. The 8-pin 700-Protocol remote control interface allows for remote adjustment from the RM-B170* or RM-B150** remote control, sold separately.

HD/SD-SDI and HDMI interfaces for integration with broadcast infrastructures

The PMW-300K1 has an SDI interface so that it can connect with broadcast infrastructures and professional equipment. It’s also possible to down-convert from HD to SD. There is also an HDMI interface making it possible to link to consumer products, including a standard consumer TV. SDI and HDMI interfaces are available in the same time.

Wide range of frame rates

The camcorder has standard recording modes of 1920 x 1080/25P or 50i and can additionally record at 59.94i, 23.98P and 29.97P in MPEG-2 HD 422 mode. At 1280 x 720, the camcorder can record 25P as well as 23.98P, 29.97P, 50P and 59.94P. Further recording modes are also possible at MPEG-2 HD 420 and DVCAM.

Slow and quick motion from 1 fps to 60 fps

Slow motion shooting is possible with up to 60 frames per second (fps) recording in 720P or 30 fps recording in 1080P, when used with the SxS Pro or SxS-1 memory card. Quick motion can be obtained by slowing the frame rate down to 1 fps.

Semi-shoulder robust design with metal body

The PMW-300K1features an innovative semi-shoulder design with an extendable chest pad mechanism and rotary hand grip, allowing comfortable recording over long periods of time. Its magnesium metal body ensures the camcorder is robust and, like its predecessor, the PMW-EX3, can withstand even the harshest production environments.

Wi-Fi remote control with optional Wi-Fi adaptor

In addition to the 8-pin remote control interface, Apple iPads or Android mobile devices can be used as simple remote controllers. By attaching the optional CBK-WA01 Wi-Fi adaptor, the remote can control zoom, focus, iris and white balance as well as the recording functions such as recording trigger.

Cache recording

Utilising a 15 second cache recording function, the PMW-300K1 can help prevent the loss of important scenes or events that occur up to 15 seconds before the camcorder’s REC start button is pressed.

Two SxS Memory Card slots plus Memory Stick, SD card and XDQ card options

There are two SxS Memory Card slots, which allows for around four hours of continuous recording, with two hours of HD 422 50 Mbps recorded on each 64GB SxS Memory Card. Content can be copied between the two slots.The PMW-300K1 can use either SxS Pro or SxS-1 cards. It will also accept consumer recording media, including Memory Stick, SD card and XDQ card with an appropriate adaptor for emergency use.

4 channels 24-bit 48 kHz audio recordings

The PMW-300K1 is equipped with two XLR connectors, which connect to Sony’s range of professional microphone products.24-bit 48kHz audio can be recorded in HD 422 50 Mbps, with up to four channels of audio recorded.

4 Neutral Density filters

The PMW-300K1 is equipped with four built-in ND (Neutral Density) filters – Clear, 1/4, 1/16, 1/64 – that help to vary the depth of field with iris control.

More details at: http://www.sony.co.uk/pro/product/xdcamcamcorders/pmw-300k1/overview#overview

The Sony FDR-AX1 Digital 4K Video Camera Recorder is the first consumer 4K video camera from Sony. They've used the technology developed for their professional video cameras to create a compact, easy-to-operate 4K consumer model that's designed to make 4K video and professional-quality audio available to the masses. The FDR-AX1's powerful image processor is identical to the high-performance processors found in Sony's professional video cameras. By incorporating an image processor that can handle 4K video at 60 fps into a consumer camcorder, everyone will be able to document important family moments, get creative with friends, record sporting events and capture the world around them in lifelike detail. The FDR-AX1's native 3840 x 2160 4K resolution enables you to create movies with four times as much detail and quadruple the image quality of a Full HD 1080p camcorder. Plus, this model features a back-illuminated 8.3MP Exmor R CMOS image sensor that works in concert with the processor so you can record at the maximum frame rate - even when shooting 4K video. This means that even your high-speed action shots and sports videos will be clear, sharp and detailed.

In order to provide 4K video recording in a consumer model, Sony designed the FDR-AX1 to support the XAVC-S 4K/HD recording format which is usually reserved for professional applications. However, since the XAVC-S codec will save as an MP4 wrapper, you can still create web-friendly videos that can be easily shared on social media sites like YouTube. Another highlight of the XAVC-S recording format is its ability to record images at 150 Mbps in 4K. In fact, it can record images at 50 Mbps even when you're shooting in Full HD 1920 x1080 resolution. The FDR-AX1 has also adopted a more professional-type of recording media thanks to the inclusion of dual next-generation XQD media card slots. Both XQD card slots support fast 4K/HD writing and reading rates. Plus, you can use the relay recording function to switch between XQD slots and lengthen your recording time. You'll also be able to quickly transfer footage via SuperSpeed USB 3.0 from your XQD cards to your PC by using an optional XQD reader/writer with a USB 3.0 connection.

Another feature that makes the FDR-AX1 a professional-class consumer video camera is its audio recording capability. It records 2-channel Linear PCM audio with a built-in high-performance stereo microphone. However, the camera also features dual integrated professional-class XLR audio inputs for connecting external microphones. You'll even be able to mix audio tracks from the internal microphone with the audio recorded from any connected external mics. There are a variety of shot-enhancing functions and manual control options as well. More experienced videographers will be able to take advantage of the independent zoom, focus and iris rings. Plus, the camera's viewfinder and LCD monitor employ Peaking, Zebra and Center Marker functionality for more advanced shot setup and autofocus options.

Other image-enhancing features include three ND filters and five unique Paint functions, which will help you achieve a more cinematic aesthetic with your movies. The FDR-AX1 has flexible connectivity options as well. Besides the XLR audio inputs, the camera is equipped with a headphone jack, an HDMI output that will transfer 4K footage to compatible 4K Bravia TVs, a USB 2.0 port for fast data transfers, an analog A/V output, an accessory shoe and more. With the flexible connectivity options, professional-class features, 4K recording capability and ease-of-use, the FDR-AX1 bridges the gap between consumer and professional-class. While experienced videographers will be able to really produce great video and audio with this model, even ambitious beginners will be able to master this camera and capture professional looking, cinematic 4K video with ultra-clear stereo audio.

Capture 4K 3840 x 2160p Video at 60 fps

This model supports 4K 3840 x 2160 resolution. With four times better than Full HD 1080p image quality, you'll be able to capture the finest details at high resolution and produce vibrant, realistic images. Plus, the fast image processor is the same one employed in professional Sony models, making it possible to record 60p movies at the camera's full resolution for smooth playback with no loss in realism - even when panning the camera and shooting moving subjects.

Sony G Lens with 20x Zoom

The Sony G Lens is an aspheric lens with special low-dispersion glass. It's specially tuned to capture subtle qualities of definition and color. In addition, the lens offers a broad 20x optical zooming range with a 31.5 - 630mm (35mm equivalent) focal length that enables an expansive range of video expression.

1/2.3" Back-Illuminated 8.3MP Exmor R CMOS Image Sensor

Sony's unique Exmor R CMOS sensor has a back-illuminated structure with wiring layers on the back of a photodiode (light receiving element) that dramatically boosts low-light sensitivity for shooting more lifelike images - even in dim lighting. This Sony technology also makes the camera nimble, so it can read massive 4K data at 60 fps.

Professional Image Processor for Real-Time 4K / 60 fps Recording

The FDR-AX1's image processor is identical to those in 4K camcorders used by professionals. It rapidly processes signals transmitted from the CMOS sensor and finalizes images. In processing the vast 4K data in real-time at 60p, the processor achieves four times the resolution of the Full HD 1080p format. This processor also features high-performance noise reduction for truer images, while image quality adjustment functions support greater freedom of expression. It is also specially tuned for the FDR-AX1 to deliver accelerated image processing performance.

XAVC-S Consumer-Use 4K/HD Recording Format

The FDR-AX1 records 4K/HD movies in the XAVC-S codec, which was developed for consumer usage based on the professional XAVC 4K/HD codec. XAVC-S uses MPEG-4 AVC/H.264 long GOP for video and LPCM for audio compression, while saving files in MP4 format. The XAVC-S codec also allows longer recording times within a given media capacity than XAVC, making 4K recording easier and more convenient.

XAVC-S 150 Mbps 4K Video & 50 Mbps HD Video

With the FDR-AX1, high-quality XAVC-S video can be recorded at up to 150 Mbps. Additionally, there is also an option to record high-quality Full HD 1080p video at 50 Mbps.

Dual XQD Media Card Slots for High-Speed 4K Recording & Playback

The FDR-AX1 features two XQD media card slots. XQD media cards provide smooth, high-speed reading and writing of 4K/HD video. Plus, a relay recording feature makes it possible to lengthen recording by automatically switching between two or more media options. You can quickly transfer data to a PC as well, by using an XQD reader/writer with a USB 3.0 connection. The FDR-AX1 is compatible with S-Series, H-Series and N-Series XQD media card types.

View 4K/60p Video on Compatible BRAVIA TVs with Supplied HDMI Cable

The FDR-AX1 supports playback of your recorded 4K content on a 4K TV by simply connecting the two devices using the supplied HDMI cable. Thanks to the camera's original function, you'll be able to transmit 4K/60p (4:2:0, 8-bit) signals to a Sony BRAVIA 4K TV, which is specially tuned to bring out the full quality of your 4K/60p video recordings. Even fast-moving sports and action footage will be clear and smooth. To enjoy this content on a Full HD monitor, simply change the menu HDMI output settings to 1920 x 1080. If you have a 4K monitor, you can use the supplied HDMI cable to transmit 4K/30p signals from the camera to the monitor.

TRILUMINOS Color Technology

The FDR-AX1 supports Sony's TRILUMINOS Color technology, which allows you to view photos and movies in rich, natural colors on any TRILUMINOS-equipped television. The expanded color gamut ensures lifelike, vivid colors when you playback your recorded video and still shots.

Save 4K Video Content to Your PC

The FDR-AX1 provides two methods for connecting and transferring footage to a PC. You can use a USB cable or insert your XQD memory card into an XQD reader/writer that is connected to your PC. You can also save data from the camera to other media sources like external HDDs. Once you've download data onto your PC, you can use Sony's PlayMemories Home software to manage and play your videos. You can edit video with the XAVC-S-compatible non-linear editing software as well. After your footage is edited, you'll be able to upload and share your 4K movies on social media sites like YouTube.

Built-In Microphone & Professional-Class Audio XLR Terminals

In addition to a high-performance internal microphone, the FDR-AX1 features two external XLR jacks for connecting external microphones that can also be used to record superior-quality audio together with your movies. You can also mix audio from recordings made using the internal microphone and externally connected microphones, respectively.

Three ND Filters & Five Paint Functions for Expressive Cinematic Looks

The FDR-AX1 features three ND filters for adjusting the amount of light entering the image sensor from the lens. There are also four filter settings: Clear, 1/4 filter, 1/16 filter and 1/64 filter. These filters and settings give users the ability to match shooting conditions, as well as adjust the shutter speed and aperture even on bright, sunny days. There are also five paint functions (white balance, gamma, detail, skin detail, matrix) that can be combined and adjusted in the paint menu to create expressive movie styling such as cinematic looks.

Seven Assignable Buttons & Three Independent Control Rings

The FDR-AX1 was designed with two start/stop buttons. One is located on the side of the camera grip, while the other is located on the handle. This affords ease-of-use while shooting. The handle also features a zoom button that enables convenient access while shooting from low angles. There are seven assignable buttons as well, which can be programmed with functions that enable users to quickly access them without using menus. Assign functions include: Marker, Zebra, Peaking, Focus Magnifier, Auto Exposure Level, SteadyShot, Color Bars, Rec Lamp [F], Rec Lamp [R] and more. Having seven assignable buttons will allow you to adjust to varying shooting conditions on-the-fly. There are also three manual control rings on the camera for focus, iris and zoom.

Zebra, Peaking, Center Marker & Guide Frame

Shooting tools such as Zebra, Peaking, Center Marker and Guide Frame are designed to assist you in shot setup. They'll help you get the cinematic expression you are after. Zebra highlights overly bright areas with stripes in the LCD and viewfinder. This feedback helps users adjust brightness and prevent whiteout, especially on the subject. Peaking simplifies focusing by highlighting in the LCD and viewfinder the areas most sharply in focus. Users can finely adjust the peaking level and choose white, red, yellow or blue peaking to clearly contrast with the subject. By making it easier to know where the shot is in focus, this feature helps users achieve the desired manual focus setting. Determine the center of your image at a glance using the Center Marker feature in the LCD or viewfinder, while the Guide Frame works as a guide for aligning horizontal and vertical lines.

Specs:

• 1/2.3" back-illuminated Exmor R CMOS sensor
• 18.900,000 pixels
• Sony G Lens with Optical SteadyShot image stabilization
• 4.1 - 82 mm F/1.6 -F/3.4 (31.5 - 630 mm )
• Filter Diameter - 72 mm
• Minimum Focus Distance - 0.4" (1 cm), tele - 31.5" (80 cm)
• 6 aperture blades
• ND Filters - Off, 1/4, 1/16, 1/64
• Rings - Focus ring Iris ring Zoom ring
• Video modes
  • 4K: 3840 x 2160p at 60 fps (150 Mbps)
  • 4K: 3840 x 2160p at 30 fps (100 Mbps)
  • 4K: 3840 x 2160p at 30 fps (60 Mbps)
  • 4K: 3840 x 2160p at 24 fps (100 Mbps)
  • 4K: 3840 x 2160p at 24 fps (60 Mbps)
  • 4K: 3840 x 2160p at 50 fps (150 Mbps)
  • 4K: 3840 x 2160p at 25 fps (100 Mbps)
  • 4K: 3840 x 2160p at 25 fps (60 Mbps)
  • HD: 1920 x 1080p at 60 fps (50 Mbps)
  • HD: 1920 x 1080p at 30 fps (50 Mbps)
  • HD: 1920 x 1080p at 24 fps (50 Mbps)
  • HD: 1920 x 1080p at 50 fps (50 Mbps)
  • HD: 1920 x 1080p at 25 fps (50 Mbps)
• Dimensions - 7.44 x 7.6 x 14.25" (189 x 193 x 362 mm) including NP-F970 battery
• Weight - 5.38 lb (2.44 kg) camera only , 6.1 lb (2.77 kg) camera and NP-F970 battery

Available at:

• http://www.amazon.com/Sony-FDRAX1-Camcorder-Camera-Optical/dp/B00EVIJXBO

Here is specs

http://www.memorycity.com.au/sony-/205-sony-64gb-secure-digital-94mb-s-class-10-uhs-i-sdhc-memory-card.html

• Wi-Fi capability allows you to connect with a variety of Android and iOS devices.
• Records video in the AVCHD 2.0 format, including 1080/60P
• 60i and 24p modes provide playback compatibility with Blu-ray players
• HDMI connector provides uncompressed 8-bit 4:2:2 while shooting and allows users to record high-quality images on an external video recorder
• Dual media slots allow simultaneous recording to two SD memory cards in ‘Simul’ mode

Sony plans to release the HXR-NX3 camcorder in January 2014 for a suggested list price of $3,495.

Personally, I didn't care about the MFT information, it wouldn't surprize me at all if Sony would try to get piece of Panasonic's cake on the market. It was anyway just a rumor, unapproved information as my friend didn't see it.

But I would say the news about the new FF sensor in the mirrorless NEX body is quite sensational. It sounds to me also as Sony's very logical next step: just recently Sony unveiled its FF camera with fixed lens (RX1) and also FF interchangeable lens body camcorder. Sony learns and produces already now FF and also APS-C sensors which belong to the best on the world (in Nikon D800 / NEX-7, respectively). As release date I heard "as soon as possible as Sony desperatly wants to be the first one (?)"

Such a release would have many consequences. Sony's E-bayonet mount provides the possibility to use almost all lenses ever made, just like "our" beloved MFT cameras. The new FF NEX would ceirtanly not be cheap, but probably it would still cost considerably less than Leica M. So it will have enough customers. I belive that the prices for the venerable old good lenses would be pushed quite a bit upwards. By the way: my own experience about using old lenses on the newest high-end digital bodies is quite good: the most of my best old AiS Nikkors which were great on the 24×36mm film are also great on the D800. Nikon's recommendation to use only the newest expensive lenses is just a bull.... except the true that bad Nikkors still look just the same bad on the D800 like ever before :-)

If this whole FF NEX comes true, my speculation is probably 24MP sensor for start model followed by 36MP in the next step etc. It wouldn't surprize me at all if Sony after having its fingers already deeply into the pockets of consumer and professional domains now attacks also into the semi-pro world. Orwell's "1984" is getting true in the world of eletronics......

This problem haunted me for long time. I was rendering clips in After Effects and then re-imported them to Vegas. Everytime I rendered videos from Vegas, them were over-saturated and had too much contrast.

I blamed Windows Media Player, my displays calibration, you name it... Then I finally found this video:

I had to simply just add Levels-plugin in Vegas with setting "Computer RGB to Studio RGB".

And now finally, the rendered video looks what it's supposed to look!

I just recently wanted to buy a fisheye lens to filming skateboard videos, but I came across 2 different fisheyes :

• The Rokinon 7.5mm f3.5 for Micro 4/3

Or

• The Rokinon 8mm f2.8 for Sony E-mount (NEX-7, NEX-5, NEX-3...) + Adapter

The thing is I know the Rokinon for M4/3 is going to fit directly on my camera (tried it in a shop), but the Rokinon for Sony is much faster, but maybe a little less wide...

Can you please help me choose ?

Thank you.

Specifications:

• 16.7 APS-C sized sensor, same as in 5R
• 3fps shooting, in spped mode - 10fps
• On-chip PDAF with 99 AF points
• Focus-peaking and magnifier.
• ISO 100 to 25,600. In movie - up to ISO 6400.
• No viewfinder (can connect optional one)
• Articulated Xtra Fine LCD, 3" 640 x 480 pixels; 921,600 dots, touch
• Shutter - 1/4000 to 30 sec and bulb.
• Comes with HVL-F7S fold-down flash
• 1080p60m 1080p24 and 1080i60
• Wi-Fi, NFC
• SDHC cards
• Price - from $548

http://www.pdf-archive.com/2013/08/27/nex-5t-b-spec-sheet-8-14-13/nex-5t-b-spec-sheet-8-14-13.pdf

Previews:

• http://www.imaging-resource.com/PRODS/sony-nex-5t/sony-nex-5tA.HTM
• http://www.thephoblographer.com/2013/08/27/first-impressions-sony-nex-5t/
• http://www.digitalcamerareview.com/default.asp?newsID=5385
• http://www.photographyblog.com/news/sony_nex_5t_hands_on_photos/
• http://www.ephotozine.com/article/sony-nex-5t-csc-hands-on-preview-22737
• http://www.steves-digicams.com/camera-reviews/sony/nex-5t/sony-nex-5t-review.html

Available at:

• http://www.adorama.com/ISONEX5T.html
• http://www.adorama.com/ISONEX5TL.html

Specifications:

• Imaging Sensor : Exmor™ APS HD CMOS sensor (23.5 X 15.6mm
• Approx. 16.7 megapixels
• Fast Hybrid AF
• Viewfinder: 2,359,296 dots OLED
• LCD Type : 7.5cm (3.0-type) wide type TFT (921,600 dots)
• AVCHD: PS - 1920 x 1080/60p@28MbpsFX - 1920 x 1080/60i@24MbpsFH - 1920 x 1080/60i@17MbpsFX - 1920 x 1080/24p@24MbpsFH - 1920 x 1080/24p@17MbpsMP4: HD - 1440 x 1080/ 30fps@12Mbps
• Speed : Continuous mode: max. 3 fps; Speed Priority Continuous shooting: max. 10 fps
• Wi-FI, PlayMemories Camera Apps
• Peaking : Yes (Level setting: High/Mid/Low/Off, Color: White/Red/Yellow)
• Price: $850 for body only

Available at:

• Body - http://www.amazon.com/Sony-Compact-Interchangeable-Digital-Camera/dp/B0096W1OCG
• Kit - http://www.amazon.com/Sony-Compact-Interchangeable-Digital-16-50mm/dp/B0096W1OKS
• US - http://store.sony.com/webapp/wcs/stores/servlet/ProductDisplay?catalogId=10551&storeId=10151&langId=-1&productId=8198552921666486669#overview
• DE - http://www.sony.de/hub/nex-kompakte-systemkamera/produktreihe/nex-6
• DE - http://www.amazon.de/dp/B009A8Z8JG
• UK - http://www.sony.co.uk/hub/nex-compact-system-camera/range/nex-6
• UK - http://www.jessops.com/online.store/categories/products/sony/nex-6-compact-system-camera-in-black-with-16-50mm-pz-lens-87145/show.html

Previews and reviews:

• http://www.dpreview.com/previews/sony-alpha-nex-6/
• http://www.digitalcamerainfo.com/content/Sony-Alpha-NEX-6-First-Impressions-Review.htm
• http://www.thephoblographer.com/2012/09/12/first-impressions-sony-nex-6/
• http://www.engadget.com/2012/09/12/sony-nex-vg30-vg900-hands-on/
• http://photographic-central.blogspot.it/2012/09/sony-nex-6-preview.html
• http://www.ephotozine.com/article/sony-nex-6-hands-on-preview-20107
• http://www.digitalcamerainfo.com/content/Sony-Alpha-NEX-6-First-Impressions-Review.htm
• http://asia.cnet.com/product/sony-alpha-nex-6-46728271.htm
• http://www.photographyblog.com/news/sony_nex-6_hands-on_photos/
• http://www.imaging-resource.com/PRODS/sony-nex-6/sony-nex-6A.HTM

Videos and samples:

• http://www.lenstip.com/2009-news-Sony_NEX-6_and_Sony_E_16-50_mm_f_3.5-5.6_PZ_OSS_-_sample_shots.html
• http://www.fotopolis.pl/index.php?n=15566
• http://www.ephotozine.com/article/sony-nex-6-sample-photo-gallery-20120

http://www.youtube.com/watchv=A3fVgb0hfqU