Specs

• 4K resolution 11.6 million total pixels and 8.8 million effective pixels deliver 4K resolution. Even if you’re delivering in HD, your recordings will capture detail and image texture that HD sensors simply cannot see.
• Super 35 size sensor offers ‘bokeh,’ the defocussed backgrounds made possible by shallow depth of field, as well as excellent low-light sensitivity and an expansive field of view.
• 14 stops of exposure latitude deliver powerful grayscale rendition without crushing shadow detail or blowing out highlight detail.
• Sony’s Exmor CMOS design provides high-speed full-pixel read-out capability (without pixel binning) and sophisticated camera processing to ensure jaggies and moiré are minimised.
• Record 10bit 4:2:2 in Full HD at up 50Mbps internally.
• Record 4K at 60/50 fps in FS-RAW via a compatible third-party external recorder, such as ATOMOS Shogun and Convergent Design® Odyssey 7Q.

Camera page - https://pro.sony/en_EU/products/handheld-camcorders/pxw-fs5m2

It fires up quickly, changes modes quickly, has an easy menu, is compact and balanced.
I’d rate this camera at EI 400 with a latitude in the highlights of 4 stops and 2.5 in the shadows.
this is 6.5 stops beyond the DR of the charts.
I’d rate both the camera and my meter at EI 400 to get the best from this camera.
Note: The highlights clip slowly and smoothly and the colour is not that “Sony Look” it also has the most consistent colour across the exposure range.

RED Monstro

I would rate the camera at EI 500 and highlights clip at 2.5 stops with shadows going at minus 2.5 stops.
That gives 5 stops beyond the DR of the charts.
Note: Reds and Yellow clip hard at plus 2 stops so the overall latitude is really 4.5 stops unless you’re very careful. I’ve had people say I could get better results in RedCine but this is a test on a level playing field.

RED Gemini

I’d rate this camera at EI 800 with highlight latitude of 3.5 stops and shadow latitude of 3 stops. That’s 6.5 stops beyond the charts DR.
I’d set both the camera and my meter at EI 800 to get the best from this camera
Note: The red chip at 25% clips as a hard orange at half a stop below maximum latitude so be careful with reds with this camera, overall I really like it.

Panasonic Varicam

A clear and sensible menu system.

I’d rate this camera at EI 800 with a highlight limit of 4 stops and shadows of 2 stops. Thats 6 stops beyond the chart DR.
I’d set the camera at 800 and my meter at 400 to get the best from this camera.

Kinefinity Mavo

Fires up pretty quick, some of the menus are very confusing, separate settings for EI and ISO.

I would rate the camera at EI 800 with a highlight latitude of 4 stops, I’m not sure what the shadow latitude is because of post issues but it looks like it could be very good indeed.

Fuji X-H1

Lots of menus, if you’re a DSLR user they make sense! we used flog recording at 200Mbps the best it can do and although I’m not impressed with the amount of sharpening and NR that was present in the standard setting it is possible to reduce these considerably and I’m experimenting with this at the moment.

Would rate this camera at EI 1000 with a highlight latitude of 3 stops and shadow limit of 2 stops (see notes). DR 5 stops beyond the charts. I’d set the camera to 800 and my meter to 500 to get the best from this camera.
Note: this camera clips hard in the yellow and red well below the 3 stop point so be careful.

Canon C700 FF

Menu system was a little easier to use. Recording to XF-AVC internally was easy. No issues with startup time. We had all the usual issues licensing the Codex reader, it shouldn’t be this hard. I think Canon really missed a trick here by not releasing a FF camera that included the raw recording from the C200.

I would rate the camera at EI 500 with a highlight latitude of 3.5 stops and shadows of 3.5 stops.
DR is 7 stops beyond the charts.
I’d set the camera to 800 and my meter to 500 to get the best from this camera.

Canon C200

Starts up quickly, menus take some time to get used to. There’s a lot there but it’s not all easy to find.

I would rate this camera at EI 800 with a highlight latitude of 3.5 stops and shadows of 2.5 stops.
I’d set the camera to EI 800 and my meter to EI 500 to get the best results from this camera. DR is 6 stops beyond the charts.

BlackMagic Ursa Mini Pro

Starts up quickly and had a very clear and easy to use menu.

I would rate this camera at EI 800 with a highlight latitude of 3.5 stops and a shadow level of 2 stops. I’d set the camera to EI 800 and my meter to EI 500 to get the best results from this camera. DR beyond charts is 5.5 stops.
Note: Yellow again clips earlier than other colours.

Alexa Mini

Starts up quickly and has very clear and easy menus.

I would rate this camera at an EI of 1000 with a highlight latitude of 5 stops but the shadows only give 2 stops. I’d set the camera too EI 800 and my meter to EI 320-400 to get the best compromise between highlights and noise. DR beyond the charts is 7 stops.

Check raw at http://cmltests.net/Digital-Cinematography-Camera-Evaluations-2018.html

Sony is expanding its NXCAM line of professional HD camcorders with the new HXR-NX5R professional compact camcorder, delivering a range of enhancements over its predecessor models. The new camcorder offers upgraded network functions and a choice of advanced XAVC-S 50Mbps or established AVCHD/DV recording formats to help users meet diverse workflows and client requirements.

The addition of a 3G-SDI terminal supports Full HD 60p output, and the HXR-NX5R features easy-to-use direct functions and a responsive joystick, making it easier to access key camera functions without entering the menu, combined with a wide viewing angle and high contrast OLED viewfinder for image monitoring.

“The HXR-NX5R’s flexible operations, file transfer options and easy-to-use features are designed for professionals who need to quickly and easily shoot, edit and deliver high-quality content,” said Sebastian Scala, Pro Video Marketing Manager for Sony’s Professional Solutions Americas group. “It’s ideal for corporate or event/wedding production, newsgathering, documentaries, online content creation, nature, sports and more.”

Users can take advantage of the camcorder’s advanced network functions, such as built-in Wi-Fi and FTP wireless connections. Compatibility with Sony’s Multi-Interface (MI) Shoe avoids cabling with easy integration between the HXR-NX5R and Sony’s UWP-D series wireless microphones without need for cables.

The HXR-NX5R also includes the industry’s first adjustable brightness LED video light to minimize the need for external lighting equipment. The camcorder’s advanced digital signal processor (DSP) delivers advanced noise reduction and sharp detail reproduction.

Simultaneous backup recording through dual SD card slots adds increased reliability and adaptability in challenging live event environments.

The camcorder’s three 1/2.8-type Full HD Exmor CMOS sensors produces high-quality color imagery and high sensitivity, and 40x Clear Image Zoom function to double the optical zoom without losing image quality.

Complementing the HXR-NX5R is a new compact multi-function remote commander – model RM-30BP. Ideal for freelancers and small-budget productions, the lightweight remote can be handheld, placed on a table or attached to a tripod arm for operation. The RM-30BP can control most camera functions including:

• Lens control: one push auto / manual focus, iris and zoom control
• Camera control: recording / display functions, shutter speed, white balance – including six assignable buttons
• Playback and multi camera control (up to 3 cameras)

The new remote can connect to the new MCX-500 for multi camera control directly from the switcher, and is compatible with the new HXR-NX5R and PXW-FS7 v4.0, with plans to introduce compatibility for other Sony camcorders.

The new MCX-500 is an all-in-one switcher system ideal for live events or corporate productions, and designed to work alongside the NX5R and the RM-30BP for multi-camera operation. The MCX-500 sends PGM/PVW tally signals to each HXR-NX5R. This feature allows operators to know which camera is selected for live, allowing content creators to handle projects that previously would have required more assistants or a larger team.

The following is planned availability for the new products:

• HXR-NX5R – September 2016
• RM-30BP – October 2016
• MCX-500 – January 2017

Specs

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

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

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

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

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

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

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

Specs

• 1" 4K sensor, extended video dynamic range, traditional external controls and buttons, built in optical ND filters
• New extended video mode with better dynamic range and color fidelity producing images with amazing texture and detail, accurate skin tones, vibrant color and high dynamic range.
• Full electronic B4 lens control support for adjusting focus, iris and zoom using the camera's controls, or remotely from an ATEM switcher or ATEM Camera Control Panel.
• Built in dual SD/UHS-II and CFast card recorders allow unlimited duration recording in high quality.
• Records 1080i or 2160p video into standard .mov files using DNx145, DNx220X or ProRes for compatibility with existing broadcast systems and workflows. Standard .mxf will be added in future updates.
• Support for DNxHD 220X, DNxHD 145, Apple ProRes 4444 XQ QuickTime, ProRes 4444 QuickTime, ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime and ProRes 422 Proxy QuickTime, CinemaDNG RAW, CinemaDNG RAW 3:1, CinemaDNG RAW 4:1.
• High quality clear, 1/4, 1/16th and 1/64th stop neutral density (ND) filters with IR compensation designed to specifically match the colorimetry and color science of URSA Broadcast.
• Fully redundant controls including external broadcast controls which allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
• Interchangeable lens mount with B4 mount included as standard. Optional EF, PL and F mount available separately.
• Standard connections, including dual XLR mic/line audio inputs with phantom power, 12G‑SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
• Built in high quality stereo microphones for recording sound.

Panavision (Stand 502) is introducing the new Millennium DXL2 8K camera here at BSC Expo 2018, running Feb. 2-3 at Battersea Evolution. The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers’ perspectives, seamlessly incorporating Panavision’s unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision’s unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2’s many significant advances.

“The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display,” says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.”

As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar® nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design.

Schwartzman says, “When you take an 8K image and super-sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It’s something I would use on anything. It does it all. And in fact, I’m currently planning to shoot my next feature with it.”

The RED MONSTRO 8K V V sensor in the DXL2 offers a healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron color science. An integrated PX-Pro color spectrum filter custom-made for the DXL offers a significant increase in color separation and dramatically higher color precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses.

New to the DXL2, LiColor2 (Light Iron Color) streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays.

“We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision,” adds Panavision CEO and President Kim Snyder. “We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to continuous technological development and are excited to bring this new camera to market.”

The Millennium DXL2 will be presented at the Panavision booth (Stand 502) alongside a showcase of the company’s large-format and anamorphic optics, as well as the latest products and solutions from Panalux, Light Iron and Panavision Grip and Remote Systems.

Also at BSC Expo, Panavision presents “The Beauty of Large Format 8K” at 14:00 on Feb. 2 in the seminar room. The session will offer a preliminary introduction to the DXL2 while taking a deep dive into the relationship between resolution and large-format optics. Michael Cioni will guide the discussion and present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to creative control with smoother imagery.

DXL2 cameras are available now to rent exclusively from Panavision on a worldwide basis.

For more information, visit http://www.panavision.com/dxl

Panasonic is going to release an updated to the DVX200 with a fixed lens in 2018 to compliment the GH5s release. The camera will use a similar sensor with alterations and modifications for the camcorder body. The body of the camera will be reduced in size substantially and will be lighter, it is not known if it will be the same design as the EVA1 but indications are that it will. They are talks of offering an f2.8- f4 parfocal lens, but some are pushing for an f2.8 if they can manufacture it in the zoom range. In order for the new DVX or whatever the new camera is called to compete with the GH5s it will need some additional selling points as it will be priced around the same as the current DVX200 which is twice the price of the proposed GH5s.

It will have SDI, HDMI, dual XLR’s the name ND’s as the EVA1, USB3 and likely a new 4″-5″ touchscreen as well as wireless and remote control via an app. As the camera will not have the issues of dealing with interchangeable lenses it is hoped to improve on many of the other features of the DVX200. It may do away with the viewfinder and instead offer a 4″-5″ daylight viewable LCD.

via 43rumors

From https://www.43rumors.com/ft5-surprise-one-panasonic-product-announcement-december/

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

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

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

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

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

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

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

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

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

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

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

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

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

Specs

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

PR

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

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

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

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

Nice Industrial design at least...

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

PR

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Specs

• 1/3" CMOS sensor
• 20x zoom
• 3 manual rings
• Dual SD slots
• 5 axis hybrid OS
• 1080p60 50Mbit recording
• build in LED light
• $1499 at https://www.amazon.com/Panasonic-AG-AC30PJ-Camcorder-Touch-Optical/dp/B01LD4J1OM/

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

Links

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

PR

Sony has today announced the HXR-NX100 the latest addition to its NXCAM range of professional camcorders with high technology and cost performance. Sony has combined stunning picture quality, easy operability and a wide selection of recording formats into a device that supports multiple choices for a range of professional applications, from events to documentaries.

The HXR-NX100 features a 1.0 type Exmor® R back-illuminated CMOS Sensor with 20 megapixels. The sensor, which is approximately the same size as a Super 16mm film frame, delivers high resolution, low noise and stunning picture quality even in low light conditions, as well as offering more depth of field control as demanded by today’s diverse shooting requirements. Stunning picture quality is further ensured by a fixed Sony G lens, offering 12x optical zoom from 29mm angle of view at wide end that can be increased to 24x with Clear Image Zoom, while retaining full resolution thanks to By Pixel Super Resolution Technology. Furthermore, zoom performance can be doubled at any point with a Digital Extender by up to 48x. These features, combined with built-in 4-step ND filter, mean the HXR-NX100 is well prepared to capture quality content in any environment.

The HXR-NX100 is ergonomically designed to give a lightweight and easy-to-use form factor that ensures quality, reliability and peace of mind during any type of shoot. Three independent manual lens rings give simple access to zoom, focus and iris functions. The camcorder also provides a wide variety of connectivity options including HDMI, Multi/Micro USB, XLR terminals, REMOTE, Composite (BNC) and Multi Interface (MI) Shoe, which allows for a wide range of accessories without the need for cables, such as the HVL-LBPC Video Light and the UWP-D wireless microphone series.

Further extending the recording flexibility of the Sony NXCAM range, the HXR-NX100 is able to record in AVCHD, DV and XAVC S 50Mbps for multiple choices and high quality images. Operational flexibility is maximised by recording onto affordable and readily available consumer memory cards. The HXR-NX100 features dual media slots, which enables recording onto two memory cards either simultaneously or via a relay mode, where recording automatically switches when the first card is full.

“The HXR-NX100 brings the very best in resolution, depth of field control and low light performance thanks to its big 1.0-type Exmor R CMOS sensor, allowing content creators to capture beautiful images in any environment,” said Robbie Fleming, Product Marketing Manager at Sony Professional Solutions Europe. “Its ergonomic design ensures comfortable handling and the ability to record in XAVC S 50Mbps means the camcorder delivers quality content across a range of shoots, such as events and corporate videos. In the HXR-NX100, professionals have a versatile camcorder that lets them concentrate on doing what they love, with minimum hassle.”

Key features of the HXR-NX100

• 1.0 type Exmor® R CMOS Sensor and Sony G lens for stunning picture quality. High sensitivity and fantastic resolution with 20 megapixel sensor and sophisticated Sony G lens deliver striking detail, colours and wide dynamic range, even in low light conditions (minimum illumination 1.7 Lux *)
  • NTSC model: 1/30 second shutter speed, Iris and gain Auto. PAL model : 1/25 second shutter speed, Iris and gain Auto.
• Maximum 48x zoom for wide range shooting. The lens offers a 12x Optical Zoom from 29mm angle of view at wide end, which can be increased to 24x with Clear Image Zoom while retaining full resolution thanks to By Pixel Super Resolution Technology. Zoom performance can be doubled at any point with a Digital Extender up to 48x.
• Three independent manual lens rings, built-in 4-step ND filter and other professional functions. Manual lens rings ensure intuitive control of zoom, focus and iris and the built-in 4-step ND filter helps to control exposure in bright scenes. Other professional features include 0.24 type 1550K dots EVF and 3.5 type 1550K dots LCD for easy monitoring, and a wide variety of professional interfaces, including HDMI, Multi/Micro USB, XLR terminals, REMOTE, Composite (BNC) and Multi Interface (MI) Shoe, delivering a seamless integration for video light and wireless audio.
• Breadth of recording format capabilities. The camcorder provides multiple choices including AVCHD and DV which are suitable for conventional workflow, and newly implemented XAVC S 50Mbps which delivers better image quality especially for professional needs.
• Dual media slots for recording flexibility. Two memory card slots enable various recording options such as backup, simultaneous, relay and independent recording. The camcorder is compatible with SDXC and SDHC cards as well as Memory Stick PRO Duo (Mark 2) and Memory Stick PRO-HG Duo. “SIMUL” mode permits simultaneous recording to two memory cards, while “RELAY” mode automatically switches recording from the first to the second memory card when the first is full. The user can also use buttons on the camcorder to independently start and stop recording on different memory cards.

The HXR-NX100 will available in Oct 2015.

http://www.bhphotovideo.com/c/product/1072752-REG/sony_pxw_x70_professional_xdcam_compact.html http://www.bhphotovideo.com/c/product/758895-REG/Sony_PMW_EX1R_2_PMW_EX1R_XDCAM_EX_Full.html

To also throw in a third one for comparison with these two, the Sony NEX-EA50 or even the Sony FS100 as a fourth consideration to be included (if only either one had built in ND filters, then I reckon this would be the strongest choice here perhaps?) http://www.bhphotovideo.com/c/product/1076767-REG/sony_nex_ea50m_nxcam_camcorder.html http://www.bhphotovideo.com/c/product/761580-REG/Sony_NEX_FS100UK_NEX_FS100U_Super_35mm_Sensor.html (included the links so it is easy and handy for people to also see the specs at a glance)

What is the best upgrade from my GH4s cameras?

AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation.

AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions.

Links

• http://www.arri.com/amira/
• http://www.arri.com/news/arri-amira-unveiled/
• http://www.definitionmagazine.com/storage/ibooks/ibc2013_digitaldaily1.pdf

http://www.dvinfo.net/article/acquisition/nab2014-jvc-demonstrates-four-new-4k-large-sensor-cameras-for-digital-cinema.html

Please edit as needed, as I am on a satellite connection out at sea, and it's very slow.

Thanks!

http://if.com.au/2015/11/26/article/Arri-reveals-prototype-educational-camera/IQUTSYTINV.html

Canon Australia today announces the addition of two handheld video cameras to its X-series, the XA35 and XA30. Designed for professionals and enthusiasts alike, the highly compact and lightweight models feature a newly developed HD CMOS Pro sensor which provides higher sensitivity and improved low-light performance. Both cameras also include new Wide Dynamic Range (DR) and Highlight Priority settings, making them suitable for shooting everything from news and documentaries, to weddings and corporate films.

First-class image quality and video processing performance

Utilising Canon’s heritage in optical expertise and advanced technologies, the newly designed 1/2.84-type 2.91 megapixel HD CMOS Pro sensor has enhanced sensitivity with improved signal-to-noise ratio. As a result, images are crisp and clear, even in low-light environments. Low-light shooting opportunities are further boosted by improved infrared performance, ideal for users capturing nocturnal wildlife or night-time documentaries.

The 20x zoom wide-angle lens offers a 26.8-576mm (35mm equivalent) focal range and employs Canon’s intelligent 5-axis Optical Image Stabilization System with Dynamic IS. The lens also features an 8 blade circular aperture to give enhanced ‘bokeh’.

The XA35 and XA30 features two new settings – Wide DR and Highlight Priority. In Wide DR mode, the cameras are able to achieve 600% dynamic range, resulting in bright images with high contrast that retain detail in both highlight and shadow areas, without the need for post-production. When using the High Priority settings, users are able to produce footage with more natural tones and richer colours, particularly in areas of high brightness1, perfect for scenes with bright skies and reflective surfaces.

Both models also feature slow and fast recording modes, supporting a range of shooting scenarios with interval recording options up to a maximum of 1200x normal speed.

Discreet and portable, ideal for on the move

Compact and lightweight, the XA35 and XA30 are perfect for journalists who often need to record discreetly whilst on the move but don’t want to compromise on quality. The cameras are also exceptionally easy to use, featuring extensive automatic functions, ideal for corporate and education environments.

The XA35 and XA30 have the same popular ergonomic design as seen in their predecessors, the XA25 and XA20. Easily attached or removed to suit the shooting situation, the removable handle with professional audio XLR terminals provides maximum flexibility for users.

Integration and connectivity

Featuring a HD/SD-SDI terminal, the XA35 will integrate with existing equipment for onward transfer or transmission, and includes embedded audio and timecode signals. Providing users with the ability to export uncompressed high resolution digital video in real time, it’s the perfect compact camera for live TV and news gathering environments, allowing users to complement footage from other broadcast cameras on-set.

The cameras also support high quality AVCHD (up to 28Mbps) and MP4 (up to 35Mbps) file formats and include dual SD card slots, providing instant back-up through simultaneous recording or the option for relay recording at longer events, ideal for wedding videographers.

Both the XA35 and XA30 are dual-band Wi-Fi enabled which allow remote control of the camera, wireless file transfer/upload and browser preview, all with the use of a smartphone, tablet or computer. The cameras are also compatible with Canon’s GP-E2 GPS receiver, meaning GPS data can be embedded in the metadata of video footage. This feature allows accurate recording of the location where footage was captured, ideal for both journalists and documentary purposes.

Availability

The XA35 and XA30 will be available from December 2015.