The FinePix XP170 is an up-to-date version of the FinePix XP20 that is really becoming an evolving process and this time it comes quick since the FinePix XP100 and FinePix XP150 showed up just last January. The newest addition is a welcome one, more so by your friends and family since sharing photos with Android and iPhone users is as simple as the download of the FUJIFILM Photo Receiver. TheFinePix XP170 has a dedicated function for this, so it’s something you’ll have to try when you are pushing this camera to its fullest extent.

Able to go as far as you are is the hallmark of the FinePix XP line, so the XP170 lets you go big despite dust, dive into water as deep as 32 feet, ride the slopes at negative 14 degrees Fahrenheit and survive a six-foot drop. To really round out the ruggedness we look for operability in such conditions, there is one-touch recording and an anti reflection 2.7-inch LCD to provide good visibility outdoors and underwater.

Important video considerations with the XP170 are the 1/2.3-inch CMOS sensor, 14MP, H.264 format, max. resolution at 1920×1080, mini HDMI out, and no audio or internal memory to speak of, but there is an SD card slot.

Toss in 240fps shooting and all you need is footage worth watching in slow motion. The 5x optical zoom is appropriate for the size of the camera and if the CMOS-shift stabilization works as advertised, even your fully zoomed shots will look focused.

The small touches of a double lock battery compartment and water resistant lens should seal the deal for use in multiple environments – you’ll be comfortable that your battery is not at risk, and water can be easily shaken off the lens. I always appreciate an external battery charger and the XP170 includes one. Curiously, only blue and orange are available as colors for the XP170 which should be available for $280.

The fine folks at Fujifilm make it possible to have fun in the freedom that comes with a rugged camera.

(Looking for the press release?)

Video production is such a wide and varied field, from hobbyist and amateur producers, to Lone Wolf business people and full-fledged production facilities. Is your interest in editing video production or video production service? Are you a wedding video producer or a newbie looking for advice? Are you making online video or educational video? Video producers come in all flavors and inquiring minds want to know: who ARE you? What kind of video work do you do? Let us know, we’re curious about what type of video you make, and for what purpose.

Recently, EarlC, one of Videomaker‘s moderators, posted a Videomaker Forums Survey looking to answer some questions about the type of video producer who reads Videomaker, either online or in a paper edition, and who reads our forums and who is active on them.

As many of you might know, Videomaker forums are chock full of advice from real video professionals working in the trenches – and best of all, they’re FREE! How many places can you get service for free, huh?!?! Read the rest of this entry »

Spotlight: Blackmagic Cinema Camera

For all the cinema camera’s we’ve looked up, none look like the Blackmagic Cinema Camera, this one almost has an Apple-feel in its unique silver casing, black rubber grips and hard drive-esque form.

With resolution at 2592×2192, images captured by this camera have the potential for the cinema and the format may be either 2.5 RAW or at 1920×1080 ProRes or DNxHD. One incredible feature is the capability to capture with a dynamic range of 13 stops.

The LCD is 5-inches and is a versatile touch screen much akin to a smartphone and will be used to enter metadata directly onto the files on the SSD which will really speed up the whole workflow.

JVC has a follow up on the 4K camera they showed at CES 2012, but first, two new cameras, the GY-HM600 and the GY-HM650. Both have a small form factor, and can be handheld, so first we’ll cover the GY-HM600.

This ProHD camera features a 23x zoom lens and combines it with great low-light performance. The GY-HM600 ($4,700) goes for versatility by working in multiple file formats like XDCAM EX and Final Cut Pro (MP4 and MOV respectively.) It will make use of SD cards and can relay them for continuous recording even after they fill up. A second function here is to simultaneously record to multiple cards so as to provide a client with an on the spot copy or give yourself a backup.

Viewfinders with 1.2MP color and 3.5-inch LCDs make for clean monitoring in most situations. The built in handle has a trigger and servo zoom control, and if that’s not enough to get you to shoot while holding the handle consider the Pre Rec feature that continuously records and stores a max. of five seconds to help cover the head or tail of a shot that you missed. The GY-HM600 is rounded out with three 1/3-inch 12-bit CMOS sensors and a Fujinon 29-667mm lens, three built-in ND filters, two XLR inputs, and one input for a wireless receiver.

GY-HM650 ($5,700) seems accurately touted as a mobile news camera. Video can be set to record to two codecs, one at full HD and a second at 1/4 HD for the Internet. By the way, if the camera could talk it’d mention that it’s got built-in FTP and Wi-Fi so no more running back to the news station just to drop in footage – no satellite or microwave connection needed.

Much like the HM600, we see a Fujinon 29-667mm lens with zoom as long as 23x. This also gives it good light sensitivity, F11 at 2000lx. These two cameras also share resolutions at 1920×1080, HD-SDI and HDMI outputs. The same mic input compliment puts the similarities to rest, the main difference is the connection to the Internet and $1,000.

The GY-HM650 is also available a few months later than the GY-HM600 which will debut in Fall 2012. As promised, the news on the GY-HMQ10 is that, it’s shipping – as of today! The first handheld 4K cameras (GY-HMQ10, $5,550) are now reaching video producers as you are reading up on NAB 2012 news.

Please discuss on the Videomaker forums.

The EOS-1D C from Canon is designed with the cinematographer in mind. The EOS C500 is the big brother to the EOS C300, but is more like an older twin since it’s announced a little more than five months after the C300. What the EOS-1D C (scheduled to be $15,000) and EOS C500 (scheduled to be $30,000) do have in common is capability of 4K video.

As a DSLR that puts video first, the EOS-1D C represents one of the smallest 4K cameras, especially when combined with EF-mount lenses. With 18MP, a full frame CMOS image sensor, and support for Motion JPEG (a 4K format) this camera is sure to push your CF cards to the limit. It can shoot at a variety of frame rates within 24p and 60p.There is still capability to shoot HD as H.264 and stills in RAW or JPEG, and while we mention photos, it’s worth mentioning that the EOS-1D C is good in low-light and is a top performer in terms of focusing, exposure and bursts.

Recording with the EOS-1D C should allow for freedom due to its size, and the ultimate advantage here is your creativity.

The EOS C500 combines a Super 35mm 8.85MP CMOS image sensor, uncompressed output with HD-SDI and special attention to film and TV specifications for a top-level camera. Canon added uncompressed RAW output through 3G-SDI for both 4K and 2K recording. Video also comes through the camera at 12-bit RGB and 4:4:4 while at a range of 1-60fps.

The lenses available for the EOS-1D C are compact EF-mount lenses which further promote the small form factor while the EOS C500 has a true twin model, the EOS C500 PL which accepts PL-mount lenses as opposed to EF cinema lenses. Canon has also dedicated development on four new lenses, two are wide-angle at 47mm and two are telephoto at 30-105mm.

Now with a dedicated complete workflow thanks to nextLAB from FotoKem. The software solution is file-based and is the first Canon camera to use the Academy of Color Encoding Specifications system throughout production and post-production. When working with the EOS C500 on a film or TV set, nextLAB provides excellent data management as is being used by industry professionals, some of whose work can be viewed at the Cinema EOS site.

Finally, the EOS-1D C and EOS C500 (with more details to come) are scheduled to be available by the end of 2012.

Please discuss in the Videomaker forums.

Panasonic is now going to compete with other cameras on terms of blank media, for those that decided not to go with the P2 workflow, think again. The new blank media, microP2 is simply the same memory card, with a new form factor, SD.

This size all of a sudden, makes the P2 card much more widely accepted and versatile. The 64GB and 32GB cards will help allow large video files to move from camera to computer and other devices, even older cameras with an adapter. The adapter may also extend the use of your existing cache of class 10 SD cards to Panasonic’s P2 cameras.

The microP2 cards also support AVC-ULTRA, the new compression platform which is coming in 2013 and will prepare the way for future video work.

As for exciting news, none may top the 4K camera body that was briefly shown during the press conference in Las Vegas. It looked to have four XLR inputs, SDI outputs and capacity to add plenty of attachments. This is all part of Panasonic’s plan to allow users a 4K workflow from shoot to edit to master and monitor.

News that is more readily useful includes a few updates, the first is for a camera that we reviewed, the AG-AF100. The software upgrade allows for 1080 60p and 50p HD and ring in the 2.39:1 aspect ratio marking which is utilized in theaters and useful for documentary and narrative producers. This update, AF-SFU100 comes in May at $250.

If you don’t have one of these Panasonic cameras yet, look into these updated versions of professional cameras, the AG-AC160A and AG-AC130A. The AC160A ($5,100) includes 1080, 60p HD recording and a focus assist that allows for zooming in to check focus. This turbo-speed focus assist can be upgraded on your camera for $300 at an authorized service center. The AG-AC130A ($4,200) will likewise be available in May if you are looking to pick up the camera with the upgrade already installed.

These announcements definitely give Panasonic a forward-facing plan with the microP2 blank media, upgrades to current cameras and what could be the most complete 4K workflow we’ve seen.

Please discuss in the Videomaker forums…