Who says a professional camera can’t fit in your hand?

Sony’s HXR-NX30U is a new image shattering camera that takes professional features and contains them in a compact, versatile form. Our critieria for dividing professional from consumer cameras include image sensor size, outputs, and whether or not it has XLR inputs. This camera exceeds these marks with a large 1/2.88-inch Exmor R CMOS sensor, HDMI mini out, and two detachable XLR inputs.

Now cram in two more features that could represent entire pieces of equipment – a camera stabilizer and monitor. We liked how effective the Balanced Optical SteadyShot was at CES 2012, so when added to a handheld pro camera, it makes a lot of sense. Now, you can get as big an LCD screen as you want, it won’t beat 100 inches as projected onto a flat surface (at 16 feet.) The Carl Zeiss lens cuts down on rolling shutter artifacts while the range of frame rates are 60p,  60i, 30p, and 24p all at HD quality.

Recording AVCHD with 96GB internal memory should make the job enjoyable as will the versatility of using either SD or Memory Stick cards. The detachable XLR inputs are really a feature to behold as you’ll be able to capture high quality sound and have one of the biggest defining factors that separate videos. There is also an option for Linear PCM audio recording. A nice touch is being able to really control the time code as well.

Now, what will your clients think when you pull this camera out of your bag – remember, you can also use your highest quality mics too. You may need to project the confidence that comes with having your stabilizer and projector combined in one device, it probably won’t hurt to be able to show them some sample footage with camera movement and presented via the projector.

The HXR-NX30U is planned to be available in June for a suggested list price of less than $2,500.

Sony presents a new Super 35mm camera with a load of features that specialize the NEX-FS700U for a lot of different uses. Let’s start with some capabilities that the new camera pushes, 960 frames per second makes slow motion possible. The nearly 1,000fps is substantial on its own, but “seen it before” you say? Consider the interchangeable E-mount lenses and 3G HD-SDI you can also use while shooting.

To round out the fps compliment of options are 120, 240 and 480. What makes these processing-heavy functions possible is the 4K “Exmor” Super 35 CMOS sensor which is specialized for high sensitivity and low noise.

The 3G HD-SDI and HDMI connections allow for 60p, 60i, 50p, 30p, 25p and 24p. The 3G HD-SDI provides native progressive signals for 29.97, 25 and 23.98 and when combined with the NEX-FS700′s range of outputs should cooperate well with your external video recorder. For example, Sony’s HXR-FMU 128, as well as SD and Memory Stick cards may be used with this camera. Also not to be forgotten are three internal ND filters, up to 1/64.

On a physical note, the NEX-FS700 has a unique handle. It’s not only attached with a rosette mount, but secured via a cold shoe and two sets of 1/4 and 3/8-inch holes. With a secure handle, you should feel confident adding heavy attachments, and on the handle are the functions – expanded focus, auto iris, still capture and record. Since you may have lots of equipment going at once, the large buttons should enable you to use gloves and still operate the camera.

Sony alluded to a plan for enabling 4K to travel via 3G HD-SDI when used with a 4K recorder. At least this shows a commitment to this camera, I can’t imagine many companies that can afford a $10,000 camera only to buy another in a year or two. The NEX-FS700UK specifically comes with an 18-200mm lens while the body only option will hopefully save you trouble by working with your existing compliment of lenses. June is the announced date for availability and price listing.

They’re here and coming in full force, video cameras that bring themselves closer to the rest of your technology. Through Wi-Fi, JVC’s GX1, VX700, EX250 and EX210 allow video and stills to be emailed, and files to be transferred to a smartphone.

Another wireless feature allows your smartphone to be a remote control, via an app. Much like sportcams use smartphones as viewfinders, these wireless cameras incorporate devices that you already have on your person for added control of your video production. In a similar vein with sportcams, there is also ability for JVC’s Wi-Fi cameras to tag your video or photos to your GPS, thus giving you evidence of where you’ve taken video. When combined with live monitoring, this feature can turn your production into a miniature broadcast – videographer goes on location, sending live video back to a computer head quarters that lends viewers access (one of the three legs of the documentary storytelling stool.)

All four cameras have CMOS image sensors and may record video in full HD 1920×1080 to an SD/SDHC/SDXC card, then let it be output through an included HDMI cable. High speed video is made possible with the FALCONBIRD processor. Time-lapse is an opposite function that also can make your life easier when your project demands the creation of engaging and attention-grabbing visuals. Auto face detection and a 3-inch or greater touch screen/tiltable LCD also help ensure you’ll get a good moving image. Getting stealthy with video can be a lot of fun, as well as practical for documenting performances, and this is made possible through the silent mode found on each of the models.

The GX1 and VX700 both aid your camera operating abilities with an optical image stabilizer. These two models also have the larger image sensors at 1/2-inch and 1/4-inch, respectively. The EX250 may make video the most simple with its 16GB internal memory. Regardless of which camera you plan to use, how you use it sure can change, thanks to Wi-Fi enabled cameras.

www.everio.jvc.com

GZ-GX1 – $900

GZ-VX700 – $500

GZ-EX250 – $400

GZ-EX210 – $330

Whether you’re just starting out in video production – or have been into cinematography for years, taking a video production course can help you break out of a rut with new ideas as you meet-n-greet with people who share your interest in video making.

People from all over the country – and all over the world, come to our small town of Chico California – 70 miles north of Sacramento, 2 hours east of San Francisco – for our three day workshop that includes lighting, shooting, editing and audio techniques as well as production planning and location and studio  setups. they learn to work with a crew, and study the many crew positions in the video production process including directing, audio mixing, lighting design, and, of course, shooting.

From our basic workshop that covers a bit of every aspect of being on a crew to our  intensive courses that include Intensive Editing, Intensive Lighting, Advanced Shooting, and Advance Lighting – we enjoy teaching our workshops and these tight-knit groups always leave on Sunday exhausted, but with a new knowledge and understanding of the field of video production.

this week’s Videomaker workshops includes Basic Production and Intensive Editing.

People from all areas of video production come to our workshops: those in video advertising and starting a home business; those interested in possibly moving on to specialized cinematography schools, making online documentaries or looking for television production jobs in the future. We get teachers and hobbyists, career-changers and those looking to enter festivals, contests and film competitions.

Videomaker is a good place to learn – and connect, and we recently added more dates to our 2012 lineup:

May 4-6:  Basic Production Workshop and Intensive Lighting Workshop
June 1-3:  Basic Production Workshop and Intensive Editing Workshop
Sept 14 -16: Basic Production Workshop and Intensive Lighting Workshop
Oct 12 -14: Basic Production Workshop and Advanced Shooting Workshop
Dec 7 -9: Basic Production Workshop and Intensive Editing Workshop

For those who have attended our workshops in the past, we are also updating some of the stories we shoot, the gear we work with and the class schedules. We hope to see you here someday.

Nikon introduces the D800 one exceptional piece of equipment for both photographers and videographers (available in late March, MSRP $3000.) It is evidence of Nikon continuing the campaign for further integrate video capabilities in their DSLRs. Specifics like full HD video resolution at 1080 and the ability to shoot in 30 and 24p as well as 720 at 60 and 30p combine with dedication to audio for solid video producing.

At the core of this 36MP monster is an FX-format CMOS sensor and a EXPEED 3 image processor. Then at the front of the D800 is your NIKKOR FX-lens with the option of zooming in with a DX-lens. Follow the image from the lens, to the 35mm image sensor and up to the viewfinder that has 100 percent frame coverage and you’ll be capturing images with 7360×4912 resolution.

With good audio, comes great video – a 20-step mic volume adjustment with a 30-step headphone adjustment for a dedicated headphone jack will help you monitor audio well.

When it comes to ISO range, the D800 is outstanding with 100-6400 expandable to 500-25,600 and all with low noise images. The EXPEED 3 image processor keeps color well, but having a white balance that recognizes artificial and natural light is even better.

The D800 allows for lots of manual control including live view aperture adjustment either on its 921,000-dot LCD or on an attached monitor. If you want this monitor to be streaming, the displays can be removed, but either way, the camera can provide an uncompressed HDMI output with 4:2:2. Sticking with the LCD is no problem either since it is 3.2-inches with auto brightness control and reinforced glass.

Recording on the D800 may be best with a direct capture device, but it will format video with the H.264/MPEG-4 AVC codec. Clips can be recorded up to 20 min. at the highest quality setting, but going from sleep to shoot takes .12 seconds. And the shutter can be set to activate audio recording. With a 51-point AF system, operators may get spoiled with such response time, because with any shoot you don’t want .12 seconds of prep time, but we know from experience that waiting on a camera is never fun.

Now for the matter of retrieving footage you’ve got options on the D800 to use USB 3.0, CF and SD cards. Start organizing early by recording stills to one card and video to another, and for the highest speed use UDMA-7 or SDXC/UHS-1 cards.

So for about $3,000 the D800 provides approximately 200,000 shutter cycles, all encased in a magnesium alloy that is dust, dirt and moisture resistant. If you are interested in even higher resolution stills you may forgo the low pass filter for $300 and wait another few weeks for the D800E (available mid April, MSRP $3,300.)