I did not see this coming. Rather, I didn’t see this coming so quickly. OmniVision has announced a 16-Megapixel sensors that they claim are capable of capturing 4608 x 3456 at 30 fps or 4K2K (3840 x 2160) at 60 fps (!) for use in still and video cameras as well as high end mobile phones. So far, we haven’t heard any news of the chip being incorporated into any specific device, but the fact that it’s possible is staggering. This means that in the very near future, the average person can shoot video from their phone that will have enough resolution to be projected onto the big screen without up-scaling! Read the rest of this entry »
Archive for the ‘Press Release’ Category
OmniVision Announces 4K Video Sensor for Phones
PENTAX K-30 – Adventure With It
PENTAX K-30 is a camera that can allow you shooting independence. This DSLR joins a special class of cameras that are capable of both recording quality stills and video and withstanding water and dust. The weather sealing and rubber grip will let you operate the K-30 in the fog of a mountain and down in a dusty desert – both locations would be great for capturing 1080p video and photos. Composing landscape and establishing shots will be most effective with the full frame view coming from the K-30′s APS-C CMOS image sensor. The Prime M image processor is optimized for video and should present you with smooth monitoring.
Two more great features found in the body of the K-30 are image stabilizing via the sensor – so no need to have a lens that is stabilized, and an Advanced SAFOX IXi+ autofocusing system good for different lighting situations. If the auto focus weren’t enough there, try the 77-increment light metering with a respectable 100-25,600 ISO range.
Shooting with the K-30 can really be tailored to your style with two programmable dials and live view focus peaking. These two features should allow you to take control of your image without pulling away from the viewfinder. If you really can’t keep your eye on the viewfinder, the 3-inch 921,000 dot LCD should be ample. In either event, having power options is always nice, PENTAX offers an optional battery pack that will accept AA batteries to more than double (that’s more than 10 hours of playback) the standard battery’s life.
The full compliment of KAF K-mount lenses (PENTAX’s lenses) should be applicable with the K-30, as will be your stash of SD/SDHC/SDXC cards. If for some reason you’re interested in capturing audio while trekking the mountains or the desert, be advised that there’s no mic input. By the way, if you’re tired of having a black camera, the K-30 can also come in blue or white.
PENTAX’s K-30 makes a great bid to become your mid-range DSLR by coming with a 18-55mm lens for $900.
Sony Sends in New Alpha Cameras: the NEX-F3 and SLT-A37
Let us first take the SLT-A37, this Translucent Mirror Technology camera is another first-step available for those that are curious about DSLRs.
Shooting will be a joy with the 1,440,000 dot resolution in the electronic viewfinder, and how would we maintain creativity without a tilting 2.7-inch LCD? As for the core of the SLT-A37, we’re looking at a 16MP Exmor APS CMOS sensor with a BIONZ image processor, this is going to be consistent with the strong points of other more expensive Sony cameras, so it becomes great news when we find that the price comes out at $600 with a 18-55mm lens.
The SteadyShot shake reducer is housed in the body of the SLT-A37 and that frees up the A-mount lenses to be constructed without stabilizing mechanisms. There are a couple auto functions to assist the user in some of the more tedious aspects of shooting, such as Auto Portrait Framing which employs the rule of thirds – before you say “there goes my creativity!” Know that the camera will save both the full image and the cropped image. Then there’s the 15-point auto focus and auto mode that will adjust settings according to your scene and subjects.
The SLT-A37 has Pixel Super Resolution Technology which should provide two times the focal length without changing lenses, it will require some trial here to see if there is any error, since we’re usually leery of digitally zoomed shots. Video capability is up to par with 1920×1080, 60i captured in MP4 on SD or Memory Stick PRO cards. So, ultimately, we definitely would love to see how the SLT-A37 feels to a camcorder convert, and at $600, this is quite attainable.
Now for the NEX-F3 we’re looking at the same sensor that’s found in the SLT-A37, so this is exceptional since the form factor with the lens detached will be suitable for your pocket. This time around, you may use E-mount lenses, and experiment with better battery stamina. This notion of powering electronics is certainly coming to the forefront with other devices, and likely since there’s much more power being utilized inside said electronics, and that’s really just a long way to say – we like more battery life.
Aside from form, the different set of available lenses and an optional OLED attachment, the NEX-F3 shares video and auto capabilities with the SLT-A37. Coincidentally, the price is a repeat here, $600 for the NEX-F3 with the 18-55mm lens.
The Fujifilm FinePix XP170 Gives You Freedom to Shoot
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.
Dell Announces New Line of High Performance Precision Workstations
Today Dell is announcing it’s new line of performance workstations, and we at Videomaker were lucky enough to get a Precision T7600 in for an early look. Even before firing it up, it’s clear that this workstation was built to work. If you’re getting a Mac Pro vibe you’re not alone. The carved mesh front and rectangular top handle is reminiscent of that iconic look, but don’t let its looks fool you. Dell has pushed functional design to new levels with the T7600, by putting user convenience at the forefront. Read the rest of this entry »
NAB 2012: Light Yourself with ViewMe Lights from Videssence
Using webcams or recording from the desk are rarely our preferred locations for shoots, but a big part of that is not having great lighting at our disposal. Videssence must have come up to this instance as well and so they developed the ViewMe S and ViewMe B/B2 lighting kits to help clear things up.
The big idea here is to essentially create a three-point light setup at your desk. To do this, ViewMe provides two soft LED lights that either mount on your computer monitor or a desktop stand. Your third light should be the main overhead light, but either combination will help you look better than the glow from your monitor combined with any background light. The lights are 3000K give off no glare and give you a nice indirect light the Osram/Sylvania HF2 Narrow Stick LED lamp is the source within the fixture.
As long as you lay the long side of the light against your monitor, the setup will extend 3.5-inches, whereas if you choose the stands, the footprint will be a 4-inch diameter and 14-20-inch height. The brackets used with the ViewMe B lights use a Velcro attachment, are tiltable and should ensure that the lights stay close enough to an outlet, even if you only have a two prong outlet available. (I can think of a few student films in which my only power options were two prong sockets, where were these then!) With either of the two-light kits, you’ll need to keep the lights fairly close since they need a cable to be powered.
The 3.4W light is very efficient, has a 85CRI and should last 50,000 hours. At a price of $115 for the single ViewMe light, $195 for the ViewMe B2 and $249 for the ViewMe lights on stands, this is an incredible deal for a regular webcam user.
Please discuss on the Videomaker forums.
NAB 2012: Sennheiser’s SKP 300 G3
Sennheiser SKP 300 G3 plug-on transmitter is a very handy accessory to just about any audio kit. The transmitter allows those top-notch microphones to become wireless, saving space by eliminating cables which also provides freedom. No wireless signal is complete without a receiver, and the EK 100 G3 is welcome match here.
The applications are numerous, for news reporters, this allows more freedom in the mics to chose, as well as the liberty to move from place to place without being dragged down by cables. Event video companies should be able to provide emcees or other speakers with mic very quickly with the SKP 300 G3. Narrative film makers can get creative with a full compliment of mics.
There are eight frequencies available, and three variants to the model that reach different portions of the spectrum, SKP 300 G3-A is 516-558MHz, SKP 300 G3-G is 566-608MHz, and SKP 300 G3-B is 626-668MHz. Each of these maintains the same overall price of $530. Power is provided to both the transmitter and condenser mics by a pair of AA batteries. Being able to provide phantom power only furthers the versatility that this box represents. If you don’t want the power to be shared from one source, opt for a sensible accessory, the rechargable battery pack, SK2015-G2. As for physical presence, the SKP 300 G3 measures nearly 14-inches on its longest side, then about 3×5-inches for the rest of the round edged 24oz. box.
Our team at NAB 2012 was rather impressed with the universal capabilities of the SKP 300 G3, so they saw it fit to check out, snap a pic and make sure anyone that’s interested can find it for themselves. We like the fact that it’ll reduce our dependence on a single complete wireless system and will make it simpler to swap wireless mics.
NAB 2012: Atomos Ninja 2, and the DEEPSEA CHALLENGE
If you recall our blog post from March 26, you may remember James Cameron going to the deepest part of the Pacific Ocean, what we didn’t realize until recently is that in order to record footage, the Atomos Ninja 2′s larger relative, Samurai was on board. It was actually at least 30 Samurai, chosen for their combination of size, durability, and continuous battery power that made it the video recorder of choice for use 6.8mi. below sea level. Atomos was able to modify all the recorders to be operable from a single computer. These modifications found their way into AtomOS 3.0 and are now known as SmartControl, ultimately it gives camera operators the ability to record and pause recording, which may not sound like much control, but it worked for Cameron when he was cramped into a 43-inch wide cockpit.
There is now little difference between the Samurai and Ninja 2 since the HD-SDI output is found on both, the Ninja 2 makes do with its HDMI in and loop-through. Updated in the Ninja 2 are some smart features as part of AtomOS 3.0, namely, SmartLog and SmartMonitor. The no cost firmware update will be made available for current Ninja owners and should be availabe April 30.
SmartLog allows for marking of the good, the bad and the ins and outs. The SmartMonitor provides zebra, blue-only, false color and focus peaking. Physically, the Ninja 2 gets the upgrade to 800×480 with a 170-degreee viewing angle. The Ninja 2 also has better visibility in sunlight.
It is worth mentioning that the Ninja 2 does not gain anything in terms of cost – still $995 returns many of the great features from the first model, including recording uncompressed 10-bit Apple ProRes, and now Avid’s DNxHD.
It’ll be exciting to see where the Ninja appears next, if it will expand to support even more codecs, but one place we’ll expect to find it is on top of a new DSLR.
NAB 2012: JVC’s Three Cameras You Must See
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.
NAB 2012: Manfrotto Makes It Sympla
Camera operators throughout the video industry are using more DSLRs, and smaller cameras, what that also means is more attachments are being called upon – Manfrotto seeks to fulfill that need. The Sympla is a physical solution to camera operators needing to carry lights, batteries, accessories and get a handheld shot.
In Las Vegas Manfrotto has the Sympla Shoulder Support System (MVA511WK, $1,150), Flexible Mattebox (MVA512WK, $1,150) and Long Lens Support (MVA513WK $1,050.)
The Sympla Shoulder Support System as the name suggests, supports the camera equipment on the camera operator’s shoulder. It has swivel-joint handles to aid control, but still allow flexibility. The rig is best utilized to keeps controls nearby with an optional remote control that lets the operator continue to aim steady with two hands.
The Flexible Mattebox is set to hold 4×4-inch filters directly in front of the lens, but also protects against stray light. The box lets the operator change lenses easily, and has a variable plate and two-plane micro-adjusters for precision alignment.
As for the Long Lens Support, special attention is given to the reduction of vibrations that can occur when shooting with long lenses. This lengthy support provides a solid platform for even the longest lens and is compatible with all Manfrotto Video Heads.
The components to each of these systems are really the highlight, each system starts with: a) a pair of 300mm (about one foot) rods have screw junctions and are the standard 15mm (.59-inch) diameter b) a variable plate which supports the camera along three axes, uses a repostionable ratchet and quick-lock along each axis then has fingertip-geared control for vertical and lateral adjustment. Then there’s c) clips to hold attachments onto the rails, and there are no tools required when adjusting the plate.
This has all gone without mention of the Fig Rig (MVA522W, $380) which essentially puts the operator in the driver’s seat and can be fitted with either the Flexible Mattebox or Long Lens Support.
And most importantly, these peices may be built and rebuilt in the configuration that works best for a specific need.
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