Blackmagic Design does a lot of things well, and the Blackmagic Cinema Camera is going to join the compliment of mixing software, 3D processors, hubs, and converters as another fine product. The quality of this high-end camera is in the compliment of Canon’s EF-mount and Zeiss ZF lenses, 2.5K (2592×2192) resolution and uncompressed file formats.

The form is strangely similar to other Blackmagic Design products with solid, rounded edges forming a sort of DSLR prism. Or you could say it appears similar to an external SSD, but wait, that’s it, the Blackmagic Cinema Camera records directly to SSD! The 5-inch touch LCD screen takes on a bulk of your usage since the external buttons are minimal. The sides of the camera house the removable SSD and the assortment of connections for the likes of an external mic, headphones and Thunderbolt.

The SSD gathers video in the form of open standard CinemaDNG RAW, DNxHD or ProRes. The video playback uses SDI which also holds lots of camera data including transport control, shutter angle and color temperature. The metadata entry is similar to the method found in smartphones, and will make searching for files easier in post.

During shooting, bring along your laptop with Thunderbolt and you’ll have yourself a monitor with UltraScope which brings to you waveform, vectorscope and histogram among others.

There are strong visuals to be made with 13 stops of dynamic range and 12-bit RAW. There are equally strong sounds to be captured with two 1/4-inch mic inputs. The battery is integrated and there are three 1/4-inch threaded mounts on top of the camera.

No camera does a complete job without editing software, so Blackmagic includes DaVinci Resolve 9.0, so color correction will be a tool you’ll want to use.

We’re excited to see the Blackmagic Cinema Camera at work, and for $3,000, this will be a huge addition to the cinema marketplace. It is set to ship in July, with optional grip handles for $195.

Please discuss this camera in the Videomaker forums…

Autodesk Smoke 2013 moves away from node-based platforms with a layered structure, much like the video editing programs used across the industry. If you think that’s huge, get a load of the price drop, Autodesk Smoke used to be $15,000, but now it’s $3,500! This complete editing software for Macs is now going to reach a whole new group of professionals and enthusiasts.

Known for high-end quality effects, Autodesk retained these effects within the editing workflow and strived to simplify the whole process. Now they’ve got one of the most attainable, respected effects software available. What Smoke 2013 does retain is node-based compositing within the timeline, and therefore keeps your work within the same software program. Creative tools fill in a lot of work in terms of finishing, professional color grading, 3D editing and compositing, and matching and one-click chromakeying.

Autodesk is working to respond to their survey that returned with 82 percent of their users saying they were less than pleased with the support for HD and similar formats. Fully being able to edit video, add high-end effects and complete post-production is really going to be a strength for Smoke 2013, and the best part is, the capabilities are what you’d search for in plug-ins or as part of a suite of products from other software providers.

The creators are calling it a super app, but we’re just excited to see the 20-year leader of visual effects listening to their users, adapting their software and maintaining high enough quality to keep the same name. Afterall, if you created a new product for more than 75 percent off of its previous price, chances are you’d call it something else, but this is not the case with Autodesk’s Smoke 2013.

To go along with the severe price reduction, the system requirements got a trim. An up-to-date Apple iMac or MacBook Pro with high-bandwidth Thunderbolt is able to run Smoke 2013.

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.

There’s no doubt that having the right lighting makes for better video, but attaining that is the real trick. F&V Light has two LED video lights – Z180 and Z180S – both will add versatility and light to add to your productions.

First we look at the Z180, it is a 5600K little panel with 180 LEDs and is small enough to combine with the included Kai Arm for camera mounting. The best part about having powerful lights like these is being able to take away that light, and that’s made possible by a 0-100 percent dimming dial. The color rendering index here will be at least 85 percent stay at 5900K unless you opt for 3200K with the magnetic tungsten filter (no more broken filter mounts!)

This light comes in with a beam angle of 65 degrees and illuminance at 1460lx. The brightness doesn’t stop there, unless you want it to, the Z180 comes with a diffuser to soften the beams.

Now we were looking for versatility right, dimmability, filters to soften or alter color temperature, even multiple types of powering options are all well and good, but can other lights mount on one another? With the Expandable Link System a Z180 can be linked to other Z180s and also to other Z180S! Yes, we’ll get to the  Z180S, but first know that each light may be synced and controlled from one light. Linking these two or more together can also be practical for transporting as well.

The Z180S will be most effective when linked together since its biggest feature of adjustable color temperature is also synced up. The difference in the Z180S is less LEDs, half to be exact, but this only equates to a drop of 80lx at 1380lx. Otherwise, the Z180S is equal to the Z180, dimmer knob, power via external DC, Sony NP-F or six AA batteries.

The greatest final note for all this is price, $390 for the bi-color Z180S and $370 for the slightly brighter Z180.

Discuss the Z180 and Z180S on the Videomaker forums.

If you’ve been watching for pre-NAB announcements and rumors as closely as we have, you’ve surely seen some of the big news. A couple of the biggest morsels being Sony’s NEX-FS700U, which can shoot up to 960 frames per second, and some rather cryptic invitations being sent out from Canon which contain nearly no details on what they might be talking about. Rumors are swirling about the possibilities.

Canon has been getting a lot of press recently for their C300 and EOS 5D Mark III, but many were expecting more from the new 5D in the way of video. Some are speculating that Canon is planning on announcing a 4k cinema camera to compete with Red. That idea surely makes sense. Considering Red’s hold on the digital cinema market, it stands to reason that Canon would want to get a piece of that pie. To make things even more interesting, the C300 is priced at $16,000, while the 5D Mark III is at $3500. A digital cinema camera priced right in between would be a strong competitor to the Red Scarlet, which is currently priced at $11,700.

Of course, the biggest piece of evidence we have is Canon’s own press release from November 4th, 2011. The release announces plans to release a so far unnamed EOS-series DSLR which will feature a 35mm full-frame CMOS sensor capable of recording 4k video at 24 frames per second. Canon goes on to say that the scheduled launch date is undecided. Based on the image provided by Canon, it certainly doesn’t look like they’re referring to the EOS-1D X, leaving the implication that this may be the beginning of a new EOS model.

Videomaker will be attending both major Canon press events at NAB 2012, so you can be sure as soon as we do what exactly they’re planning on telling us.

The HyLight is an LED compact studio light that is prepped for travel and convenience. Frezzi knows that HMI lighting gets hot and hard to use, so as an alternative, the HyLight will be shown at NAB Show 2012.

The full dimming ability in the HyLight is always a useful function, reducing equipment and saving space. The color is touted to be vivid and excellent for lighting skin. Just think of how many times you have humans as your subject, or someone’s face as a focal point, this is clearly a big plus.

Similar to the dimming capability, Frezzi includes flexibility with color temperature via interchangeable lamp modules with degrees at 24, 32 and 50 (for more on the photometrics click here and read into the HLK-2A Dual Head Travel Kit section.)

Somehow we’ve come to expect funny fringes with shadows from LED light sources, and most times, that’s okay but when the 24W HyLight acts more like a single point of light, you’ll get cleaner shadows. The included barn doors will further allow you to manipulate your light. These both add to a list of reasons for this light to replace a hotter spotlight in your studio.

If you wanted to place your lights in a side-by-side comparison, the HyLight will likely be the dwarf, generally lights measuring less than two-inches in one dimension and seven in another are considered on-camera lights, but the HyLight should be able to find a home in your studio. Certainly, it’ll find a place next to your camera bag, as it can come as a two-light kit with travel case, batteries, battery chargers, stands, and filters for a total weight of 25lbs. Time to brush up on Videomaker’s guidelines for lighting kits.

The HyLight accepts batteries that attach via an Anton/V-mount, though DC power configurations are an option. The notion of travel lights should always include durability, and you should find this light  ready for any weather, operating silently and sturdy since it has no moving parts.

Our biggest concern is the 5/8-inch mount which probably won’t be compatible with all of your light stands.

Discuss the new HyLight on the Videomaker forums.