<![CDATA[ Latest from Tv Technology in Equipment-review ]]> https://www.tvtechnology.com/tag/equipment-review Mon, 08 Jan 2018 14:24:00 +0000 en <![CDATA[ Review: Litepanels Gemini 2x1 Bi-color LED Panels ]]> LED lighting is the new wave in studio and location lighting. With this technology, we no longer have to worry about the heat on the set, having to wait until the lights cooled before striking them, changing color temperature when diming, replacing bulbs frequently and high energy consumption. Litepanels Gemini Bi-color LED Soft Panel could be the perfect light to use on the set or take to your location—it is that versatile.

FEATURES

Considered a portable LED unit, the 22 pound Gemini Bi-Color 2x1 light is truly 2 feet across (actually 25 inches) by 1 foot high (12.5 inches). Powered by AC or DC (more on that later), you may mix daylight and tungsten color temperatures by dialing in a specific Kelvin temperature; add any Rosco or Lee gels internally without physically attaching them to the light; dim the fixture from 100 percent down to 0 percent; change the hue, saturation and intensity of a specific color; control the greens by addition or subtraction; add a fire, flashing light or strobe effect; utilize six presets for user-defined color control; and operate the unit through its built in DMX or Bluetooth control.

My students used a daylight color with a grey background for Alex.

The first thing notable about the light is its solid construction. Aluminum rather than inexpensive plastic means the Gemini is built to last. The yoke is adjustable and attaches with a female junior pin than may be converted to a baby pin for C-Stand usage rather than on a lighting grid. Drawing merely 325 W, the user has ultimate control over the light’s output.

The rear of the Gemini allows you to control all of the magic. Directly below the quiet, centralized cooling fan and slightly to the right are the Gemini’s inputs: “Mains In” and Through ports, a three pin 28-volt DC input, a male five pin DMX in and female output, and an Ethernet DMX in and out. Directly across from the Litepanels logo is a 2-inch LCD display screen that indicates: which mode you’re in; the color temperature source; the level of brightness listed as a percentage; the gel manufacturer, number and name; how the unit is controlled; the fan’s status; and AC or DC power indicator.

A row of six presets with an A/B switch allows you to activate six color temperatures (2700K, 3200K, 4000K, 5000K, 5600K and 6000K) as well as preset your own settings. Three rotary dials give you total control of: Plus or minus green and hue (push for menu access), Correlated Color Temperature (CCT) and saturation, and dimmer respectively. A green LED illuminates when the power is on when activated by the adjacent power switch.

IN USE

The Litepanels Gemini was put to immediate use in our university’s TV studio. While wanting to mount it on our ceiling grid, the students preferred to have it on their level on the floor in front of one of our many backdrops.

Arriving with a yoke and junior pin meant for grid use, we adapted it for placement on a C-Stand with a junior to baby adapter. Sandbagged and powered through AC, we placed the Gemini 5 feet to the right of our talent and used a Mole-Richardson 650 W Tungsten Tweeny as her backlight to further enhance her naturally red hair. Color balanced to tungsten, we dimming the light to 35.6 percent and utilizing a Lee 147 Apricot gel, we had the desired look. Having control over the intensity of the light, as well as adding filters internally, kept our set time to a minimum and gave Nikki (our talent) the look she was after. You can see the final result here. Having access to gels greatly aids in selecting one that will flatter the talent’s skin tone.

Moving on to Alex, a student with blonde hair, we selected a cooler daylight color temperature, dimmed the light to 89.3 percent and utilized a Lee 103 Straw gel. Alex’s lighter skin tone was enhanced with the daylight balance and the addition of the slight warmth of a straw gel. Having designed the black dress, Alex wanted to showcase the design by posing against a gray backdrop. The end result may be seen here.

The Gemini may be powered by AC or DC. In the near future, the units will be available to accept either Gold or V-mount batteries. Effects like fire and flashing lights may be programmed in if those effects are desired.

LED light panels, by their design, still have a more rapid light falloff than Fresnels. Although the Gemini is extremely bright, the farther you move from your subject, the more dramatic the light loss. In our initial set-up, I used our foot-candle meter and the specifications were similar to those Litepanels publishes. Because no heat is expelled from the front of the panels, they may be moved in very close to the talent without discomfort. In our situation at 5 feet, we had to drastically lower the output. Adaptable to any situation, the Gemini would be a welcome addition to your lighting arsenal.

Summary: One light that can do anything several different lights and gels could do—but in one package. No AC, no problem.

Application: Grid mount in a studio, use it on a set, take it to your location—even if it is where no AC power is available. Programmable, so it would be indispensable to your production.

Key Features: Modular; may be grid or stand mounted; DMX and Bluetooth capable; Bi-color; dimmable, full color control over hue and saturation; built in gel mode; programmable; AC or DC operation.

Price: $4,400.00

Contact

Vitec Videocom, Inc.
14 Progress Avenue
Shelton, CT 06484
203.929.1100
Email: Salessupport_USA@vitecgroup.com
Website: www.litepanels.com

Chuck Gloman is an Associate Professor and Chair of the TV/Film Department at DeSales University. He may be reached chuck.gloman@desales.edu.

]]> https://www.tvtechnology.com/equipment/review-litepanels-gemini-2x1-bicolor-led-panels szzsdGCKP3s8ipdZWVBtmD Mon, 08 Jan 2018 14:24:00 +0000 false false false

LED lighting is the new wave in studio and location lighting. With this technology, we no longer have to worry about the heat on the set, having to wait until the lights cooled before striking them, changing color temperature when diming, replacing bulbs frequently and high energy consumption. Litepanels Gemini Bi-color LED Soft Panel could be the perfect light to use on the set or take to your location—it is that versatile.

FEATURES

Considered a portable LED unit, the 22 pound Gemini Bi-Color 2x1 light is truly 2 feet across (actually 25 inches) by 1 foot high (12.5 inches). Powered by AC or DC (more on that later), you may mix daylight and tungsten color temperatures by dialing in a specific Kelvin temperature; add any Rosco or Lee gels internally without physically attaching them to the light; dim the fixture from 100 percent down to 0 percent; change the hue, saturation and intensity of a specific color; control the greens by addition or subtraction; add a fire, flashing light or strobe effect; utilize six presets for user-defined color control; and operate the unit through its built in DMX or Bluetooth control.

My students used a daylight color with a grey background for Alex.

The first thing notable about the light is its solid construction. Aluminum rather than inexpensive plastic means the Gemini is built to last. The yoke is adjustable and attaches with a female junior pin than may be converted to a baby pin for C-Stand usage rather than on a lighting grid. Drawing merely 325 W, the user has ultimate control over the light’s output.

The rear of the Gemini allows you to control all of the magic. Directly below the quiet, centralized cooling fan and slightly to the right are the Gemini’s inputs: “Mains In” and Through ports, a three pin 28-volt DC input, a male five pin DMX in and female output, and an Ethernet DMX in and out. Directly across from the Litepanels logo is a 2-inch LCD display screen that indicates: which mode you’re in; the color temperature source; the level of brightness listed as a percentage; the gel manufacturer, number and name; how the unit is controlled; the fan’s status; and AC or DC power indicator.

A row of six presets with an A/B switch allows you to activate six color temperatures (2700K, 3200K, 4000K, 5000K, 5600K and 6000K) as well as preset your own settings. Three rotary dials give you total control of: Plus or minus green and hue (push for menu access), Correlated Color Temperature (CCT) and saturation, and dimmer respectively. A green LED illuminates when the power is on when activated by the adjacent power switch.

IN USE

The Litepanels Gemini was put to immediate use in our university’s TV studio. While wanting to mount it on our ceiling grid, the students preferred to have it on their level on the floor in front of one of our many backdrops.

Arriving with a yoke and junior pin meant for grid use, we adapted it for placement on a C-Stand with a junior to baby adapter. Sandbagged and powered through AC, we placed the Gemini 5 feet to the right of our talent and used a Mole-Richardson 650 W Tungsten Tweeny as her backlight to further enhance her naturally red hair. Color balanced to tungsten, we dimming the light to 35.6 percent and utilizing a Lee 147 Apricot gel, we had the desired look. Having control over the intensity of the light, as well as adding filters internally, kept our set time to a minimum and gave Nikki (our talent) the look she was after. You can see the final result here. Having access to gels greatly aids in selecting one that will flatter the talent’s skin tone.

Moving on to Alex, a student with blonde hair, we selected a cooler daylight color temperature, dimmed the light to 89.3 percent and utilized a Lee 103 Straw gel. Alex’s lighter skin tone was enhanced with the daylight balance and the addition of the slight warmth of a straw gel. Having designed the black dress, Alex wanted to showcase the design by posing against a gray backdrop. The end result may be seen here.

The Gemini may be powered by AC or DC. In the near future, the units will be available to accept either Gold or V-mount batteries. Effects like fire and flashing lights may be programmed in if those effects are desired.

LED light panels, by their design, still have a more rapid light falloff than Fresnels. Although the Gemini is extremely bright, the farther you move from your subject, the more dramatic the light loss. In our initial set-up, I used our foot-candle meter and the specifications were similar to those Litepanels publishes. Because no heat is expelled from the front of the panels, they may be moved in very close to the talent without discomfort. In our situation at 5 feet, we had to drastically lower the output. Adaptable to any situation, the Gemini would be a welcome addition to your lighting arsenal.

Summary: One light that can do anything several different lights and gels could do—but in one package. No AC, no problem.

Application: Grid mount in a studio, use it on a set, take it to your location—even if it is where no AC power is available. Programmable, so it would be indispensable to your production.

Key Features: Modular; may be grid or stand mounted; DMX and Bluetooth capable; Bi-color; dimmable, full color control over hue and saturation; built in gel mode; programmable; AC or DC operation.

Price: $4,400.00

Contact

Vitec Videocom, Inc.
14 Progress Avenue
Shelton, CT 06484
203.929.1100
Email: Salessupport_USA@vitecgroup.com
Website: www.litepanels.com

Chuck Gloman is an Associate Professor and Chair of the TV/Film Department at DeSales University. He may be reached chuck.gloman@desales.edu.

]]> <![CDATA[ Review: Core SWX Lithium Ion Battery ]]> Battery technology has vastly changed in the last few years. Although Lithium Ion power has been with us for a while, huge improvements in longevity, size, weight, display and recharge time make these new units nothing like the behemoths of the past. Core SWX has numerous batteries to suit your needs; I will be focusing on the HC7R V-Mount battery utilizing VoltBridge software for our university’s RED Scarlet Epic camera.

FEATURES

The Core SWX HC7R battery uses its Hypercore cell technology to create an extremely thin unit that mounts on your camera’s back. Available in Gold and V-mount, this 82-watt hour, 5.5-amp hour, 14.8v SLIM series battery weighs less than one and a half pounds and is merely 1.5 inches thin.

The four LED gauge display on the battery reveals the remaining charge capacity (and sends it to the viewfinder); it meets safety requirements for air travel (unlike some batteries) and is durably housed in a rubberized shell. The main concern with camera batteries is can they handle the punishment batteries must endure and sit for extended periods of time not being used and still hold somewhat of a charge?

According to Core SWX, every battery they offer contains an accelerometer to detect motion that determines how long the battery has not been used—a device that is also used in cellphones and other mobile devices. This Hypercore technology allows the battery to go into a hibernation mode when it has not been used after a two-day period. While other batteries slowly lose their charge over an extended time, Core SWX battery’s clock essentially stops until the unit is needed again. When the slightest movement or use is determined, the battery resumes where it left off; pretty amazing.

Fast Facts

Application: The future in camera battery technology. Like AC power, these batteries are there when you need them—without the long extension cord.
Key Features: Lightweight, thin, reasonably priced battery that waits to be used before losing its charge.
Price: Core SWX HC7R V-Mount Battery - $265.00
Contact: Core SWX
91 Commercial Street
Plainview, NY 11803
Tel: 516.595.7488
Email: www.coreswx.com

Lastly, the technology that went into the construction process means that there is under/over current, temperature and voltage protection that mean a cooler battery temperature and a 1000 charge/discharge service life. The battery is now intelligent enough to dictate its charge routine—lithium ion technology to the max.

The VoltBridge software was included in our V-Mount plate with a four pin XLR and two power taps. This powers the LED panel lights as well as using Bluetooth technology to transmit the data.

IN USE

One of the biggest drawbacks with our RED camera system at DeSales is DC power. The internal RED batteries are fine just for remembering your settings between battery changes but not much more. Because the camera is consistently on location with our students’ shoots, three of our external batteries are constantly on the charger and one is mounted on the camera.

As with any rental facility, the batteries lie dormant when not in use. When a student comes to collect the equipment, all batteries must be charged before he or she can even think about shooting. I was very anxious to try our V-mounted Core SWX units designed specifically for our model RED.

Our senior class shot a 15-minute project with a RED powered by Core SWX HC7R batteries. Relying on all of the equipment from our cage, including our vest mounted Glidecam, meant that we would be using DC power for the next eight weeks. During our down time, we were confident in the knowledge that the battery would “rest” when we weren’t using it and that the drain would cease. Students, on the other hand, did not want to rest, they wanted to stay awake and watch the battery to see it in its dormant mode.

The battery charge is most important when doing stabilizer work, where weight is a critical factor. One battery gave us an entire day of Glidecam work. After doing numerous takes with our Glidecam, our young operators were glad to have some down time. The VoltBridge software did its job allowing an accurate battery level to appear on the students mobile devices via the VoltBridge app. This allowed them to conveniently check when to change the battery pack instead of continually checking the actual battery itself while on the camera.

SUMMARY

The Core SWX V-Mount HC7R Battery with VoltBridge is the smartest battery we’ve used. Although nearly all batteries display the current state of change, the real difference is the ability for the battery to go to sleep when it is not in use for an extended period of time. The sleep mode means less time charging batteries that have been drained from sitting, ultimately allowing for more productive time on location.

Chuck Gloman is an associate professor and chair of the TV/Film Department at DeSales University. He may be reached chuck.gloman@desales.edu.

]]> https://www.tvtechnology.com/equipment/review-core-swx-lithium-ion-battery pmLauPQ1FuPJcQcdQ61cvy Fri, 25 Aug 2017 16:30:00 +0000 false false false

Battery technology has vastly changed in the last few years. Although Lithium Ion power has been with us for a while, huge improvements in longevity, size, weight, display and recharge time make these new units nothing like the behemoths of the past. Core SWX has numerous batteries to suit your needs; I will be focusing on the HC7R V-Mount battery utilizing VoltBridge software for our university’s RED Scarlet Epic camera.

FEATURES

The Core SWX HC7R battery uses its Hypercore cell technology to create an extremely thin unit that mounts on your camera’s back. Available in Gold and V-mount, this 82-watt hour, 5.5-amp hour, 14.8v SLIM series battery weighs less than one and a half pounds and is merely 1.5 inches thin.

The four LED gauge display on the battery reveals the remaining charge capacity (and sends it to the viewfinder); it meets safety requirements for air travel (unlike some batteries) and is durably housed in a rubberized shell. The main concern with camera batteries is can they handle the punishment batteries must endure and sit for extended periods of time not being used and still hold somewhat of a charge?

According to Core SWX, every battery they offer contains an accelerometer to detect motion that determines how long the battery has not been used—a device that is also used in cellphones and other mobile devices. This Hypercore technology allows the battery to go into a hibernation mode when it has not been used after a two-day period. While other batteries slowly lose their charge over an extended time, Core SWX battery’s clock essentially stops until the unit is needed again. When the slightest movement or use is determined, the battery resumes where it left off; pretty amazing.

Fast Facts

Application: The future in camera battery technology. Like AC power, these batteries are there when you need them—without the long extension cord.
Key Features: Lightweight, thin, reasonably priced battery that waits to be used before losing its charge.
Price: Core SWX HC7R V-Mount Battery - $265.00
Contact: Core SWX
91 Commercial Street
Plainview, NY 11803
Tel: 516.595.7488
Email: www.coreswx.com

Lastly, the technology that went into the construction process means that there is under/over current, temperature and voltage protection that mean a cooler battery temperature and a 1000 charge/discharge service life. The battery is now intelligent enough to dictate its charge routine—lithium ion technology to the max.

The VoltBridge software was included in our V-Mount plate with a four pin XLR and two power taps. This powers the LED panel lights as well as using Bluetooth technology to transmit the data.

IN USE

One of the biggest drawbacks with our RED camera system at DeSales is DC power. The internal RED batteries are fine just for remembering your settings between battery changes but not much more. Because the camera is consistently on location with our students’ shoots, three of our external batteries are constantly on the charger and one is mounted on the camera.

As with any rental facility, the batteries lie dormant when not in use. When a student comes to collect the equipment, all batteries must be charged before he or she can even think about shooting. I was very anxious to try our V-mounted Core SWX units designed specifically for our model RED.

Our senior class shot a 15-minute project with a RED powered by Core SWX HC7R batteries. Relying on all of the equipment from our cage, including our vest mounted Glidecam, meant that we would be using DC power for the next eight weeks. During our down time, we were confident in the knowledge that the battery would “rest” when we weren’t using it and that the drain would cease. Students, on the other hand, did not want to rest, they wanted to stay awake and watch the battery to see it in its dormant mode.

The battery charge is most important when doing stabilizer work, where weight is a critical factor. One battery gave us an entire day of Glidecam work. After doing numerous takes with our Glidecam, our young operators were glad to have some down time. The VoltBridge software did its job allowing an accurate battery level to appear on the students mobile devices via the VoltBridge app. This allowed them to conveniently check when to change the battery pack instead of continually checking the actual battery itself while on the camera.

SUMMARY

The Core SWX V-Mount HC7R Battery with VoltBridge is the smartest battery we’ve used. Although nearly all batteries display the current state of change, the real difference is the ability for the battery to go to sleep when it is not in use for an extended period of time. The sleep mode means less time charging batteries that have been drained from sitting, ultimately allowing for more productive time on location.

Chuck Gloman is an associate professor and chair of the TV/Film Department at DeSales University. He may be reached chuck.gloman@desales.edu.

]]> <![CDATA[ Sony Debuts FS7 II at NAB Show NY ]]> NEW YORK—At the NAB Show New York this week, Sony introduced the FS-7II, a new version of its popular PXW-FS7 Super35 4K camcorder, which it introduced a little more than two years ago. The PXW-FS7 has found itself used in everything from scripted drama to unscripted doc to corporate to web—to every application imaginable. Firmware has already reached version 4 with more updates promised.

The new FS7 II offers advanced features and improved ergonomics, which is positioned above the current FS7. Sony very carefully notes that the FS7 will remain in the current product lineup and will continue to receive firmware updates.

All of those features that have popularized the FS7 remain. The camera still shoots in internal XAVC codec, both I frame and LongGop versions, as well as legacy MPEG2. Full DCI-4K continues to be supported to the XQD cards and all Sony and third party accessories continue to work with the FS7 II.

There is no change in the actual body or the sensor. Improvements are seen in three key areas that we’ll detail as well as in color space, which will also merit some explanation.

ELECTRONIC VARIABLE ND FILTER

Electronic Variable ND filtration was introduced with the PXW-FS5 camera and it now migrates to the FS7 M II. The camera has a range of two to seven stops of ND attenuation and users have a choice of three ND modes to take advantage of that wide range.

Preset ND

The MII has the same four position ND turret as the original FS7, clear plus three presets. However in both the FS5 and FS7 II, users can select preset attenuation from the camera menu system and turning the dial changes the ND. Just like in the FS7 except users decide the presets.

Variable ND

A toggle on the side of the camera switches the camera side control wheel between Iris and ND. A Preset to Variable ND toggle sets ND to variable. No documentation needed to figure that one out. Then using either the camera side wheel or the front wheel on the camera’s control grip, ND can be dialed variably within the two to seven stop range in 1/4 stop increments. Changes do appear seamless, though. A major advantage here is the ability to set the desired f stop and then not touch lens aperture again. It is ideal for determining the depth of field desired and then adjust exposure by varying the amount of ND.

I’ve experimented with this feature and find it invaluable when shooting run and gun, for example, and wanting to maintain depth of field but finding wildly variable lighting.

Auto ND

Auto ND is today’s auto iris. Auto Iris, well, pros really shouldn’t use it. But Auto ND responds much more quickly than auto iris and once again a constant aperture maintains identical lens and DOF characteristics. Auto ND cannot be selected from any on-camera labeled controls. It needs to be assigned to one of the FS7 II’s 10 user assignable buttons. And a great hint for using it—set camera to Auto ND to get a ballpark exposure, then switch back to variable ND to fine tune exposure.

LEVER LOCK TYPE E MOUNT

The second major improvement is significant. The FS7 II has a locking mount very much like the PL mount system employed by many cinema cameras or available on the FS7 via third-party adapters. Simply rotate the mount and insert the lens straight-on. There is no twisting and turning of the lens bayonet. It fits just like a PL lens. Then rotate the mount counter clockwise until it clicks, engaging a secure locking mechanism. The lens cannot be disengaged accidentally owing to this lock, which must be released manually to disengage the lens. And all of this can be one one-handed.

This mount is sturdy enough to support many heavier lenses without support. I have tested this mount with a heavy Sony 28-135mm and the new Sony 18-110mm lens and have found no wobbling or play. This mount feels rock solid.

MECHANICAL and ERGONOMIC IMPROVEMENTS

Viewfinder

Many of us FS7 users have voiced complaints about the FS7 viewfinder mount and the eyepiece. Sony answered those concerns with a total redesign of the assembly. The viewfinder now has both a square and a round rod and is adjustable via knobs. The square knob ensures that the LCD screen will not tilt sideways. It can be adjusted along horizontal and vertical axes. Since the rods are standard 15mm, they may be used with any other 15mm rod. The LCD screen now has a pop-up shade. The eyepiece itself now attaches one-handed securely via a revamped clip system. As an added bonus, the eyepiece diopter is a standard 32mm diopter and may be changed by users.

Microphone Holder

The Microphone Holder is now also mounted via 15mm rod with clamps. Its position can be adjusted and the microphone holder and viewfinder can even be reversed.

Smart Grip

The SmartGrip is one of the greatest features of the FS7. It allows for camera balance and flexible shooting positions with its adjustable features and with the molded adjustable handgrip. The new SmartGrip can now be adjusted without tools and can even be mounted via ARRI rosette on camera to configure camera to shoot from the waist. Sony indicates that this revised grip will be available as a separate purchase in the future for FS7 users wishing to take advantage of its new rage of movement.

The operator’s side of the camera required some rearranging of controls to accommodate the variable ND feature and to add more user configurable buttons. The FS7 II now has seven user configurable buttons on the camera body and three on the handgrip.

Another frustration of FS7 users is the tight tolerance of the XQD cards. The XQD cards now protrude twice as far from their slots for easy insertion and removal, even while wearing gloves.

The audio control door has been moved away from the XQD slots. And here is my favorite—there is now a power-on LED. I’ve worn down more than one FS7 battery by not paying attention to camera power switch alone.

A NEW LENS FOR A NEW CAMERA

At IBC 2016, Sony introduced a new Super35/APS-C cinema lens, the 18-110mm G f/4 servo zoom. While it is compatible with all Sony motion and still E mount cameras, this is the lens that is available as an optional kit lens for the FS7 II.

The lens features superb G-series optics but again answers several concerns raised by the 28-135mm f/4 users. First of all, it is wider and that is no small feature. Most significant though is the ability to disconnect the servo zoom and have a full mechanical zoom with no servo lag for snap and manual zooms. The focus ring has no fly-by-wire feel in manual focus mode and rotates a full 240 degrees. It is geared to allow follow focus or motor drive.

A NEW COLOR GAMUT

Prepare for HDR acquisition and delivery. The FS7 II supports the new broadcast BT.2020 standard for recording and output via either HDMI or SDI.

A few words are essential here. BT.2020 is a broadcast spec. That means it only records up to QFHD (3840x2160). Obviously one must view the footage on a BT.2020 monitor. But BT.2020 is capable of the camera’s complete 14-stop dynamic range unlike BT.709.

BT.2020 gamut may be selected only in the camera’s Custom Mode. What far too many users do not grasp is that the FS7 and now the FS7 II are two cameras in one—a broadcast-standards camera (Custom Mode) and a cinema camera (CineEI). In CineEI mode, the shooting choices are SLog2, SLog3 or RAW (with optional XDCAFS7 back and compatible RAW recording system). Color gamuts range from SGamut3.cine, a narrower gamut for grading on available technology, or SGamut2 and SGamut3, much wider gamuts than can be displayed on any device. If shooting in this cine mode but wanting to deliver for HDR in a BT.2020 output gamut, then the wider SGamut2 or SGamut3 spaces will be converted in post.

CustomMode uses both standard and hypergammas with more extensive image control in camera. Shooting for broadcast HDR using a BT.2020 color gamut this is applicable in Custom Mode since the only other broadcast choice would be BT.709.

While most of us will not be using the BT.2020 space, it is good to know that it is present to protect our investments when we are shooting for HDR delivery.

The Sony PXW-FS7 II offers features more advanced than the PXW-FS7 while delivering the same image, meaning that the two cameras cut together seamlessly.

It is a worthy entry to the Sony line and affirms Sony’s commitment to this important market segment.

Sony PXW-FS7 II
www.pro.sony.com
Price: TBD body only
TBD with 18-110 Kit lens
Sony 18-110m f/4 lens: Standalone: $3495
4.5/5 diamonds

Pros: More advanced than FS7 with variable ND, locking E mount, improved set up and ergonomics and BT.2020 codec

Cons: Commands premium price over current FS7. No changes to FS7 in codecs, internal frame rates and sensor.

Overall: A worthy big sibling for the PXW-FS7. Lens locking system and VariableND features are significant improvements to the original camera while the new viewfinder mounting system makes LCD and eyepiece adjustment a one-handed snap.

]]> https://www.tvtechnology.com/equipment/sony-debuts-fs7-ii-at-nab-show-ny puFRZRtGoVPXASmETxv7NG Wed, 09 Nov 2016 09:00:00 +0000 false false false

NEW YORK—At the NAB Show New York this week, Sony introduced the FS-7II, a new version of its popular PXW-FS7 Super35 4K camcorder, which it introduced a little more than two years ago. The PXW-FS7 has found itself used in everything from scripted drama to unscripted doc to corporate to web—to every application imaginable. Firmware has already reached version 4 with more updates promised.

The new FS7 II offers advanced features and improved ergonomics, which is positioned above the current FS7. Sony very carefully notes that the FS7 will remain in the current product lineup and will continue to receive firmware updates.

All of those features that have popularized the FS7 remain. The camera still shoots in internal XAVC codec, both I frame and LongGop versions, as well as legacy MPEG2. Full DCI-4K continues to be supported to the XQD cards and all Sony and third party accessories continue to work with the FS7 II.

There is no change in the actual body or the sensor. Improvements are seen in three key areas that we’ll detail as well as in color space, which will also merit some explanation.

ELECTRONIC VARIABLE ND FILTER

Electronic Variable ND filtration was introduced with the PXW-FS5 camera and it now migrates to the FS7 M II. The camera has a range of two to seven stops of ND attenuation and users have a choice of three ND modes to take advantage of that wide range.

Preset ND

The MII has the same four position ND turret as the original FS7, clear plus three presets. However in both the FS5 and FS7 II, users can select preset attenuation from the camera menu system and turning the dial changes the ND. Just like in the FS7 except users decide the presets.

Variable ND

A toggle on the side of the camera switches the camera side control wheel between Iris and ND. A Preset to Variable ND toggle sets ND to variable. No documentation needed to figure that one out. Then using either the camera side wheel or the front wheel on the camera’s control grip, ND can be dialed variably within the two to seven stop range in 1/4 stop increments. Changes do appear seamless, though. A major advantage here is the ability to set the desired f stop and then not touch lens aperture again. It is ideal for determining the depth of field desired and then adjust exposure by varying the amount of ND.

I’ve experimented with this feature and find it invaluable when shooting run and gun, for example, and wanting to maintain depth of field but finding wildly variable lighting.

Auto ND

Auto ND is today’s auto iris. Auto Iris, well, pros really shouldn’t use it. But Auto ND responds much more quickly than auto iris and once again a constant aperture maintains identical lens and DOF characteristics. Auto ND cannot be selected from any on-camera labeled controls. It needs to be assigned to one of the FS7 II’s 10 user assignable buttons. And a great hint for using it—set camera to Auto ND to get a ballpark exposure, then switch back to variable ND to fine tune exposure.

LEVER LOCK TYPE E MOUNT

The second major improvement is significant. The FS7 II has a locking mount very much like the PL mount system employed by many cinema cameras or available on the FS7 via third-party adapters. Simply rotate the mount and insert the lens straight-on. There is no twisting and turning of the lens bayonet. It fits just like a PL lens. Then rotate the mount counter clockwise until it clicks, engaging a secure locking mechanism. The lens cannot be disengaged accidentally owing to this lock, which must be released manually to disengage the lens. And all of this can be one one-handed.

This mount is sturdy enough to support many heavier lenses without support. I have tested this mount with a heavy Sony 28-135mm and the new Sony 18-110mm lens and have found no wobbling or play. This mount feels rock solid.

MECHANICAL and ERGONOMIC IMPROVEMENTS

Viewfinder

Many of us FS7 users have voiced complaints about the FS7 viewfinder mount and the eyepiece. Sony answered those concerns with a total redesign of the assembly. The viewfinder now has both a square and a round rod and is adjustable via knobs. The square knob ensures that the LCD screen will not tilt sideways. It can be adjusted along horizontal and vertical axes. Since the rods are standard 15mm, they may be used with any other 15mm rod. The LCD screen now has a pop-up shade. The eyepiece itself now attaches one-handed securely via a revamped clip system. As an added bonus, the eyepiece diopter is a standard 32mm diopter and may be changed by users.

Microphone Holder

The Microphone Holder is now also mounted via 15mm rod with clamps. Its position can be adjusted and the microphone holder and viewfinder can even be reversed.

Smart Grip

The SmartGrip is one of the greatest features of the FS7. It allows for camera balance and flexible shooting positions with its adjustable features and with the molded adjustable handgrip. The new SmartGrip can now be adjusted without tools and can even be mounted via ARRI rosette on camera to configure camera to shoot from the waist. Sony indicates that this revised grip will be available as a separate purchase in the future for FS7 users wishing to take advantage of its new rage of movement.

The operator’s side of the camera required some rearranging of controls to accommodate the variable ND feature and to add more user configurable buttons. The FS7 II now has seven user configurable buttons on the camera body and three on the handgrip.

Another frustration of FS7 users is the tight tolerance of the XQD cards. The XQD cards now protrude twice as far from their slots for easy insertion and removal, even while wearing gloves.

The audio control door has been moved away from the XQD slots. And here is my favorite—there is now a power-on LED. I’ve worn down more than one FS7 battery by not paying attention to camera power switch alone.

A NEW LENS FOR A NEW CAMERA

At IBC 2016, Sony introduced a new Super35/APS-C cinema lens, the 18-110mm G f/4 servo zoom. While it is compatible with all Sony motion and still E mount cameras, this is the lens that is available as an optional kit lens for the FS7 II.

The lens features superb G-series optics but again answers several concerns raised by the 28-135mm f/4 users. First of all, it is wider and that is no small feature. Most significant though is the ability to disconnect the servo zoom and have a full mechanical zoom with no servo lag for snap and manual zooms. The focus ring has no fly-by-wire feel in manual focus mode and rotates a full 240 degrees. It is geared to allow follow focus or motor drive.

A NEW COLOR GAMUT

Prepare for HDR acquisition and delivery. The FS7 II supports the new broadcast BT.2020 standard for recording and output via either HDMI or SDI.

A few words are essential here. BT.2020 is a broadcast spec. That means it only records up to QFHD (3840x2160). Obviously one must view the footage on a BT.2020 monitor. But BT.2020 is capable of the camera’s complete 14-stop dynamic range unlike BT.709.

BT.2020 gamut may be selected only in the camera’s Custom Mode. What far too many users do not grasp is that the FS7 and now the FS7 II are two cameras in one—a broadcast-standards camera (Custom Mode) and a cinema camera (CineEI). In CineEI mode, the shooting choices are SLog2, SLog3 or RAW (with optional XDCAFS7 back and compatible RAW recording system). Color gamuts range from SGamut3.cine, a narrower gamut for grading on available technology, or SGamut2 and SGamut3, much wider gamuts than can be displayed on any device. If shooting in this cine mode but wanting to deliver for HDR in a BT.2020 output gamut, then the wider SGamut2 or SGamut3 spaces will be converted in post.

CustomMode uses both standard and hypergammas with more extensive image control in camera. Shooting for broadcast HDR using a BT.2020 color gamut this is applicable in Custom Mode since the only other broadcast choice would be BT.709.

While most of us will not be using the BT.2020 space, it is good to know that it is present to protect our investments when we are shooting for HDR delivery.

The Sony PXW-FS7 II offers features more advanced than the PXW-FS7 while delivering the same image, meaning that the two cameras cut together seamlessly.

It is a worthy entry to the Sony line and affirms Sony’s commitment to this important market segment.

Sony PXW-FS7 II
www.pro.sony.com
Price: TBD body only
TBD with 18-110 Kit lens
Sony 18-110m f/4 lens: Standalone: $3495
4.5/5 diamonds

Pros: More advanced than FS7 with variable ND, locking E mount, improved set up and ergonomics and BT.2020 codec

Cons: Commands premium price over current FS7. No changes to FS7 in codecs, internal frame rates and sensor.

Overall: A worthy big sibling for the PXW-FS7. Lens locking system and VariableND features are significant improvements to the original camera while the new viewfinder mounting system makes LCD and eyepiece adjustment a one-handed snap.

]]> <![CDATA[ DPA d:screet Slim 4060 Microphone ]]> Lavalier microphone development seems to be pretty much evolutionary, rather than revolutionary. No earth-shattering design or capability changes are really predictable, as far as I can tell. The arc of development consists of refinements and improvements: smaller, better sounding, lower-power demand and so on. DPA as a company has been focused on close miking in various applications for some 60 years, since being born out of pioneering measurement microphone developer (among other things) Brüel & Kjær.

FEATURES

Even by current lavalier standards, the d:screet Slim 4060 is small and light. The DPA d:screet Slim 4060 Microphone is small and light, slim and discreet, even by current lavalier standards. The microphone itself weights about 8.5 grams, including cable (a bit less than 6 feet long) and the MicroDot connector it terminates in (and which must be adapted for input to a recording device), and about 1/8 inch wide by less than 3/8 inch long and slightly over 1/16 inch thick. The cable exits the capsule perpendicularly, with built-in strain relief, making it very easy to mount and hide.

DPA uses the MicroDot connector as standard, mentioned above, which requires an adaptor for connection with a wireless transmitter or XLR cable. This proprietary connector, in addition to being small and very stable, and the proprietary adaptor provide a kind of future proofing, ensuring that there will always be a properly-wired, stable connection to whatever piece of hardware comes down the pike.

The microphone capsule itself is an omnidirectional, pressure gradient condenser, with a wide frequency response range (20 Hz to 20 kHz with a 3 dB soft boost between 5–20 kHz), roughly 100 dB of dynamic response, very low self noise, and less than 1 percent total harmonic distortion up to 123 dB peak sound pressure levels. There are actually two varieties of this microphone design: the 4060 is high sensitivity (preferred for film and/or TV applications), and the 4061 is lower sensitivity (best for music or special effects work), both designed to better match downstream equipment. This microphone is adaptable to 48V phantom power through the XLR connector and to 50V through DPA’s MicroDot adaptors for various wireless systems (from AKG and Lectrosonics to Sennheiser and Zaxcom): 3-pin LEMO, TA4F mini XLR, XLR or mini jack termination, for approximately an extra $90. The mic has a stated power range of 5–50V, with published power consumption at 1.5mA for the microphone and 3.5mA with the XLR adaptor, which can power up to 300 meters of cable run.

The d:screet Slim 4060 comes in four colors (black, brown, beige or white), and with one mounting accessory: the button hole mount. This small piece mounts to the microphone head, allows mounting with the added feature of a small pipe in the mount that allows sound to enter the mic when fully concealed. Other mounting and concealment accessories are available as well: the concealer for flat mounting, adhesive tape mounts, and a wide variety of clips and double pin (vampire) mounts and windscreens.

IN USE

I primarily used the d:screet Slim 4060 on a number of sit-down interview shoots, with the MicroDot to XLR adaptor. Admittedly, these are less demanding situations than a walk-and-talk with a wireless transmitter, or a serious concealment or a crowd situation, but it winds up being the bulk of the work I do. I primarily wanted to hear and use this mic as directly as possible, with no other adaptors or extenuating factors. The model I was provided with for this review was black, with several clips, a buttonhole adaptor and the concealer, a flat mounting plate that I used successfully and easily with some adhesive tape.

Needless to say, this microphone is very easy to mount quickly and to conceal, mainly due to its size, and has absolutely excellent sound, as expected. A nice touch is the included belt clip on the XLR adaptor, which serves to take the weight and strain off the mic capsule cable and mount, greatly reducing handling noise and the possibility for any kind of disconnect. Handling noise is very low, something I am too often aware of in interviews, as it seems many of my subjects are either in motion or nervous and twitchy, and somehow constantly moving their clothes and/or the mic mount and cable. The extreme lightness and small size of this microphone greatly reduces the subject’s awareness of it, and thus their tendency to fiddle. Despite the fact that the capsule is more exposed and would tend to be more prone to clothing rustle, its size and weight make it easy to secure and protect.

The sound is excellent—natural and very even. Since this is an omni pattern mic, I mostly mounted it center chest, about 12 to 18 inches below the subject’s mouth. Even when there was a fair amount of head movement, the sound stayed balanced and equally present, with a very low level of proximity effect “boominess” and a wonderful resistance to the level changes my subjects always seem to make when they get excited. Side noise rejection and focus were also excellent and very welcome, making the d:screet Slim 4060 extremely useful and appropriate for many interview or close mic situations.

SUMMARY

This mic was easy and quick to apply, secure and conceal and worked seamlessly in connection with my cameras and mixer, and even in multi-adaptor tests with my Lectrosonics and Sony wireless transmitters. This is no surprise, given DPA’s long history of development, refinement and further miniaturization of these tools. DPA microphones are most definitely not in the bargain or even mid-range category. They are, and have been, superior microphones for the highest quality and most demanding applications, at reasonable and professional prices that will work well and continue doing so for a long time.

Michael Hanish operates Free Lunch, a video/audio/multimedia production house near Guilford, Vt. He may be contacted atmichael@freelunchmedia.com.

➤FAST FACTS

APPLICATION
Audio for video/film

KEY FEATURES
Small, easy to hide, omnidirectional, good sensitivity and focus

PRICE
$429.95

CONTACT
DPA Microphones
www.dpamicrophones.com

]]> https://www.tvtechnology.com/equipment/dpa-dscreet-slim-4060-microphone 68XaxVEwtaFsgbvUYKHNvA Fri, 16 Sep 2016 09:20:00 +0000 false false false

Lavalier microphone development seems to be pretty much evolutionary, rather than revolutionary. No earth-shattering design or capability changes are really predictable, as far as I can tell. The arc of development consists of refinements and improvements: smaller, better sounding, lower-power demand and so on. DPA as a company has been focused on close miking in various applications for some 60 years, since being born out of pioneering measurement microphone developer (among other things) Brüel & Kjær.

FEATURES

Even by current lavalier standards, the d:screet Slim 4060 is small and light. The DPA d:screet Slim 4060 Microphone is small and light, slim and discreet, even by current lavalier standards. The microphone itself weights about 8.5 grams, including cable (a bit less than 6 feet long) and the MicroDot connector it terminates in (and which must be adapted for input to a recording device), and about 1/8 inch wide by less than 3/8 inch long and slightly over 1/16 inch thick. The cable exits the capsule perpendicularly, with built-in strain relief, making it very easy to mount and hide.

DPA uses the MicroDot connector as standard, mentioned above, which requires an adaptor for connection with a wireless transmitter or XLR cable. This proprietary connector, in addition to being small and very stable, and the proprietary adaptor provide a kind of future proofing, ensuring that there will always be a properly-wired, stable connection to whatever piece of hardware comes down the pike.

The microphone capsule itself is an omnidirectional, pressure gradient condenser, with a wide frequency response range (20 Hz to 20 kHz with a 3 dB soft boost between 5–20 kHz), roughly 100 dB of dynamic response, very low self noise, and less than 1 percent total harmonic distortion up to 123 dB peak sound pressure levels. There are actually two varieties of this microphone design: the 4060 is high sensitivity (preferred for film and/or TV applications), and the 4061 is lower sensitivity (best for music or special effects work), both designed to better match downstream equipment. This microphone is adaptable to 48V phantom power through the XLR connector and to 50V through DPA’s MicroDot adaptors for various wireless systems (from AKG and Lectrosonics to Sennheiser and Zaxcom): 3-pin LEMO, TA4F mini XLR, XLR or mini jack termination, for approximately an extra $90. The mic has a stated power range of 5–50V, with published power consumption at 1.5mA for the microphone and 3.5mA with the XLR adaptor, which can power up to 300 meters of cable run.

The d:screet Slim 4060 comes in four colors (black, brown, beige or white), and with one mounting accessory: the button hole mount. This small piece mounts to the microphone head, allows mounting with the added feature of a small pipe in the mount that allows sound to enter the mic when fully concealed. Other mounting and concealment accessories are available as well: the concealer for flat mounting, adhesive tape mounts, and a wide variety of clips and double pin (vampire) mounts and windscreens.

IN USE

I primarily used the d:screet Slim 4060 on a number of sit-down interview shoots, with the MicroDot to XLR adaptor. Admittedly, these are less demanding situations than a walk-and-talk with a wireless transmitter, or a serious concealment or a crowd situation, but it winds up being the bulk of the work I do. I primarily wanted to hear and use this mic as directly as possible, with no other adaptors or extenuating factors. The model I was provided with for this review was black, with several clips, a buttonhole adaptor and the concealer, a flat mounting plate that I used successfully and easily with some adhesive tape.

Needless to say, this microphone is very easy to mount quickly and to conceal, mainly due to its size, and has absolutely excellent sound, as expected. A nice touch is the included belt clip on the XLR adaptor, which serves to take the weight and strain off the mic capsule cable and mount, greatly reducing handling noise and the possibility for any kind of disconnect. Handling noise is very low, something I am too often aware of in interviews, as it seems many of my subjects are either in motion or nervous and twitchy, and somehow constantly moving their clothes and/or the mic mount and cable. The extreme lightness and small size of this microphone greatly reduces the subject’s awareness of it, and thus their tendency to fiddle. Despite the fact that the capsule is more exposed and would tend to be more prone to clothing rustle, its size and weight make it easy to secure and protect.

The sound is excellent—natural and very even. Since this is an omni pattern mic, I mostly mounted it center chest, about 12 to 18 inches below the subject’s mouth. Even when there was a fair amount of head movement, the sound stayed balanced and equally present, with a very low level of proximity effect “boominess” and a wonderful resistance to the level changes my subjects always seem to make when they get excited. Side noise rejection and focus were also excellent and very welcome, making the d:screet Slim 4060 extremely useful and appropriate for many interview or close mic situations.

SUMMARY

This mic was easy and quick to apply, secure and conceal and worked seamlessly in connection with my cameras and mixer, and even in multi-adaptor tests with my Lectrosonics and Sony wireless transmitters. This is no surprise, given DPA’s long history of development, refinement and further miniaturization of these tools. DPA microphones are most definitely not in the bargain or even mid-range category. They are, and have been, superior microphones for the highest quality and most demanding applications, at reasonable and professional prices that will work well and continue doing so for a long time.

Michael Hanish operates Free Lunch, a video/audio/multimedia production house near Guilford, Vt. He may be contacted atmichael@freelunchmedia.com.

➤FAST FACTS

APPLICATION
Audio for video/film

KEY FEATURES
Small, easy to hide, omnidirectional, good sensitivity and focus

PRICE
$429.95

CONTACT
DPA Microphones
www.dpamicrophones.com

]]> <![CDATA[ Adorama Glow Softbox Octo 36 R ]]> As the lighting enthusiast in film school in the late 1970s, my friends and colleagues suggested I invent a light and call it the “glow light” after my last name. I had to wait almost 40 years for that to become a reality, so I believe I was born to review my namesake light. Designed by Adorama, the Glow Softbox Octo 36 R is a flexible softbox that encloses almost any lighting instrument, while softening (and enlarging) the light’s output. The 36-inch diameter softbox folds to fit into a small pouch and may be erected in minutes when the need arises.

FEATURES

The 36-inch Octobox features a backward umbrella design. Weighing less than 2 pounds, the soft wrap of the 36-inch Octobox is created by the backwards umbrella design. The reflective fabric channels the light to either the white diffuser or the baffle and can easily handle the output of a 650-watt tungsten light. The Glow Octobox assembles easily with eight aluminum rods that slide into the fabric and the Velcro keeps the diffuser in place. Although the Glow Octolight does not come with a speed ring, most lights can easily be positioned to work with the unit. With a two-year warranty, the heat-and water-resistant fabric should handle multiple setups and tear downs. The manufacturer also states that the dyes protect the softbox from turning yellow with age.

IN USE

I was anxious to receive Octobox Glow light for several reasons. I believe most people prefer a softer, diffused light when doing interior illumination. Whether it’s for beauty, fashion, portrait or just filmmaking, one of the reasons the Octobox is so versatile, is that it is simply a diffusion source that is placed in front of a light—turning that instrument into a soft light source.

The glow light was able to maintain light from spilling when using it with a blue screen. My first use with the enclosure was on a studio set with wood paneling and a blue screen backdrop. As you know, soft even light is critical when doing any green or blue screen work. A hard light source creates too many shadows and imperfections that are difficult to remove in post. In this instance, I used a 650-watt Mole-Richardson Tweenie Fresnel as our key light source. Using the Fresnel alone, although less harsh than an open-faced light, still created too many shadows on the blue screen background. Placing the Octobox in front of the Tweenie softened the light on our actress’ face and did not spill over on the blue screen making keying that much easier.

Also, simply moving the Octobox closer or farther from the light source changes the size and quality of the light—simple physics. Rarely does someone want to make a light source harder. Softer lighting is much more flattering especially when used in close proximity to the talent.

The second situation when the Glow Octobox was an asset was doing tabletop photography for a company who manufactures knee replacement parts. Shooting stainless steel objects against a white background was made possible with the Glow Octobox attached to a strobe light source. Using a strobe bounced into an umbrella did not achieve the highlights in the parts we desired. Using the strobe alone creates too harsh of a light and subsequent shadow. Putting the strobe inside the Octobox with diffusion on the front gave us the perfect combination of specular highlights without the shadow on the backdrop. With the strobe firing each time it was triggered by the camera we had the exact look the client wanted.

SUMMARY

It most any situation, softening the light source creates a much more flattering look to the subject. Everywhere I shoot, the Octobox will travel with me.

Chuck Gloman is an associate professor and chair of the TV/Film Department at DeSales University. He may be reachedchuck.gloman@desales.edu.

➤FAST FACTS

APPLICATION
To be used with most lights when you want to soften the unit’s output.

KEY FEATURES
Large 36-inch diameter softbox with an almost 14-inch depth. Water-and heat-resistant fabrics make the unit durable as well as practical.

PRICE
$129.95

CONTACT
Adorama
800.223.2500
www.adorama.com

]]> https://www.tvtechnology.com/equipment/adorama-glow-softbox-octo-36-r xcXKeSdPe1FVG7k9fpEUgT Wed, 14 Sep 2016 10:20:00 +0000 false false false

As the lighting enthusiast in film school in the late 1970s, my friends and colleagues suggested I invent a light and call it the “glow light” after my last name. I had to wait almost 40 years for that to become a reality, so I believe I was born to review my namesake light. Designed by Adorama, the Glow Softbox Octo 36 R is a flexible softbox that encloses almost any lighting instrument, while softening (and enlarging) the light’s output. The 36-inch diameter softbox folds to fit into a small pouch and may be erected in minutes when the need arises.

FEATURES

The 36-inch Octobox features a backward umbrella design. Weighing less than 2 pounds, the soft wrap of the 36-inch Octobox is created by the backwards umbrella design. The reflective fabric channels the light to either the white diffuser or the baffle and can easily handle the output of a 650-watt tungsten light. The Glow Octobox assembles easily with eight aluminum rods that slide into the fabric and the Velcro keeps the diffuser in place. Although the Glow Octolight does not come with a speed ring, most lights can easily be positioned to work with the unit. With a two-year warranty, the heat-and water-resistant fabric should handle multiple setups and tear downs. The manufacturer also states that the dyes protect the softbox from turning yellow with age.

IN USE

I was anxious to receive Octobox Glow light for several reasons. I believe most people prefer a softer, diffused light when doing interior illumination. Whether it’s for beauty, fashion, portrait or just filmmaking, one of the reasons the Octobox is so versatile, is that it is simply a diffusion source that is placed in front of a light—turning that instrument into a soft light source.

The glow light was able to maintain light from spilling when using it with a blue screen. My first use with the enclosure was on a studio set with wood paneling and a blue screen backdrop. As you know, soft even light is critical when doing any green or blue screen work. A hard light source creates too many shadows and imperfections that are difficult to remove in post. In this instance, I used a 650-watt Mole-Richardson Tweenie Fresnel as our key light source. Using the Fresnel alone, although less harsh than an open-faced light, still created too many shadows on the blue screen background. Placing the Octobox in front of the Tweenie softened the light on our actress’ face and did not spill over on the blue screen making keying that much easier.

Also, simply moving the Octobox closer or farther from the light source changes the size and quality of the light—simple physics. Rarely does someone want to make a light source harder. Softer lighting is much more flattering especially when used in close proximity to the talent.

The second situation when the Glow Octobox was an asset was doing tabletop photography for a company who manufactures knee replacement parts. Shooting stainless steel objects against a white background was made possible with the Glow Octobox attached to a strobe light source. Using a strobe bounced into an umbrella did not achieve the highlights in the parts we desired. Using the strobe alone creates too harsh of a light and subsequent shadow. Putting the strobe inside the Octobox with diffusion on the front gave us the perfect combination of specular highlights without the shadow on the backdrop. With the strobe firing each time it was triggered by the camera we had the exact look the client wanted.

SUMMARY

It most any situation, softening the light source creates a much more flattering look to the subject. Everywhere I shoot, the Octobox will travel with me.

Chuck Gloman is an associate professor and chair of the TV/Film Department at DeSales University. He may be reachedchuck.gloman@desales.edu.

➤FAST FACTS

APPLICATION
To be used with most lights when you want to soften the unit’s output.

KEY FEATURES
Large 36-inch diameter softbox with an almost 14-inch depth. Water-and heat-resistant fabrics make the unit durable as well as practical.

PRICE
$129.95

CONTACT
Adorama
800.223.2500
www.adorama.com

]]> <![CDATA[ Blackmagic Ursa Mini 4.6k ]]> Blackmagic Design’s Ursa Mini 4.6K is a 4K+ camera offering up to 15 stops dynamic range that looks ideal for drama, commercials or even studio work.

FEATURES

Despite the Mini label, the URSA Mini 4.6K is no lightweight at 3 kg. The Mini records to CFast 2.0 cards, as its higher bit rates require faster write speeds. It can record CinemaDNG Raw codecs with a choice of lossless 4.6K Raw or compressed 4.6K Raw. There are also ProRes 444 XQ, 444 HQ, 422 LT and Proxy for Ultra HD or HD. UHD at 25fps in ProRes 444 XQ offers 21 minutes recording time on a 256 GB card. A 10-second shot in UHD Prores444 is about 1.5 GB.

Frame rates include 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps, depending on resolution, with the option of 40-120fps (in HD) for slow and fast motion. There is also a timelapse (interval recording) option.

The camera can come with a PL mount and takes B4 HD lenses using an adapter to the PL model, while the EF version can make use of Canon lenses. When the time comes, you should also be able to swap out the sensor. As new firmware upgrades and sensor technology arrive this might actually be a future-proof camera.

The Ursa Mini is no lightweight at more than 3 kg due to the strong metal chassis. Then you spot the size of the HD LCD touchscreen—at 5-inches, it is probably only bettered by the Ursa’s 10-inch screen.

There is peaking (green only—hopefully red will come in an upgrade) for focusing help. Plus, the camera comes with an adjustable side handle with auto focus, auto iris and record buttons. It can also be removed and attached to an arm if you plan to use the camera with the Blackmagic shoulder mount.

If you intend to use the camera outdoors and make use of the big sensor for shallow depth of field you’ll need some ND filters and a matte box, as it has no built-in ND filters. There is no manual or auto white balance; to white balance you choose from 2500K to 8000K using the touchscreen while keeping an eye on what effect it is having in the viewfinder.

Pressing the Menu button brings up six touchscreen icons from which to choose. The bottom three icons of histogram, audio meters and LCD overlays allow you to switch those items on or off the screen.

The Mini has two dynamic range options: film or video. The video setting uses the REC709 color standard for HD video, still useful to those with no time for a grade. The film setting shoots video using a log curve giving you a higher dynamic range. While the Mini 4K offered 12 stops, the 4.6K can deliver 15. You can set the dynamic range of the Mini’s touchscreen, SDI output and viewfinder independently. The 1080 HD OLED viewfinder is an extra option.

IN USE

One of the first things I did while waiting for the batteries to charge was to check for updates. Blackmagic announced firmware update 3.2 at the 2016 NAB Show, which seemed to mainly concentrate on added features to make this a better studio camera, including tally support, talkback, color correction, detail, color bars and lens control. (Blackmagic also launched a new 7-inch studio viewfinder at the show.) There was also improved color reproduction on the LCD screen and a LUT (look up table) on the SDI output. All these things lie dormant until you plug it into a switcher that supports the SDI protocol.

To start, you need to format your card as HFS+ or exFAT. Blackmagic recommends HFS+ as it supports journaling, which can make it easier to recover lost data. The LCD screen offers many settings and adjustments, though it can be difficult to view in the sunlight. There is a zoom button that gives a 1:1 pixel view, magnifying the image on the LCD screen and viewfinder—this can be helpful when focusing, especially when using a prime lens. But it will only work in 4.6K and Ultra HD mode.

With my 18-135mm Canon lens, changing exposure using auto iris was not practical when recording in low light. Pressing the button sent the camera to f32 and then to the suggested aperture, so there was a temporary dip to black before the shot reappeared. However, this didn’t happen in daylight shooting. Hopefully this was just a glitch that will be fixed in firmware.

This camera is not for really low-light use; ISO goes from 200 to 1600; 400 being the native ISO. So, you’ll need fast lenses if you don’t have lights. However, there seemed to be minimal noise in the shadows, and the camera’s 15-stop dynamic range doesn’t just preserve the highlights, it also gives deeper blacks.

The 1080 HD OLED viewfinder is definitely worth it. Crisp and with good color rendition, it was essential when working in sunlight.

SUMMARY

This is a great value for money camera. While the magnesium body makes it feel robust and substantial, it means it also really needs to go on a tripod. Compared to other cameras in its price range, it is heavy for on-the-shoulder shooting, especially when fully rigged with batteries and matte box. The pictures are really good straight out of the camera, but the HDR pictures actually looked great after one-button correction in Final Cut—and Blackmagic’s Resolve can do much more. So, there’s no excuse not to shoot in film mode and make the most of those 15 stops.

If you are shooting drama or commercials where you can plan shots and have grip equipment, the Mini will deliver excellent pictures and the additional pixels in its 4.6K sensor will be great in post if you need to reframe or stabilize the shots. With the addition of the larger viewfinder, this should really appeal to anyone needing to do studio or outside broadcast work. However, this is not a run-and-gun camera.

Christina Fox is a broadcast camera trainer with UrbanFox.tv. She has trained thousands of broadcasters, videographers and hobbyists to use cameras correctly, set up lighting and record good audio. Her list of clients includes the BBC, Channel 4, ITN, NBC, and the Press Association.

➤FAST FACTS

Application
Drama, commercials and studio or outside broadcast work.

KEY FEATURES
15 stops; 5-inch LCD screen; slow and fast motion recording; optional 1080 HD OLED viewfinder

PRICE
$4,995

CONTACT
Blackmagic Design
408-954-0500
www.blackmagicdesign.com

]]> https://www.tvtechnology.com/equipment/blackmagic-ursa-mini-46k gSwLqRqsgTBQTqcBd83z5A Mon, 12 Sep 2016 12:00:00 +0000 false false false

Blackmagic Design’s Ursa Mini 4.6K is a 4K+ camera offering up to 15 stops dynamic range that looks ideal for drama, commercials or even studio work.

FEATURES

Despite the Mini label, the URSA Mini 4.6K is no lightweight at 3 kg. The Mini records to CFast 2.0 cards, as its higher bit rates require faster write speeds. It can record CinemaDNG Raw codecs with a choice of lossless 4.6K Raw or compressed 4.6K Raw. There are also ProRes 444 XQ, 444 HQ, 422 LT and Proxy for Ultra HD or HD. UHD at 25fps in ProRes 444 XQ offers 21 minutes recording time on a 256 GB card. A 10-second shot in UHD Prores444 is about 1.5 GB.

Frame rates include 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps, depending on resolution, with the option of 40-120fps (in HD) for slow and fast motion. There is also a timelapse (interval recording) option.

The camera can come with a PL mount and takes B4 HD lenses using an adapter to the PL model, while the EF version can make use of Canon lenses. When the time comes, you should also be able to swap out the sensor. As new firmware upgrades and sensor technology arrive this might actually be a future-proof camera.

The Ursa Mini is no lightweight at more than 3 kg due to the strong metal chassis. Then you spot the size of the HD LCD touchscreen—at 5-inches, it is probably only bettered by the Ursa’s 10-inch screen.

There is peaking (green only—hopefully red will come in an upgrade) for focusing help. Plus, the camera comes with an adjustable side handle with auto focus, auto iris and record buttons. It can also be removed and attached to an arm if you plan to use the camera with the Blackmagic shoulder mount.

If you intend to use the camera outdoors and make use of the big sensor for shallow depth of field you’ll need some ND filters and a matte box, as it has no built-in ND filters. There is no manual or auto white balance; to white balance you choose from 2500K to 8000K using the touchscreen while keeping an eye on what effect it is having in the viewfinder.

Pressing the Menu button brings up six touchscreen icons from which to choose. The bottom three icons of histogram, audio meters and LCD overlays allow you to switch those items on or off the screen.

The Mini has two dynamic range options: film or video. The video setting uses the REC709 color standard for HD video, still useful to those with no time for a grade. The film setting shoots video using a log curve giving you a higher dynamic range. While the Mini 4K offered 12 stops, the 4.6K can deliver 15. You can set the dynamic range of the Mini’s touchscreen, SDI output and viewfinder independently. The 1080 HD OLED viewfinder is an extra option.

IN USE

One of the first things I did while waiting for the batteries to charge was to check for updates. Blackmagic announced firmware update 3.2 at the 2016 NAB Show, which seemed to mainly concentrate on added features to make this a better studio camera, including tally support, talkback, color correction, detail, color bars and lens control. (Blackmagic also launched a new 7-inch studio viewfinder at the show.) There was also improved color reproduction on the LCD screen and a LUT (look up table) on the SDI output. All these things lie dormant until you plug it into a switcher that supports the SDI protocol.

To start, you need to format your card as HFS+ or exFAT. Blackmagic recommends HFS+ as it supports journaling, which can make it easier to recover lost data. The LCD screen offers many settings and adjustments, though it can be difficult to view in the sunlight. There is a zoom button that gives a 1:1 pixel view, magnifying the image on the LCD screen and viewfinder—this can be helpful when focusing, especially when using a prime lens. But it will only work in 4.6K and Ultra HD mode.

With my 18-135mm Canon lens, changing exposure using auto iris was not practical when recording in low light. Pressing the button sent the camera to f32 and then to the suggested aperture, so there was a temporary dip to black before the shot reappeared. However, this didn’t happen in daylight shooting. Hopefully this was just a glitch that will be fixed in firmware.

This camera is not for really low-light use; ISO goes from 200 to 1600; 400 being the native ISO. So, you’ll need fast lenses if you don’t have lights. However, there seemed to be minimal noise in the shadows, and the camera’s 15-stop dynamic range doesn’t just preserve the highlights, it also gives deeper blacks.

The 1080 HD OLED viewfinder is definitely worth it. Crisp and with good color rendition, it was essential when working in sunlight.

SUMMARY

This is a great value for money camera. While the magnesium body makes it feel robust and substantial, it means it also really needs to go on a tripod. Compared to other cameras in its price range, it is heavy for on-the-shoulder shooting, especially when fully rigged with batteries and matte box. The pictures are really good straight out of the camera, but the HDR pictures actually looked great after one-button correction in Final Cut—and Blackmagic’s Resolve can do much more. So, there’s no excuse not to shoot in film mode and make the most of those 15 stops.

If you are shooting drama or commercials where you can plan shots and have grip equipment, the Mini will deliver excellent pictures and the additional pixels in its 4.6K sensor will be great in post if you need to reframe or stabilize the shots. With the addition of the larger viewfinder, this should really appeal to anyone needing to do studio or outside broadcast work. However, this is not a run-and-gun camera.

Christina Fox is a broadcast camera trainer with UrbanFox.tv. She has trained thousands of broadcasters, videographers and hobbyists to use cameras correctly, set up lighting and record good audio. Her list of clients includes the BBC, Channel 4, ITN, NBC, and the Press Association.

➤FAST FACTS

Application
Drama, commercials and studio or outside broadcast work.

KEY FEATURES
15 stops; 5-inch LCD screen; slow and fast motion recording; optional 1080 HD OLED viewfinder

PRICE
$4,995

CONTACT
Blackmagic Design
408-954-0500
www.blackmagicdesign.com

]]> <![CDATA[ Review: Sachtler Video 18 S2 Pan/Tilt Head & Tripod ]]> Bigger is better. Yes, there are qualifications for that, but when you have a big job to do, the biggest, sturdiest tools will help you complete it the fastest and with the best results.

So it is with the Sachtler Video 18 S2 pan/tilt head and its matching carbon fiber tripod: It’s big, but powerful.

My lightweight camera gear looks a little out of place on this tripod, but using it was not a problem.FEATURES
The Sachtler Video 18 S2 pan/tilt head comes with a sturdy SpeedLevel CF carbon fiber tripod with mid-level spreader and the SpeedLevel Clamp accessory. Also included is a carrying bag that is so strong that it’s probably grenade-resistant.

The combination of tripod and head weighs nearly 19 pounds, and add another four pounds for the well-padded and reinforced carrying bag. The system comes with both a typical screw-on leveling knob and Sachtler’s SpeedLevel Clamp accessory, which can shave a few seconds off the time it takes to level the pan/tilt head once you set up the tripod.

The combination of tripod and pan/tilt head can support about 44 pounds of gear, fully balanced and with proper fluid damping for pan and tilt. There are knobs to adjust pan and tilt drag, as well as spring tension for balancing. The mounting plate also slides 120mm to quickly get a perfect balance. All the knobs and levers are big enough to operate while wearing gloves.

The pan/tilt head comes with an extendable pan arm that can be moved to either side and a small bubble level on the head’s base lights up when you press on it. The pan/tilt head itself weighs about nine pounds and it has a 100mm ball mount so that it can be quickly installed on other standard camera support gear.

The pan/tilt head has big and easy-to-read knobs for all adjustments. The SpeedLevel CF carbon fiber tripod is a three-stage system with a clever single-lever design to extend the legs. In other words, each leg has a single lever that is used to extend the two movable leg sections—this is the first time I’ve seen such a thing on a tripod, and it definitely speeds up deployment.

Wide rubber feet at the bottom of the tripod pivot to conform to a wide range of sloping surfaces, and they can be quickly removed to reveal metal spikes for soft surfaces. The mid-level spreader can be extended and disconnected to allow for a variety of angles for the tripod’s legs. This is useful to get a camera really low to the ground or placed in an odd multilevel location.

With the legs fully extended and the pan/tilt head atop tripod, the camera plate is at the height of my nose: 62 inches. All this precision engineering and strong construction doesn’t come cheaply: The Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package has a list price of $8,900.

IN USE
I work small: small cameras, small accessories and small tripod. My “big” tripod weighs less than seven pounds, or about one-third of what the Sachtler Video head and tripod package weighs.

However, if I were to step up to the world of mid-level to high-end production, this Sachtler rig is the one I’d want.

Although Sachtler promotes the package for ENG work, it feels too big and heavy for most news crews today. However, if you’re shooting news features (think “60 Minutes”) where you have gear that needs the capacity of this setup, this is the best of the best.

The carrying bag is tough and well-padded, with an over-the-shoulder strap. I see this pan/tilt head and tripod targeted at field production for sports, TV series and films, and it is perfect for those. This rig will hold a high-end camera with a massive lens, external video recorder, large monitor and multiple batteries, fiber transmitter and intercom unit, and have capacity left over for a matte box and remote focus servo system.

Another application for this camera support system would be for sports production with a 80x lens. There’s plenty of capacity to handle that, balance it perfectly and still have a deft fluid-soft touch for pans and tilts.

For my use, I loaded my mirrorless Micro Four Thirds camera, LED light and external monitor, and I swear the pan/tilt head turned to look at me and said, “When are you going to load me up?”

I shot some activity on a local soccer field and confirmed that the balance was perfect, the pan/tilt drag was exactly right for the situation and that the overall platform was rock steady. It was everything that a pan/tilt and tripod system could be.

Considering its weight, I wouldn’t want to lug the Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package more than a half-mile into the bush. However, if you can drive to a location and set up the tripod next to your Land Rover, this is the tripod you want with you.

The SpeedLevel clamp works exactly as advertised, reducing the leveling process to a couple of seconds. The single flip levers to release all stages of the tripod’s legs are a NASA-worthy bit of design and engineering— it’s entertaining just to see it work.

SUMMARY
The Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package is a gorgeous and sturdy camera support system that permits the most delicate moves with precision. It is well engineered, with thoughtful touches and features that enable quick setup and break down, and it comes with a carrying bag that could double as cover during a gun fight... it’s that invulnerable.

All that strength and engineering comes with enough weight to make this Sachtler system something you’d want to set up once and keep in place as long as possible before breaking it down and moving on. It’s not the first system I would think of for a lightfooted ENG shooter, but it’s perfect for field and stadium production.

FAST FACTS

APPLICATION
Field and stadium production for sports broadcasts, TV series and films.

KEY FEATURES
SpeedLevel CF carbon fiber tripod with mid-level spreader and the SpeedLevel Clamp accessory, carrying bag, screw-on leveling knob.

SUGGESTED RETAIL PRICE
$8,900

CONTACT
Sachtler
www.sachtler.com

Bob Kovacs is the former Technology Editor for TV Technology.

]]> https://www.tvtechnology.com/equipment/speedsachtler-video-18-s2-pantilt-head-tripod mG4txyXWo2yXmvsAPXSVGn Tue, 19 Jul 2016 09:50:00 +0000 false false false

Bigger is better. Yes, there are qualifications for that, but when you have a big job to do, the biggest, sturdiest tools will help you complete it the fastest and with the best results.

So it is with the Sachtler Video 18 S2 pan/tilt head and its matching carbon fiber tripod: It’s big, but powerful.

My lightweight camera gear looks a little out of place on this tripod, but using it was not a problem.FEATURES
The Sachtler Video 18 S2 pan/tilt head comes with a sturdy SpeedLevel CF carbon fiber tripod with mid-level spreader and the SpeedLevel Clamp accessory. Also included is a carrying bag that is so strong that it’s probably grenade-resistant.

The combination of tripod and head weighs nearly 19 pounds, and add another four pounds for the well-padded and reinforced carrying bag. The system comes with both a typical screw-on leveling knob and Sachtler’s SpeedLevel Clamp accessory, which can shave a few seconds off the time it takes to level the pan/tilt head once you set up the tripod.

The combination of tripod and pan/tilt head can support about 44 pounds of gear, fully balanced and with proper fluid damping for pan and tilt. There are knobs to adjust pan and tilt drag, as well as spring tension for balancing. The mounting plate also slides 120mm to quickly get a perfect balance. All the knobs and levers are big enough to operate while wearing gloves.

The pan/tilt head comes with an extendable pan arm that can be moved to either side and a small bubble level on the head’s base lights up when you press on it. The pan/tilt head itself weighs about nine pounds and it has a 100mm ball mount so that it can be quickly installed on other standard camera support gear.

The pan/tilt head has big and easy-to-read knobs for all adjustments. The SpeedLevel CF carbon fiber tripod is a three-stage system with a clever single-lever design to extend the legs. In other words, each leg has a single lever that is used to extend the two movable leg sections—this is the first time I’ve seen such a thing on a tripod, and it definitely speeds up deployment.

Wide rubber feet at the bottom of the tripod pivot to conform to a wide range of sloping surfaces, and they can be quickly removed to reveal metal spikes for soft surfaces. The mid-level spreader can be extended and disconnected to allow for a variety of angles for the tripod’s legs. This is useful to get a camera really low to the ground or placed in an odd multilevel location.

With the legs fully extended and the pan/tilt head atop tripod, the camera plate is at the height of my nose: 62 inches. All this precision engineering and strong construction doesn’t come cheaply: The Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package has a list price of $8,900.

IN USE
I work small: small cameras, small accessories and small tripod. My “big” tripod weighs less than seven pounds, or about one-third of what the Sachtler Video head and tripod package weighs.

However, if I were to step up to the world of mid-level to high-end production, this Sachtler rig is the one I’d want.

Although Sachtler promotes the package for ENG work, it feels too big and heavy for most news crews today. However, if you’re shooting news features (think “60 Minutes”) where you have gear that needs the capacity of this setup, this is the best of the best.

The carrying bag is tough and well-padded, with an over-the-shoulder strap. I see this pan/tilt head and tripod targeted at field production for sports, TV series and films, and it is perfect for those. This rig will hold a high-end camera with a massive lens, external video recorder, large monitor and multiple batteries, fiber transmitter and intercom unit, and have capacity left over for a matte box and remote focus servo system.

Another application for this camera support system would be for sports production with a 80x lens. There’s plenty of capacity to handle that, balance it perfectly and still have a deft fluid-soft touch for pans and tilts.

For my use, I loaded my mirrorless Micro Four Thirds camera, LED light and external monitor, and I swear the pan/tilt head turned to look at me and said, “When are you going to load me up?”

I shot some activity on a local soccer field and confirmed that the balance was perfect, the pan/tilt drag was exactly right for the situation and that the overall platform was rock steady. It was everything that a pan/tilt and tripod system could be.

Considering its weight, I wouldn’t want to lug the Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package more than a half-mile into the bush. However, if you can drive to a location and set up the tripod next to your Land Rover, this is the tripod you want with you.

The SpeedLevel clamp works exactly as advertised, reducing the leveling process to a couple of seconds. The single flip levers to release all stages of the tripod’s legs are a NASA-worthy bit of design and engineering— it’s entertaining just to see it work.

SUMMARY
The Sachtler Video 18 S2 pan/tilt head and SpeedLevel CF carbon fiber tripod package is a gorgeous and sturdy camera support system that permits the most delicate moves with precision. It is well engineered, with thoughtful touches and features that enable quick setup and break down, and it comes with a carrying bag that could double as cover during a gun fight... it’s that invulnerable.

All that strength and engineering comes with enough weight to make this Sachtler system something you’d want to set up once and keep in place as long as possible before breaking it down and moving on. It’s not the first system I would think of for a lightfooted ENG shooter, but it’s perfect for field and stadium production.

FAST FACTS

APPLICATION
Field and stadium production for sports broadcasts, TV series and films.

KEY FEATURES
SpeedLevel CF carbon fiber tripod with mid-level spreader and the SpeedLevel Clamp accessory, carrying bag, screw-on leveling knob.

SUGGESTED RETAIL PRICE
$8,900

CONTACT
Sachtler
www.sachtler.com

Bob Kovacs is the former Technology Editor for TV Technology.

]]> <![CDATA[ Panasonic AJ-PX380 Review ]]> The Panasonic AJ-PX380—the latest entry in Panasonic’s lineup of professional broadcast HD camcorders—fills a niche for a more affordable alternative and is designed to lower cost without sacrificing image quality. It utilizes a range of recording formats on less expensive microP2 cards, including the high-quality AVC-Intra and LongG codecs, and includes extra features such as wireless connectivity.

FEATURES

The Panasonic AJ-PX380 has a long list of impressive features that are unprecedented in a professional ENG style camcorder at this price.

The AJ-PX380 records in all of the video formats expected in its class: 1080 60p/50p, 1080 60i/50i, 1080 24psF, 720 60p/50p and 480 60i and 576/50i.

The camera is engineered for 21st century newsgathering and is equipped with multi-format wireless streaming capability. It retains a traditional design, with essential on-camera controls like white balance, gain, ND filters and audio levels, but is lighter and unusually well balanced. The camera body weighs only about six pounds, about 40 percent less than most higher-end shoulder-mount cameras. A broadcast zoom lens and viewfinder adds about another five pounds.

It also can accommodate two microP2 cards and one standard P2 card. Panasonic has moved more in the direction of microP2 cards, which are the size of SD cards but are engineered for a higher transfer rate. They are considerably less expensive than the P2 cards, further reducing the cost of owning the camera.

The AJ-PX380 is engineered with image quality as a priority. The 1/3-inch 3MOS sensors contain 2.2 megapixels and provide high light sensitivity and S/N ratio. The 1/3-inch 3MOS sensors achieve the same maximum 600 percent dynamic range level as other high-end shoulder-mount models. This preserves image data from very dark areas to bright highlights.

The camera employs Panasonic’s outstanding intra-frame compression method, known as AVC-Intra, which was developed to produce nearly lossless image compression with manageable file sizes. In addition, the AJ-PX380 offers a wide range of other codecs that achieve much smaller file sizes while preserving high image quality. AVC-Intra100 can be used when the highest quality is desired for applications, such as television program production, and is particularly well-suited for editing. AVC-Intra50 produces very high quality at half the data rate. For applications such as documentary or reality TV, the AJ-PX380 offers more compressed codecs that enable much longer recording time. These include AVC-LongG50, 25 and 12. These are Long GOP MPEG-4 formats based on H.264. Using two microP2 cards, one can simultaneously record a high-quality codec as well as proxy files that can be easily uploaded online for editing or off-site footage review.

The Panasonic microP2 cards have high capacity and offer long recording times. One 64 GB microP2 card can hold 64 minutes of video while recording in the highest quality codecs: AVC-Intra100 and DVCPRO HD. For AVC-Intra50, AVC-LongG 50, DVCPRO 50, you will get 128 minutes per 64 GB card. And if you really need extended recording time, you can record for 480 minutes on a 64 GB card using the AVC-LongG12 codec. And all of these times can be doubled by using two cards in the available slots.

A big selling point for the Panasonic AJ-PX380 is its capability for wireless connectivity, which has emerged as a practical way to transmit video for live streaming to the web, instant file sharing, and uploading proxy files for editing. With some additional accessories, the AJ-PX380 can be configured for data transfer and streaming over wireless LAN or 4G/LTE, and can perform FTP server uploading and streaming. Through wireless LAN, it is even possible to preview and edit recorded clips and metadata with a laptop, smartphone or tablet device, and the camera can be controlled remotely with an iPad. The AJ-PX380 is designed to integrate with the Panasonic P2Cast cloud-based news system, enabling a wide variety of shared, file-based workflows.

The AJ-PX380 is equipped with all of the desired inputs and outputs, including SDI, 3G-SDI out and HDMI out.

IN USE

I tested the Panasonic AJ-PX380GF package, which included an AG-CVF15 Color Viewfinder and an XT17x4.5 BRM 17X Fujinon lens.

The first thing I noticed when I picked up the camera is how light it was. It is easy to lift and feels especially well balanced on the shoulder. Yet it has enough mass to allow for very stable shots.

Because of the low price point, my main mission was to verify that the AJ-PX380 has an image quality that stands up to its more expensive competitors, and makes it worthy for professional newsgathering and television production.

I recorded identical shots that incorporated camera motion, panning from indoor to outdoor light, and focusing on distant detailed elements.

The AJ-PX380 made it easy to change formats and does not require shutting down and repowering to make any changes; even for major system settings such as moving from 1080/23.98pN to 480/59.94i. I just selected the desired format and the camera updated the settings within a matter of seconds.

I proceeded to shoot through a roster of clips at different settings: AVC-Intra100 1080/60p, 1080 /60i and 1080/24pN; AVC-Intra50 1080/60i; AVC-LongG50 1080/60i; AVC-LongG25 1080/25pN; AVC-LongG12 1080/60i and 1080/24pN; and DVCPRO HD.

I then reviewed the results on two editing platforms: Avid Media Composer and Apple Final Cut Pro X. I found that accessing the files on the microP2 card on Avid requires a downloadable plug-in. Overall the process using Avid was a bit bumpy, but worked fine once you figure out the process. Using the microP2 cards on Final Cut Pro X was a breeze. It instantly recognized and listed all of the file types and they were ready for viewing and importing.

I carefully examined each clip, full screen on a large Mac monitor. The AVC-Intra100 and DVCPRO codecs were outstanding and delivered a stunning image, rich in color data and very faithful to fine detail, even when the camera was being moved quickly. I found the best image to be when shooting AVC-Intra100 in 1080/60p.

Then, the remaining question was how the more compressed codecs would hold up. To this end, I found that AVC-LongG50 compared favorably to the highest bit rate codecs. I could see some minor loss in detail if I froze a frame and studied it, but throughout a normal motion shot, the difference was hard to notice. Then I examined the AVC-LongG12, which is a 4:2:0 codec at a low bit rate. I expected it to look clearly inferior, but was surprised at how well it held up. I had to look very carefully to see any substantial difference between AVC-LongG50 and AVC-LongG12.

My conclusion was that AJ-PX380 combines a very high-quality sensor set with the best compression codecs in the industry to produce video files of high enough quality for any application, from newsgathering to program production.

SUMMARY

The Panasonic AJ-PX380 is an outstanding ENG style camera that offers outstanding image quality, a full menu of high-quality compression codecs, full wireless connectivity, is lightweight and durable at a groundbreaking price point. It is ideal for newsgathering and television production where budget constraints are a consideration. This camera will allow many less financially endowed organizations to get into the game and produce professional grade content.

Geoff Poister, Ph.D. is a member of the Film and Television faculty at Boston University and a regular contributor to TV Technology.

]]> https://www.tvtechnology.com/equipment/panasonic-ajpx380-review w6JbdNd3hQMv2Y8xK5yAyN Thu, 24 Mar 2016 13:01:00 +0000 false false false

The Panasonic AJ-PX380—the latest entry in Panasonic’s lineup of professional broadcast HD camcorders—fills a niche for a more affordable alternative and is designed to lower cost without sacrificing image quality. It utilizes a range of recording formats on less expensive microP2 cards, including the high-quality AVC-Intra and LongG codecs, and includes extra features such as wireless connectivity.

FEATURES

The Panasonic AJ-PX380 has a long list of impressive features that are unprecedented in a professional ENG style camcorder at this price.

The AJ-PX380 records in all of the video formats expected in its class: 1080 60p/50p, 1080 60i/50i, 1080 24psF, 720 60p/50p and 480 60i and 576/50i.

The camera is engineered for 21st century newsgathering and is equipped with multi-format wireless streaming capability. It retains a traditional design, with essential on-camera controls like white balance, gain, ND filters and audio levels, but is lighter and unusually well balanced. The camera body weighs only about six pounds, about 40 percent less than most higher-end shoulder-mount cameras. A broadcast zoom lens and viewfinder adds about another five pounds.

It also can accommodate two microP2 cards and one standard P2 card. Panasonic has moved more in the direction of microP2 cards, which are the size of SD cards but are engineered for a higher transfer rate. They are considerably less expensive than the P2 cards, further reducing the cost of owning the camera.

The AJ-PX380 is engineered with image quality as a priority. The 1/3-inch 3MOS sensors contain 2.2 megapixels and provide high light sensitivity and S/N ratio. The 1/3-inch 3MOS sensors achieve the same maximum 600 percent dynamic range level as other high-end shoulder-mount models. This preserves image data from very dark areas to bright highlights.

The camera employs Panasonic’s outstanding intra-frame compression method, known as AVC-Intra, which was developed to produce nearly lossless image compression with manageable file sizes. In addition, the AJ-PX380 offers a wide range of other codecs that achieve much smaller file sizes while preserving high image quality. AVC-Intra100 can be used when the highest quality is desired for applications, such as television program production, and is particularly well-suited for editing. AVC-Intra50 produces very high quality at half the data rate. For applications such as documentary or reality TV, the AJ-PX380 offers more compressed codecs that enable much longer recording time. These include AVC-LongG50, 25 and 12. These are Long GOP MPEG-4 formats based on H.264. Using two microP2 cards, one can simultaneously record a high-quality codec as well as proxy files that can be easily uploaded online for editing or off-site footage review.

The Panasonic microP2 cards have high capacity and offer long recording times. One 64 GB microP2 card can hold 64 minutes of video while recording in the highest quality codecs: AVC-Intra100 and DVCPRO HD. For AVC-Intra50, AVC-LongG 50, DVCPRO 50, you will get 128 minutes per 64 GB card. And if you really need extended recording time, you can record for 480 minutes on a 64 GB card using the AVC-LongG12 codec. And all of these times can be doubled by using two cards in the available slots.

A big selling point for the Panasonic AJ-PX380 is its capability for wireless connectivity, which has emerged as a practical way to transmit video for live streaming to the web, instant file sharing, and uploading proxy files for editing. With some additional accessories, the AJ-PX380 can be configured for data transfer and streaming over wireless LAN or 4G/LTE, and can perform FTP server uploading and streaming. Through wireless LAN, it is even possible to preview and edit recorded clips and metadata with a laptop, smartphone or tablet device, and the camera can be controlled remotely with an iPad. The AJ-PX380 is designed to integrate with the Panasonic P2Cast cloud-based news system, enabling a wide variety of shared, file-based workflows.

The AJ-PX380 is equipped with all of the desired inputs and outputs, including SDI, 3G-SDI out and HDMI out.

IN USE

I tested the Panasonic AJ-PX380GF package, which included an AG-CVF15 Color Viewfinder and an XT17x4.5 BRM 17X Fujinon lens.

The first thing I noticed when I picked up the camera is how light it was. It is easy to lift and feels especially well balanced on the shoulder. Yet it has enough mass to allow for very stable shots.

Because of the low price point, my main mission was to verify that the AJ-PX380 has an image quality that stands up to its more expensive competitors, and makes it worthy for professional newsgathering and television production.

I recorded identical shots that incorporated camera motion, panning from indoor to outdoor light, and focusing on distant detailed elements.

The AJ-PX380 made it easy to change formats and does not require shutting down and repowering to make any changes; even for major system settings such as moving from 1080/23.98pN to 480/59.94i. I just selected the desired format and the camera updated the settings within a matter of seconds.

I proceeded to shoot through a roster of clips at different settings: AVC-Intra100 1080/60p, 1080 /60i and 1080/24pN; AVC-Intra50 1080/60i; AVC-LongG50 1080/60i; AVC-LongG25 1080/25pN; AVC-LongG12 1080/60i and 1080/24pN; and DVCPRO HD.

I then reviewed the results on two editing platforms: Avid Media Composer and Apple Final Cut Pro X. I found that accessing the files on the microP2 card on Avid requires a downloadable plug-in. Overall the process using Avid was a bit bumpy, but worked fine once you figure out the process. Using the microP2 cards on Final Cut Pro X was a breeze. It instantly recognized and listed all of the file types and they were ready for viewing and importing.

I carefully examined each clip, full screen on a large Mac monitor. The AVC-Intra100 and DVCPRO codecs were outstanding and delivered a stunning image, rich in color data and very faithful to fine detail, even when the camera was being moved quickly. I found the best image to be when shooting AVC-Intra100 in 1080/60p.

Then, the remaining question was how the more compressed codecs would hold up. To this end, I found that AVC-LongG50 compared favorably to the highest bit rate codecs. I could see some minor loss in detail if I froze a frame and studied it, but throughout a normal motion shot, the difference was hard to notice. Then I examined the AVC-LongG12, which is a 4:2:0 codec at a low bit rate. I expected it to look clearly inferior, but was surprised at how well it held up. I had to look very carefully to see any substantial difference between AVC-LongG50 and AVC-LongG12.

My conclusion was that AJ-PX380 combines a very high-quality sensor set with the best compression codecs in the industry to produce video files of high enough quality for any application, from newsgathering to program production.

SUMMARY

The Panasonic AJ-PX380 is an outstanding ENG style camera that offers outstanding image quality, a full menu of high-quality compression codecs, full wireless connectivity, is lightweight and durable at a groundbreaking price point. It is ideal for newsgathering and television production where budget constraints are a consideration. This camera will allow many less financially endowed organizations to get into the game and produce professional grade content.

Geoff Poister, Ph.D. is a member of the Film and Television faculty at Boston University and a regular contributor to TV Technology.

]]> <![CDATA[ Panasonic AG-DVX200 ]]>

LOS ANGELES— There have been a few landmark digital video cameras in the history of electronic cinematography. The introduction of Panasonic's AG-DVX100 in 2002 was a true breakthrough for low-budget filmmakers, as it was the first affordable non-interlaced camcorder that could capture 24 progressive frames per second.

In 2005, Panasonic raised the bar with the AG-HVX200, which offered HD at 720p and was one of the first camcorders to offer file-based (P2 card) recording. At the time, a 4 GB P2 card let you capture approximately 10 minutes of DVCPRO HD 720p24—similar to a 400-foot 16mm film mag.

In 2015, Panasonic went back to its DVX roots with the release of the AG-DVX200, a handheld camcorder that shoots 4K/60p, contains a 4/3-inch large-format MOS sensor, and offers 12 stops of latitude with its V-Log L gamma curve.

To read the full review, please visit Creative Planet Network.

]]> https://www.tvtechnology.com/equipment/panasonic-agdvx200 c1hDvyxg6YTaXRwZnSJ1sd Wed, 27 Jan 2016 16:17:00 +0000 false false false

LOS ANGELES— There have been a few landmark digital video cameras in the history of electronic cinematography. The introduction of Panasonic's AG-DVX100 in 2002 was a true breakthrough for low-budget filmmakers, as it was the first affordable non-interlaced camcorder that could capture 24 progressive frames per second.

In 2005, Panasonic raised the bar with the AG-HVX200, which offered HD at 720p and was one of the first camcorders to offer file-based (P2 card) recording. At the time, a 4 GB P2 card let you capture approximately 10 minutes of DVCPRO HD 720p24—similar to a 400-foot 16mm film mag.

In 2015, Panasonic went back to its DVX roots with the release of the AG-DVX200, a handheld camcorder that shoots 4K/60p, contains a 4/3-inch large-format MOS sensor, and offers 12 stops of latitude with its V-Log L gamma curve.

To read the full review, please visit Creative Planet Network.

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