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Next Tuesday sees us at the next Photovision event in Birmingham. We'll be there with some equipment to play with. For more details, click on the picture above. Hopefully see you there!!
Two weeks' time sees the UK come over all patriotic as we celebrate the Queen's Diamond Jubilee. For us photographers and filmers, not often does a chance come like this to get out there and film.
And not often do we offer such a good deal on hire - we're giving you both Bank Holidays FOR FREE! Yes, we will dispatch your equipment on Thursday 31st May to arrive with you before 12pm on Friday 1st June. We'll then collect on Wednesday 6th June. All for a normal weekend hire charge!
Shrewd customers have already been booking out equipment (second guessing us again!) so we really would advise booking as early as possible!
As we've already said, we were a little sceptical about the JVC 4K GY-HMQ10 camera in terms of handling the workflow.
Whilst at NAB last month in Vegas, Den and I shot this short piece about the camera and more importantly, how easy the workflow was to deal with.
If you want to look at the camera in more detail, please have a look at the detailed page on it.
We're pleased to announce the flagship to our Sony Alpha Range - the 500mm f4 G SSM lens. You won't see many of these around (in fact we're only aware of 3 of them in the country at the moment and one of those is Sony's!).
So what's so good about this lens? Well, the thing that blows you away is the speed of the focusing - it's staggeringly quick. For the first time really, a Sony telephoto lens is up there with Canon and Nikon in terms of speed.
It's also got a Direct manual focus (DMF) function that's great for making little adjustments to the focus - simply turn the focusing ring and the AF is overridden.
As well as being able to set pre-determined focus ranges, you can also set a custom range, setting the near and far ranges of focus. Lastly you have a prefocus function that will allow you to store and recall a focal length at any point using the focus hold buttons.
Both the a77 and a65 bodies have recently had firmware updates specifically aimed at improving the AF response with this lens and you can notice the difference right away.
So it isn't the cheapest lens available (in fact it's one of the most expensive!) but we're impressed for two reasons. Firstly as a lens on its own, the quality is astonishing (and so it should be) but secondly this shines the light for every future Sony lens release with far faster operation which is great news for everyone.
For more details on the lens, please feel free to look at our detailed lens page.
Next Tuesday 15th sees us in Manchester at the Photovision Roadshow. For more details, please click on the image above to see a detailed PDF about the show.
We hopefully will see you there!
Okay, so we'll admit that we were a little sceptical about this camera. When I saw it at BVE back at the beginning of the year, apart from the camera itself, there was nothing really to see.
NAB changed all that and won me round the camera pretty quickly. My huge concern with this camera was the workflow. We've learnt time and time again that it really doesn't matter how good something is - if you can't do anything with the footage, there's little point in supplying it.
I'm delighted to say that the workflow is an absolute breeze. The example we used at NAB was using Final Cut Pro X but there's no reason why it can't be used with other NLE's. The camera records a quadrant onto each of the four SD cards. We then took these using JVC's own software to 'join' them together and export the results. This pulled straight into FCP X and could be pulled straight on the timeline. To be honest it couldn't have been simpler.
The quality from the camera itself is brilliant, considering it's size. Don't forget there's a 1/2 inch sensor in there. Sample and live footage was being shown at NAB and it was astonishing to see the fine detail being recorded.
It will be interesting to see just how well the camera can cope with lower light, given the densely packed pixels but so far the camera has greatly impressed.
So why the need for 4K? In a way, this is history repeating itself. Remember back to the introduction of HD? Well it's taken a fair while for people to finally start watching in HD and to be fair, a lot of video distribution is still done in SD. But we still all shoot in HD because it future proofs our footage and also gives us the possibility to crop and frame if outputting to SD. 4K allows us to do the same but this time outputting to HD without any drop in resolution. 4K is here to stay.
If you don't believe me, have a look at a great article written by our good friend Den Lennie from F-Stop academy on 4K - interesting reading.
The camera is now available for pre-booking and more details can be found here.
It's Bank Holiday time again and that can mean only one thing - it's Offer time again! Yes, as always, we give you the Bank Holiday Monday for FREE! Hire any equipment over the weekend coming and we'll deliver on Friday and collect next Tuesday, all for a weekend's hire charge.
Booking early is advisable as it does tend to be a popular offer!
We've been continually adding to our large sensor camcorder range and we decided it was time to break them out from the rest of the camcorders into their own section. Hopefully this will make things clearer for everybody - we hope you like it!
Our order has been in since we first saw the camera at NAB and after requests for customers eager to get their hands on the camera, we've put it up on our website and it is now available for pre-order for hire from launch.
For more details about this ground-breaking camera, please do have a look at its detailed page.
We've been big fans of the Kessler Philip Bloom Pocket Dolly and indeed so have our customers - they are continually fully booked.
When we were looking to expand our stock, we got a chance to play with Kessler's new Stealth model and were hugely impressed with it. How come we went for these over the PB Pocket Dolly? Feedback from customers suggested that no-one ever used the crank handle as it was too hard to move at a consistent rate. The Stealth is to all intensive purposes identical save for the crank handle (other than it's clearly black rather than red!).
Length wise, we've gone with the Traveller 0.75 metre versions as these seem to be the most popular option as they are far more portable than the 1 metre versions. We've also gone for the all-terrain outrigger feet with the Stealth's. These are hugely adjustable and ideal for setting up on awkward surfaces.
If you're after motion control, the elektraDRIVE bundle package with Oracle controller will bolt straight onto it (as will the Fusion system we will be stocking from July).
For more details on the slider, please feel free to have a look at our detailed page.
Today we are having a new electricity substation installed which means we will at some point lose all power. We do have a backup generator ready to take over but it will mean us rebooting our internet and phones which will mean we will no contactable for a few minutes.
Sincere apologies for the inconvenience - if you are having trouble getting hold of us, please do try again in a few minutes.
We've been hiring the Atomos Ninja's for a while now and they are incredibly popular and deservedly so. Being able to record ProRes straight out the camera via HDMI offers huge advantages and we're seeing many HDV camera operators just hiring these to get around workflow time issues.
So what's new about the Version 2?
Well the first thing you'll notice is a much higher resolution screen with great new features such as focus peaking, adjustable zebra and false colour. So you can actually use this version much more as a monitor (which you couldn't say of the old one).
You've also got SmartLog on there now - another feature of the AtomOS Ver 3 firmware release. This allows you to log in and out points on your footage and metatag these clips - this will pull straight in on something like FCP X.
All in all, a great improvement over the old model (which is still pretty good!).
We should have these in stock around mid to end of May.
Anyone who follows the film world at all must have by now heard about the Blackmagic Cinema Camera. I've just landed back from NAB in Las Vegas and there's no doubt that it was the surprise of the show and given the swarms of people crowding round the samples, it fair to say that Blackmagic have a hit on their hands.
So what is it? Well it breaks the mould in its design - we all felt it kind of looked like a Fisher Price toy camera initially. It's a bit unfair as the camera is machined from solid aluminium. The large rear touchscreen dominates the design but in controlled environments, it will make a great deal of sense.
So technically, what does the camera have to offer. Well the big news is the 2.5K sensor offering 13 stops of dynamic range. Yes it is only a Micro 4/3rds size sensor (which has disappointed lots of people) but let's be realistic about it - this camera offers incredible value for money and having talked at great lengths yesterday with the guys from Blackmagic, it's clear they couldn't have done anything else for the price.
The camera records to SSD's in either uncompressed 12 bit RAW or compressed ProRes or DNxHD video formats. Frame rates available are 23.98p, 24p, 25p, 29.97p & 30p.
If you've got EF lenses, you'll very pleased to know that that's the mount used - they'll bolt straight on! If you're using AF Canon glass, you'll also be able to set iris and focus on the camera.
As a user of Final Cut Pro X, one thing I love is the tagging feature - it makes sorting rushes so easy. This camera includes built-in metadata entry so you can enter as you shoot and this will be passed straight through once you come to edit.
Audio wise, the camera has two DIN connections. Okay not as instantly useful as XLR's but given the space available, it's better than nothing. You've also got a headphone socket for audio monitoring.
Other connectors include a Thunderbolt for fast computer capture, 12V to 30V DC input (which is a little frustrating as you're looking external batteries as large as the camera to extend battery life) and a SDI out for monitoring.
The 5" touchscreen works very nicely (there were some functions disabled on the one we tried). Yes, it will be frustrating having to go into on-screen menus to change things rather that dedicated switches but once you've accepted this and familiarised yourself, it doesn't take too long to learn your way around. When using Canon EF lenses, it's great being to double tap the screen to autofocus.
So there you go. It's a Marmite camera. It's not going to replace some people's equipment but for others, it's a superb cost effective solution. I was with Den Lennie when looking over it and speaking to Blackmagic Design about it and he reckoned he'd end up with two in his studio. I'm inclined to agree that it would shine in that environment.
Naturally we've placed our order and will be having the camera at launch - I expect a lot of people will want to try it!
Another new announcement is the big brother to the C300, the C500. This is what Canon had to say -
In November 2011 Canon announced the EOS C300 - the first camera in the Cinema EOS System, marking the company's entry into the motion-picture and digital production market. Highly acclaimed by video professionals since launch, the EOS C300 offers exceptional video quality performance, outstanding mobility, durability and expandability, thanks to its modular design and its compatibility with Canon's range of EF and EF Cinema Lenses. The EOS C500/EOS C500 PL will be based on the same advanced platform, adding support for 4K RAW video capture, and 4:4:4 sampling during 2K capture.
Supporting next-generation 4K-resolution video capture and RAW data output, the EOS C500/EOS C500 PL will achieve exceptional video results without any loss in quality. The camera's uncompressed 4K output will unleash the full potential of Canon's premium range of EF Cinema Lenses, combining with Canon Log Gamma, which delivers the high-quality video and wide exposure latitude required by digital cinematographers.
Furthermore, 12-bit RGB 4:4:4 signal during 2K (2,048 x 1,080 pixels) video output will deliver rich colour and high compatibility with image processes such as chroma key compositing. Support for frame rates up to 120p in both 4K and 2K resolution will provide enhanced creative flexibility, enabling high-speed (slow motion) video capture in high resolution.
We've been wondering for a while when this would be announced and here it is!
Introducing the EOS-1D C - a high resolution, 4K DSLR camera optimised for video recording. 4 new Cine lenses ideal for use with next generation 4K cinema cameras. And finally Canon are also pleased to confirm the development of a new digital cinema camera capable of recording 4K-resolution called the EOS C500.
EOS-1D C
The EOS-1D C is a unique product offering a package of features not comparable to any other product on the market.
Based on the powerful core specifications of the EOS-1D X, it incorporates additional features such as 4K recording and Full HD/60p support, alongside the option of high quality stills capture.
As part of the Cinema EOS range, it's also compatible with the complete range of EF and Cinema Lenses, offering video professionals exceptional flexibility.
Key Headlines:
- Internal 4K (4,096 x 2,160) recording with 4:2:2 colour sampling - direct to CF cards
- 8-bit Motion JPEG compression
- ISO sensitivity up to 25,600
- Clean HDMI out (Full HD, 4:2:2)
- Canon Log Gamma
- 24p support during 4K shooting
- 24, 25, 30, 50 and 60p frame rate support in Full HD (1920x1080p) resolution
- Full-frame sensor with crop support (APS-H, Super 35mm)
All other specifications are the same as the EOS-1D X.
Since being announced last week, the new NEX-FS700 has been kicking up a lot of excitement. Why? Because for the money, this camera offers a hell of a lot. The main feature that has got EVERYONE talking is the slow motion with up to 240 frames per second at full HD!
But there's much more to it than that. The FS700 has a new 4K sensor which in time will be able to output a 4K RAW stream over the 3G HD-SDI connection (yes, it has an HD-SDI connector as well!). Another addition are ND filters. Honestly whenever I've used the FS100, I've never found it an issue as I use variable ND's but it's something everyone was asking for.
We've already put our order in and are expecting the cameras at launch around beginning of June.
For more details, some excellent videos and to check out our very competitive pricing, have a look at the detailed page.
Due to an attack on our Exchange Email Server, we have been unable to receive and send emails since 4pm yesterday. Thankfully our engineers have been working through the night and as of 8.20am, we now are up and running again.
We have a little backlog to get through so please bear with us - if you sent anything though, we will get back to you as soon as we can.
Apologies for any inconvenience.
The Sony NEX-FS100E has been a bit of Marmite camera which we think is a bit unfair. The reality is that it's a cracking bit of kit and you'll be hard pressed to find anything for the money that can produce the same results, especially in low light.
The E-Mount was initially looked on scornfully but what a huge range of options it now offers. Adaptors are available for pretty much any mount (including the Canon EF using Metabones' new adaptor) and you can choose between manual and autofocus. More lenses are being launched this year, not only from Sony but also third party manufacturers. So basically E-Mount is here to stay.
A couple of major objections to the NEX-FS100E was the lack of ND filters and HD-SDi output. The reason for this was packaging and budget. Honestly putting a variable ND on the front was hardly a hardship and for the money the HDMI output to a Ninja still produces excellent results.
THE NEX-FS700E offers both these features along with a new 4K ready Super 35mm sensor that will have the ability to output 4K RAW via the 3G-SDI output in the future.
What is also really interesting is the super slow motion capability that can capture at 200 frames per second at full resolution and up to 1000 frames per second at reduced resolution. I've already seen the film shot with it by Den Lennie and it's superb (takes a fair amount of skill to film on long manual lens - well done Den!).
Hopefully this should answer most of the nay-sayers moans and finally people will start to realise just what an amazing range of cameras these are. We've committed heavily to this format and offer not just the largest range of E mount lenses and adaptors in the country but we are also the only hire company to offer a full range of Sony Zeiss and G Alpha lenses that can be used with these cameras.
We hope to get the camcorder up on the site shortly and will naturally have it available at launch.
Well it's that time of year again and here come the new models! First off the starting blocks is the new Sony HXR-NX30E.
The Canon XA10 is already a very popular camera (we've got over 20 of them!) and we can see the NX30 offering a great alternative. Highlights include an even better SteadyShot (was that possible?!), a built-in projector to view rushes, an ultra wide 26mm Carl Zeiss Vario-Sonnar lens and full 1920 HD recording at up to 50fps!
Details from Sony are as follows -
Product Information
HXR-NX30E
1/2.88-inch Exmor R CMOS sensor ultra-compact NXCAM camcorder recording full HD with Balanced Optical SteadyShotTM
Palm-sized camcorder with outstanding picture quality
The HXR-NX30 is an ultra-compact, palm-sized, professional NXCAM camcorder compatible with the latest full HD formats including 1080/50p video. It features a 26.0mm ultra wide-angle lens with 10x optical zoom (35mm equivalent: 26-260mm) and a back-illuminated 1/2.88-inch type Exmor R CMOS sensor for outstanding versatility. Like other NXCAM camcorders, it comes with the features professional users demand, including flexible timecode/user bit settings and XLR audio inputs for high reliability and high sound quality.Advanced image stabilisationOne of the HXR-NX30E's biggest advantages is the Balanced Optical SteadyShotTM image stabilization system. This allows the entire optical block, from the lens to the image sensor, to "float" and absorb movement from the body. The result is extremely effective image stabilization even when zooming in, something previously difficult to achieve, providing handheld shooting with a new level of image stability.
Built-in projector to view rushes
A built-in projector can project images up to 100 inches wide (when projecting 5m from a screen), enabling production crew to easily check the rushes at the end of the shoot.
Features
Ultra wide-angle 26.0mm Carl Zeiss Vario-Sonnar T* lens
The HXR-NX30E comes with a 26.0mm Carl Zeiss Vario-Sonnar T* lens that suppresses unwanted reflections to assure faithful colour reproduction. It also provides high contrast and high image quality with exceptional resolution from 26.0mm wide angle to 260mm telephoto (35mm equivalent). Thanks to the 6-blade iris diaphragm, you can enjoy an exceptionally realistic expression of natural light.* The supplied step-down ring is required to mount conversion lenses. Conversion lenses cannot be mounted unless the supplied hood is removed. Also, be sure to set the conversion lens mode on the bodybefore using. When using the Wide Conversion Lens setting, switch Balanced Optical SteadyShotTM off.
1/2.88-inch type Exmor R CMOS image sensor
Even when shooting dark scenes, the back-illuminated Exmor R CMOS sensor provides high sensitivity and low noise that are hard to believe from such a compact unit. What is more, using a 1/2.88-inch type sensor with an aspect ratio of 16:9 is
Balanced Optical SteadyShotTM image stabilization system
The innovative Balanced Optical SteadyShotTM image stabilization system eliminates the influence of vibrations from the body by enclosing the entire optical block, from the lens to the image sensor, in a “floating” space. Combined with electronic image stabilization that compensates for rotation around the optical axis, this new system provides powerful image stabilization even when shooting whilst zooming, which was previously difficult to achieve. So now you can record stable images with minimal blur, every time.To optimize the effect of Balanced Optical SteadyShotTM, the HXR-NX30E features a FIXED SHOT mode. Press a button and this expands the movable range of the optical block to keep you locked on your subject. This is particularly convenient when you want to maintain the same shooting angle for an extended period.
Full HD video capture and still image recording
The HXR-NX30E allows you to shoot at 50fps progressive (1080/50p) with 1920 x 1080 full HD resolution. Using a 24p timeline setting with AVCHD 2.0 compatible NLE software enables conversion to smooth slow-motion images up to 2.5x slower (2x slower with a 60i/30p timeline setting). You can also select 1080/30p/24p, 1280x720 50p and a wide range of other formats.Simultaneous recording of still images while shooting video is another feature of the HXR-NX30E. It is possible to shoot high quality images with a resolution as high as 24.1M (16:9 / 6544 x 3680, 4:3 / 4912 x 3680).
Embedded Flash memory and Memory Stick / SD multi card slot
The built-in 96GB embedded Flash memory can record and store up to 30 hours of high definition video footage in HD LP mode with Dolby Digital audio mode. And there is an amulet-card slot that lets you record video images on Memory Stick and SD cards, giving you a range of options in your choice of recording media. You can also use these readily available cards to copy data from internal memory.
XLR audio inputs and ECM-XM1 shotgun microphone records Linear PCM audio
Two balanced XLR audio inputs are built-in with phantom power and attenuation options that professional users require for clean sound quality. Default audio settings for XLR recording are highlighted in green for easy reference in the field in order to reduce operator error under difficult lighting conditions.The ECM-XM1 shotgun microphone mounted on top of the ergonomic handle provides audio recording performance similar to larger shoulder-mounted ENG style cameras.The HXR-NX30E is also able to record high-quality 48kHz/16 bit Linear PCM audio.
Timecode/user bit recording and HDMI embedded timecode output
The HXR-NX30E features the important professional camcorder functions of timecode and user bit settings. Like other NXCAM camcorders, the HXR-NX30E allows timecode to be centrally reset using an infrared remote control for easy synchronization of video from multiple cameras*. Using NLE software, live footage shot with multiple NXCAM camcorders can be efficiently edited with timecode sync. Timecodes and user bits can also be output through an HDMI jack.* Does not completely synchronize the operations of multiple cameras.
Built-in light offers auxiliary light source for video or flash for still image capture
You can use this built-in light as a flash when shooting still images or as an auxiliary light source when recording video. Using the NightShot mode is particularly effective when recording in low-light conditions and allows you to capture otherwise impossible shots.
Built-in projector to view rushes
A built-in projector can project images up to 100 inches wide (when projecting 5m from a screen, 40 inches wide when projecting 2m from a screen). Large-screen projection of images enables all the staff involved to check the rushes at the end of the shoot and reduces the need for an external display.
www.pro.sony.eu/broadcast
We knew it was going to happen but here's the official announcement from Canon.
United Kingdom, Republic of Ireland, 28th March 2012 - Canon today announces that the ground-breaking EOS C300, the first model from the new Cinema EOS System, has met the standards the BBC requires from cameras tested to the EBU recommendation EBU R118. The approval allows both internal and external BBC production teams to use the EOS C300 for the production of a variety of programmes to be broadcast on the BBC's range of HD channels. The EOS C300 is the third professional camcorder from Canon to be approved by the BBC since the start of 2011, joining the XF305 and XF300 Full HD camcorders, which were approved for use in January last year.
"The EOS C300 has received a fantastic response since it launched in November last year, and we're delighted it's been approved for use by the BBC," said Kieran Magee, Director of Professional Marketing at Canon Europe Ltd. "By utilising the expertise in our video, broadcast, DSLR and lens groups, we've created a unique product that offers exceptional creative scope for videographers of all kinds. Its quality and versatility make it ideal for a number of different shooting purposes, and we’re looking forward to seeing how the BBC puts it to use."
About the Canon EOS C300
A landmark model for Canon, the EOS C300 merges Canon's heritage in sensor and lens design to create a compact, versatile camera that offers exceptional image quality alongside the flexibility to shoot in a wide range of different situations.
The EOS C300 offers a first-class specification including a newly-designed Super 35mm-equivalent CMOS sensor with approximately 8.29 million effective pixels. MPEG-2 Full HD (MPEG2 422@HL compliant) compression and 50 Mbps recording rate allows videographers to record directly to two CF memory cards, while 4:2:2 colour sampling provides enhanced gradation and finer detail, as well as reducing jagged edges at chroma edges.
As part of the wider EOS System, the EOS C300 is immediately compatible with Canon's collection of over 60 EF lenses – providing videographers with an unrivalled range of creative options. Canon has also used its unrivalled heritage in lens design to create a new line of EF Cinema Lenses that are specifically designed for video use, each of which delivers outstanding 4K optical performance and compatibility with the Super 35mm-equivalent format.
More information about the EOS C300 can be found here: http://cpn.canon-europe.com/content/product/cinema_eos/canon_eos_c300_c300pl.do
"The EOS C300 has received a fantastic response since it launched in November last year, and we're delighted it's been approved for use by the BBC," said Kieran Magee, Director of Professional Marketing at Canon Europe Ltd. "By utilising the expertise in our video, broadcast, DSLR and lens groups, we've created a unique product that offers exceptional creative scope for videographers of all kinds. Its quality and versatility make it ideal for a number of different shooting purposes, and we’re looking forward to seeing how the BBC puts it to use."
About the Canon EOS C300
A landmark model for Canon, the EOS C300 merges Canon's heritage in sensor and lens design to create a compact, versatile camera that offers exceptional image quality alongside the flexibility to shoot in a wide range of different situations.
The EOS C300 offers a first-class specification including a newly-designed Super 35mm-equivalent CMOS sensor with approximately 8.29 million effective pixels. MPEG-2 Full HD (MPEG2 422@HL compliant) compression and 50 Mbps recording rate allows videographers to record directly to two CF memory cards, while 4:2:2 colour sampling provides enhanced gradation and finer detail, as well as reducing jagged edges at chroma edges.
As part of the wider EOS System, the EOS C300 is immediately compatible with Canon's collection of over 60 EF lenses – providing videographers with an unrivalled range of creative options. Canon has also used its unrivalled heritage in lens design to create a new line of EF Cinema Lenses that are specifically designed for video use, each of which delivers outstanding 4K optical performance and compatibility with the Super 35mm-equivalent format.
More information about the EOS C300 can be found here: http://cpn.canon-europe.com/content/product/cinema_eos/canon_eos_c300_c300pl.do
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