Video Cameras – The DIT Spot

Published June 29, 2012 by John Burkhart

Sony FS700 Test Footage

The Sony reps came by yesterday to let us check out the new FS700 NXCAM, and another local vendor came with a new set of Leica Summilux-C Cinema lenses, so it seemed like a great opportunity to grab some test footage!

First of all, this is not a review, as we only were able to have the camera in house for a few hours, but more of a first impressions of the Sony NEX FS700. It’s a bit larger than the FS100, but has the same basic form factor. The main handling differences are the large ring with the built in ND filters at the front, and the re-positioning of the XLR inputs to the side. The big news is of course that it is 4K “ready” and does some pretty impressive slow-motion.

Blog Production Video Cameras

fs700 NEX Sony

Published June 21, 2012 by John Burkhart

Broadcast Asia 2012

I just came back from Broadcast Asia 2012, and had a great time. Like I alluded to in my last post, because of it’s intimate nature, I was able to walk right up and have a demo of the new Blackmagic Design Cinema Camera, get a one on one with Avid, attend the Zacuto 2012 shootout, try out an F65, and cap it off with a nice dinner from Cine-Equipment. I also saw the latest gear from Canon, Panasonic, Sony, Sound Devices, Go-Pro, Assimilate, etc., all in the same day.

The state of the film and video tech industry in 2012? Book it. Done. And my feet didn’t even get sore. I wish more trade shows were like this.

Avid Blog DaVinci Resolve Industry Post Production Southeast Asia Video Cameras

avid blackmagic broadcast asia

Published April 18, 2011 by John Burkhart

“Game of Thrones” shot on Arri Alexa

http://www.youtube.com/watch?v=TZImzzPaXew When geekiness collides. It’s no secret that I’m a huge video and film geek, it’s also no real secret that I’m a huge fantasy geek as well. This one…

Production Video Cameras

Alexa Arri Game of Thrones George RR Martin

Published April 14, 2011 by John Burkhart

NAB 2011- Panasonic AG-HPX250

With all the hoopla surrounding “full frame” camcorders this year, it’s easy to forget that smaller chips have their benefits too, we just take them for granted. Certainly in terms of resolution, the smaller 3-chip models still beat the socks off their DSLR competition, and frankly you often want deep DOF in your shots. Panasonic stepped up to the plate to announce their newest 3 CMOS 1/3″ camcorder, the AG-HPX250. This is the latest model in Panasonic’s legendary P2 stable.

It records to AVCHD Intra 4:2:2 10 bit, which is the only good implementation of AVCHD as far as I’m concerned. It also records in DVCPRO HD, DVCPRO, and even DV. I really appreciate that Panasonic keeps bringing it’s legacy codecs to its newer models. It makes me as an owner feel more secure that if I invest in a new technology, Panasonic won’t end-of-life it in a few years leaving me high and dry. Say I bought an expensive DVCPROHD deck back in the tape days, I could still use it natively with this new camera for backups. Speaking of which, the media is still P2 cards, which you may have lying around from when you first bought an HVX-200 in 2006. 10 out of 10 for compatibility.

Video Cameras

HPX-250 Panasonic

Published April 7, 2011 by John Burkhart

What’s SUP with Arri Alexa V3.1

Yesterday, Arri updated their Alexa Software Upgrade Packet (SUP) to version 3.1. On top of a very impressive 3.0 update, that included much needed improvements such as video clip playback and audio recording, version 3.1 adds just a bit on top:

Support for ALEXA and ALEXA Plus
Support for yellow and white radios
Support for the Remote Control Unit RCU-4
Recording to two SxS PRO cards simultaneously

Video Cameras

Alexa Arri

Published April 4, 2011 by John Burkhart

Standalone Video Recorders: “Corders”

Standalone Video Recorders are quickly emerging as an exciting new category of video accessory. The reason for this is obvious, there’s an artificial hole in the market. The optics, signal processors, and image sensors of consumer and industrial level camcorders have reached the “good enough” stage for professional production. So how does an electronics company maintain the value of it’s high-end broadcast cameras? Cripple the recording format to barely acceptable, and save the “good codecs” for your higher end units. Also make sure the high end codecs you do use are proprietary and incompatible with other manufacturers models.

Production Video Cameras

corders standalone video recorders

Published April 1, 2011 by John Burkhart

An Hour with the Sony NEX-FS100U

Got to spend only an hour or so with the Sony NEX-FS100U yesterday, thanks to our friends at Expandore. So this isn’t a full review, just a quick look I got in between meetings. My first impressions are actually pretty favorable. If you’ve used an EX-1 or EX-3, this functions pretty much the same, and there will be no real learning curve.

First off, the construction of the camera was actually very good. Sure it was no Arri or Leica like tank, but it felt exactly the same as our EX-1’s in terms of build, solid and serviceable. So if you’re happy with the construction of those cameras, you’ll be happy with the FS100U.

The LCD was nice, and crisp, and can be placed for any viewing angle except under the camera. The included viewfinder was a bit ungainly, but worked well once it was set and locked, in case you’re out in the bright sunshine.

Video Cameras

AVCHD FS100U NEX Sony

Published March 24, 2011 by John Burkhart

Shooting for Computers Instead of Humans

Which one of these pictures looks better? Actually it’s kind of a trick question, if you’re a viewer, you think the one on the bottom. If you’re computer or a colorist you’s pick the one on the top. This footage was shot on an Arri Alexa, in LogC on the top, and corrected for Rec. 709 (HDTV) at the bottom.

Post Video Cameras

Alexa Arri color correction

Published March 21, 2011 by John Burkhart

AVCHD is NOT AN ACQUISITION CODEC!!!

OK. I get the love for the Canon 5DmkII, I understand that sometimes artistic expression DEMANDS that only the one eye of your talent is in focus, while the entire rest of the frame consists of that rich, creamy, frothy, bokeh that we all know is the real reason we shoot movies in the first place.

I understand that the Panasonic AG AF-100 will allow you to use ALL THE LENSES IN THE WORLD to make your web masterpiece, when those loser Hollywood types are limited to shooting their films with just a handful of primes.

I comprehend the need to shoot your 8 hour documentary on yarn twisting on a Sony Handycam, so the intimidating size of a real camera won’t scare the old ladies.

BUT IN 2011 THERE IS NO REASON TO USE AVCHD AS AN ACQUISITION CODEC!

Industry Post Rant Video Cameras

AVCHD codec rant

Published March 20, 2011 by John Burkhart

Canon XF105: a Low Cost 3D Revolution

Canon’s pint-sized XF105 could very well be THE revolutionary camcorder for 3D enthusiasts.

I went to a Canon camcorder event yesterday, to take a look at possible replacements for our aging DVX102’s. After taking a look an Canon’s full XF lineup, there was an interesting presentation by Ian Wee of Widescreen Media (I always learn something new about 3D listening to that guy) about using two XF105’s in a 3D rig.

Watching a film is all about willing suspension of disbelief, that the illusion of motion depth and sound on the screen is real. 3D is a very difficult art to pull off, and if its not done technically perfect, it breaks the illusion, and snaps us out of the movie.

There are three main features that Canon included in this camera that make it primed for 3D illusion making.

Gear Video Cameras

3D Canon XF105

Category: <span>Video Cameras</span>