Atomos Announces Shogun Inferno

What is hotter then a flame? An INFERNO! Hot on the heels of Atomos shipping the new Flame series recorders they have now announced a new top-of-the-line Inferno. The Inferno appears to be similar to the Shogun Flame in most ways but the Inferno is capable of recording 4K up to 60p, HD up to 240p, and it will allow for for RAW input, and features quad SDI connectors.

As seen in the new Atomos Shogun Flame and Atomos Ninja Flame HDR is now a killer feature when shooting in flat or log profiles Atomos have introduced the AtomHDR image processing to capture with the high brightness range of your camera’s Log profile while maintaining vibrant true-to-life colors. The 10-bit monitor expands the colour range to over 1 billion colours, giving a near true reproduction, and the 1500nit brightness allows for easy monitoring of wide dynamic range scenes or in bright sunlight conditions. The Shogun Inferno will be $1,995.

 Shogun Inferno

Atomos Announced New “Flame” -Series Monitor/Recorders

Today Atomos has announced the new “Flame” -series of monitor/recorders. The Flame series sets itself apart featuring 1500 nits, 10 stops of dynamic range, and 10-bit color. From Atomos: “The Atomos Flame Series delivers the world’s most advanced 7” field monitor, delivering the luminance detail of Log with HDR Post Production color accuracy for the first time in a field monitor. The AtomHDR engine not only resolves HDR brightness detail, with 10-bit monitor processing it also resolves 64 times more color information than traditional 8-bit panels. For Rec709 standard dynamic range scenes the 1500nits brightness aids with outdoor shooting as does the upgraded power management system that will keep you shooting longer in the field. Of course you also get the professional 4K/HD ProRes/DNxHR Recording, Playback and Editing that has made Atomos famous.”

These appear to be essentially new versions of the existing Shogun and Assassin monitor/recorders but with new hi-brite displays. Atomos has a unit called the Shogun Flame which is selling for $1,695. They also have a model called the Ninja Flame (should it be the Ninja Assassin Flame? Is that too much?) selling for $1,295.

Flame 2

Atomos Shoguns Are Now Shipping

I have great news. We’ve received our first batch of Atomos Shogun 7” monitor and 4K video recorders. This has been a very hotly anticipated product. It offers 4K recording via HDMI and 1080p recording up to 120 frames per second. It is a naturally perfect match for the Sony A7s as well as the Panasonic GH4.

My first wave of pre-order customers already have theirs in there hands. I have a few more pre-orders to fill and then I’ll have them on the shelf ready for sale or rental. Post by Eric C. Petrie

Shogun first batch

Canon EOS C100 Hot Deals

The Canon EOS C100 digital cinema camera has been our best selling camera recently. It has an unmatched combination of image quality, features, design, and price. Another reason it has been so popular has been the great deals we keep offering. And we’re not about to stop.

C100+Atomos Ninja Kit: $1,285 discount

A popular choice for C100 owners has been to pair it with the Atomos Ninja products. Thus upgrading their camera from AVCHD recording to ProRes 422 10-bit files. This unlocks the full potential of the C-Log dynamic range. Now, when you buy a C100 with the 24-105 f/4 lens, we’re going to give you a Ninja 2 recorder for $300. Plus we’re including a FREE Sandisk 240GB SSD and a FREE articulating mounting arm. And we’ll take $500 off the camera. This package would normally be $7,084 but with our $1,285 discount its now only $5,799. To recap, you get C100-DAF body, 24-105 f/4 L lens, Ninja 2 ProRes recorder, Sandisk 240GB SSD, articulating mount arm all for $5,799.

Other C100 Packages

C100-DAF Body only, normally $5,499, now $4,999

C100-DAF w/ 24-105 f/4 L lens kit, normally $5,999, now $5,499

C100-DAF 3-lens kit w/ 16-35, 24-70, 70-200, All f/2.8 All L-series lens kit, normally $9,999, now $9,499

Financing Options

We are currently offering 36 month 1.9% financing. Here’s a breakdown of the C100 options when financed.

C100+24-105 lens+Ninja kit $166 a month

C100 body only $143 a month

C100+24-105 lens $157 a month

C100+3 lens kit $272 a month

C100

Buy the Sony A7s From Us & Get the Best Price

Even though we like DSLRs and we know a lot of our customers use them we don’t normally sell a lot of DSLR equipment. This is typically because most DSLRs are sold through their respective companies consumer photo divisions, not through their broadcast and industrial divisions. It’s harder then you would think to get two different divisions with in Panasonic or Sony to talk to each other.

Luckily, Sony had the foresight to know that the A7s was being targeted at a more niche group, mostly of professional video acquisition people. Sony has partnered with their CineAlta dealers and has requested that we distribute this camera as part of their CineAlta line. And if you’ve ever played with the camera you would know why. The A7s features S-Log2 dynamic range, 120fps over-crank, XAVC-s 50mbps codec, and a photo-size Full Frame sensor. These are incredibly powerful tools, most of which you would typically find in a true professional camcorder.

We have the A7s in-stock today. We sell the Sony A7s and a lot of the higher end Sony lenses in both the E & A-mount series. We’re very familiar with the advanced video features and deep video menus in this camera because their so similar to what we know from the FS700. And we know the 4K workflow. We’ll be selling the Atomos Shogun 4K recorder that has been designed specifically with this camera in mind. We’ve been working with 4K ProRes capture for years now, beginning with the Canon C500+AJA Ki-Pro Quad. We have a demo model of the A7s. Come on in and try it out.

Other then our knowledge and experience why else would you buy a Sony A7s from us? We also sell the Atomos Shogun and Odyssey 7Q 4K recorders We’re familiar with how they will work together and we always guarantee the best price on these 4K recorders.

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Sony A7s: Now Taking Pre-Orders

We are extremely excited to announce that we will be selling the forthcoming Sony A7s 4K photo-full-frame SLR-type camera. This is a very exciting new camera that, while technically not an SLR, features a full frame sensor capable of extreme low light capture. The camera has a max ISO in video mode of 409,600. That number is crazy big. To put it in perspective thats about 5x more sensitive then the class-leading Canon EOS C100. Sony has custom designed this sensor to offer premium video quality at 4K resolution. Because it is only a 12 mega pixel sensor it has virtually no aliasing effect when shooting in 4K. The relative low pixel count (compared to many 24+ mega pixels DSLRs) and the sensors large surface area allow all the photo sites to be bigger. Thus it is more sensitive in low light and picks up more detail on every pixel.

The A7s does not record 4K internally. Rather, it has already been shown featuring the Atomos Shogun 4K HDMI recorder. Atomos and Sony partnered early in the development process so that these tools would fit together naturally. The A7s also features an optional XLR module that can provide 2-channel balanced phantom power audio with hard gain control.

We are currently taking pre-orders for the A7s and the Atomos Shogun. The A7s will sell for $2,498 body only. The Atomos Shogun will sell for $1,989. To pre order with us give us a call at 503-780-6293 or send us an email at epetrie@provideoandtape.com . It’s also worth noting that we will not only be caring the A7s but also the full line of pro Sony A-series and E-series SLR bodies and lenses.

Post by Eric C. Petrie

A7s

Shogun

NAB ’14 Camera Recap: What Did We Really Get

The annual NAB show has come and gone. It was a good year for cameras and it also saw the spreading of some interesting trends:

Dockable Cameras: What’s old is new again. The two piece camera concept, something big up through the late 90’s, is back. We saw two piece, head-dock combo cameras from Blackmagic Design with the URSA and from Panasonic with the new VariCam system. We’ll see if these dock systems catch on with more manufacturers and more models and if these docks actually pay off with the flexibility the makers claim 

High Speed: We’re starting to get to a point where 60p is just expected in a professional camera. But we’re also introducing the concept that to make a “high speed” camera you don’t have to be Phantom creating thousands of frames per second. Most users are very excited about 120 or 240. For a lot of camera makers frame rates in this range are now becoming very tangible specifications. AJA, Panasonic, Sony, and even JVC all showed cameras that could reach the 120 threshold.

ProRes & Other Beefy 10-Bit Codecs: ProRes is starting to become the closest thing the video industry has ever had to a high end “universal standard” codec. Blackmagic, AJA, and even Sony and Panasonic all showed ProRes recording cameras. And we have more options for ProRes external records then ever, thanks to AJA and Atomos. Beyond ProRes the theme was 10-bit. XAVC and AVC-Ultra where shown off on many new models, all recording in 10-bit. In some cases the compression schemes have become so good we can get a 10-bit signal out of a 25mbps package. RAW recording is starting to become more readily available, though i wouldn’t quite call it a “common” feature yet.

Super35mm: Large sensor “cinema” cameras have been the growing trend for the last 3-4 NAB shows. This year the ratio of cameras that specifically use the Super35mm standard compared to smaller sensors was the biggest it’s ever been. Panasonic, AJA, Blackmagic Design, JVC, and Sony all showed new cameras that make use of this format. There were very few cameras shown with smaller traditional broadcast 1/3” or 2/3” sensors.

Shoulder Mount/ Improved Ergonomics: Generally speaking there weren’t too many cameras that required kitting out shown this year. There was a very pleasant uptake in ready to go cameras. The Blackmagic URSA, The AJA CION, the new VariCams, and the new JVC all use shoulder mount designs. Sony’s even gone to the lengths of improving the F5 & F55 shoulder mount. Those cameras are already shoulder-mountable, and always have been. But now they’ve gone totally ENG with a new control layout and new features via a docking sled. JVC even showed an economically designed hand-held camera with a large Super35mm sensor. For some reason that’s a concept that hasn’t really been that prevalent before.

Post by Eric C. Petrie

NAB

Atomos Introduces Ninja Star Ultra-Small ProRes Recorder

Atomos has announced a very interesting product that they’re calling the Ninja Star (why not the Shuriken?). It’s a tiny little recorder box that records 1080p ProRes to a CFast card from and HDMI source. And it’s selling for only $295. Thats crazy small and crazy cheap. There’s no screen and it doesn’t really have a lot of adjustable settings but the application for this device is logical. All you have to do is look at the picture below. Ninja Star starts shipping in about 6 weeks. Post by Eric C. Petrie

Star DJI

What is ProRes?

More and more we’re starting to see ProRes popping up as an acquisition format. The codec has had popularity from 3rd parties like AJA, Blackmagic Design, and Atomos for a few years now. But then we started seeing it natively in cameras from the likes of Arri and Blackmagic. Now even the big old digital camera brands, Sony and Panasonic, have started adding it into their cameras. So what exactly is ProRes and why is it in everything.

ProRes is a format that was invented by Apple. It debuted in 2007 with Final Cut Pro 6. At the time Final Cut was starting to gain some very serious headway into ultra high end post production. But there was one glaring issue: no mastering format of their own. The big intermediate codecs of the day were Avid DNx and CineForm. Apple decided they need to have their own solution. Hence ProRes was born. ProRes is an all Intra-Frame, minimum 10-bit, minimum 4:2:2 codec. But then a funny thing started happening. Camera manufacturers started using more internal compression to compensate for the large amounts of data that H.D. created. We started getting these really great cameras at very reasonable prices but they used low quality internal recording codecs. Companies like Panasonic and Sony wanted to protect their high-end cameras by reserving their best formats for the higher-end market.

Enter AJA with the Ki-Pro. The Ki-Pro recorded ProRes to SSDs from an HD-SDI input. The original Ki-Pro was designed more as a studio ProRes deck. Something to put into a rack or an edit desk. But AJA had the idea to market it as a mobile device as well. People loved the idea but weren’t thrilled about the form factor. Next came the Ki-Pro Mini. The Mini was perfectly designed to mount onto the back of a tape-based camera and instantly turn it into a non-linear tapeless ProRes camera. Then the products starting popping out more. Blackmagic Design, Atomos, and others began putting their own spin on mobile ProRes recording. Both Avid and Adobe began to support it natively. At this time  Atomos released their first recorder in 2011. Around the same time Arri began shipping the Alexa camera with internal ProRes recording. The Alexa set a new standard for 1080p digital cinema cameras. And it showed the benefits of recording in a ready-to-edit format as appose to RED and their everything-RAW approach. Soon ProRes was synonymous with high quality codec. Blackmagic Design released several cameras with internal ProRes recording. If you purchased a Canon Cinema EOS camera there was a good change you hooked an external ProRes recorder to it. And now we have Panasonic putting ProRes in their new 4K VairCam and Sony, after 2 years of pressure, putting ProRes into the F5 & F55 cinema cameras.

There are several flavors of ProRes. As previously mentioned all ProRes formats are Intra-Frame and all are a minimum of 10-bit 4:2:2. ProRes Proxy is 35mbps, 4:2:2, 10-bit, Intra-Frame. ProRes LT is a 100mbps 4:2:2, 10-bit, Intra-Frame format. ProRes is runs at 150mbps, 4:2:2, 10-bit, Intra-Frame. ProRes HQ delivers 220mbps, 4:2:2, 10-bit, Intra-Frame. Finally ProRes 4444 is a 330mbps, 4:4:4, 12-bit, Intra-Frame codec. All of these bit rates are based on 30 frame per second recording. If you were to record 60 frames per second you would need to double the mbps. ProRes HQ and ProRes 4444 are capable of recording 4K resolution. If you were to shoot in 4K you would multiply these data rates by a factor of 4x. There fore, at 4K ProRes HQ, 4:2:2, 10-bit, Intra-Frame, would run around 900mbps. And PreRes 4444 at 4K,  4:4:4, 12-bit, Intra-Frame, would be over 1200mbps. These are crazy-high data rates that really just show that ProRes as near limitless. Between ProRes’ limitless nature, high image quality, and extremely consistent cross platform behavior it’s no wonder we’re seeing larger adoption then ever before. It’s the closest thing to a universal high-end video format there has ever been. Post by Eric C. Petrie

Prores header

Atomos Announces Shogun: Worlds First HDMI 4K Recorder

We all knew it had to be right around the corner. And here it is. Atomos has just announced an amazing field recorder, the Shogun. Shogun marks Atomos’ first 4K field recorder unit. Like their Samurai series of products Shogun has a 7” monitor for full composition assist functionality. Shogun offers 12G SDI input and HDMI 2.0, both offering single cable 4K input. It allows for inputting 1080p signals up to 120 frames per second. Video is encoded into ProRes 4K in a 10-bit 4:2:2 format. It can also record Cinema DNG RAW files over the SDI This would run about 600mbps. This is the obvious and logical companion to the Panasonic GH4 and the Sony A7s cameras. From the Sony A7s you would get 8-bit 4:2:2 strait out of the cameras native HDMI. From the Panasonic you could take 10-bit 4:2:2 out of the built-in HDMI or, with the Panasonic docking expansion model, you could take RAW 4:4:4 out of the SDI output. This niftily little device is expect to cost less then $2,000. The unit is expected to ship by the summer. Post by Eric C. Petrie

Atomos Shogun NAB 2014 Sony Mount 660x440