Sony Announces Firmware Updates for Fs5, RAW Coming Soon

The Sony Fs5 has received a new free firmware 2.0 update. One of the key features is an auto Neutral Density filter function changes the strength of the electronically controlled variable N.D. filter. This is an excellent use of Sony’s amazing new electronic N.D. By adjusting the N.D. the user is allowed to adjust exposure without affecting aperture, shutter speed, or gain values. This translates to all elements of the image such as depth of field, motion blur, and noise, being unchanged while simultaneously adjusting exposure values of the image. Other additions include expanded zebra functions as well as GPS capability.

Ever since the camera was announced Sony has alluded to the coming capability of RAW recording. For those who wish to record RAW with the FS5 you must acquire the newly announced RAW upgrade option for 600 dollars, model number CBKZ-FS5RIF. This then allows, though the 3G-SDI connector, continuous output of DCI 4K 60p and up to 240p RAW in 1080p. If you have right recorder you can then record 12-bit RAW video or you can also choose to convert this to Apple ProRes for recording. This workflow has proved popular with FS7 users who pair the camera with the Convergent Design Odyssey 7Q+. Unlike the FS7 however, the FS5 has an extra trick. It can also record DCI 4K at up to 120 fps for up to 4 second bursts. It does this by using the internal cache recording function of the camera. The images are buffered in camera and then played out of the 3G-SDI port at a regular frame rate for recording, once image capture has finished. This system will be familiar to anyone who has the FS-Raw option on the FS700 which features the same ability. Both the free and the paid firmware updates will be available in June.

FS5 kit

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

See the Entire Panasonic VariCam35 Introduction Presentation

I am the only Panasonic VariCam35 dealer in the Northwestern United States. I’m very excited that Panasonic is back attacking high end production needs. And they’re not just playing “me too”. They’ve brought a product that justifies the price tag.

Panasonic’s full presentations from the recent Digital Cinema Society’s “Meet the VariCam 35” event are now available on DCS’s web site.

Speakers at the event, held last month at Panavision World Headquarters in Los Angeles, included cinematographer and Digital Cinema Society president James Mathers, Doug Leighton of Panasonic, Michael Cioni of Light Iron, Sarah Priestnall of Codex Digital, and special guest Theo Van de Sande, ASC, who recently shot a pilot for Amazon with the VariCam 35 and gave his initial impressions of the camera.

The VariCam 35’s image handling in multiple formats ranging from pristine 4K RAW to more practical 4K, UHD, 2K, HD and ProRes capture formats make it a useful tool for high-end filmmaking, commercials and episodic production as well as live 4K events. The camera/recorder is equipped with a Super 35mm MOS image sensor and offers a choice of codecs — Panasonic’s AVC-ULTRA family and Apple ProRes 4:4:4:4 and ProRes HQ. It offers 14 stops of dynamic range and native ISOs of 800 and 5000, and other non-native ISOS that can be set in-camera.

The full presentation has been broken up into sections. View the all the sections here.


Canon EOS C100 Mark II Arriving Soon

Canon recently announced the EOS C100mkII. This updated version of the most popular cinema camera in the world is getting ready to start shipping off of my shelves in less then 3 weeks. Visit our on-line store to pre-order your C100mkII now. While the C100mkII does offer some great new features compared to the original there are still some important considerations when debating between the two cameras. There’s considerable money savings to be had with the original C100 packages. I’ve priced my C100 kits very aggressively, thanks to some fantastic bundle discounts from Canon. These bundles aren’t available with the new model. Take a look at the some of the savings:

The C100 with the 24-105 f/4 L lens has a full value of $6648. Kit discount is $1149, end price is $5499.

C100 triple lens kit with three L-series lenses has a full value of $11,596. Kit discount is $2100, end price is $9499

The C100 Atoms Ninja kit has a full value of $7587. Kit discount is $1788, end price is $5799.

Compare these kits and the savings to the C100mkII and it’s body only price of $5499. These kits, especially the Atoms Ninja bundle, offer huge savings and a tremendous value. It’s always nice to have the newest toy on the shelf. Some of the C100mkII features might make a big difference to some products. 60p can be a critical feature, a larger viewfinder is a nice tool to have. But i strongly suggest weighing all the C100 options before assuming that the newest model is the right fit for you. Post by Eric C. Petrie

EOS C100mkII

Panasonic Starts Going in Depth With VariCam35: Dual Native ISO, Extreme Low Light

Recently Panasonic held an event at the Digital Cinema Society called “Meet the VariCam35”. Panasonic has posted a series of videos from this event. This particular video was brought to my attention by our friends at No Film In the video Michael Cioni explains the concept of “dual native ISO”, a feature of this newly developed sensor technology in the VariCam, and how it benefits the shooter in the form of extreme low light image quality and dynamic range. You can read the full No Film School article here. Check out the video series below.

JVC Debutes New 4K Cinema Camera, Shipping March

At NAB 2014 JVC showed two new Super35mm 4K camera prototypes under glass. These were concepts that were said to be shipping before the end of 2014. Now, at the end of 2014 JVC has officially debuted two 4K cameras… to begin shipping in early spring of 2015. And they’re not quite the same 4K cameras we saw at NAB.

First, we have the JVC GY-LS300. This is most similar to the NAB unit, then called the GY-LSX2. The design is a very compact ENG-style camera body, similar to a JVC GY-HM150. The camera uses a Super35mm CMOS sensor of JVC’s own design. It can record 4K internally in a h.264 (mpeg4/AVC4K type) format. It’s Long-GOP, 4:2:0, 8-bit, maximum 150mbps. This is very similar to the codec that the Panasonic GH4 or HC-X1000 use. The JVC camera maxes out at 30p in 4K. The camera can also shoot 1080p in a 4:2:2 50mbps mpeg2 (XDCam422-type) format, up to 60p. The LS300 will be selling for $4,450

The camera uses a Micro Four Thirds lens mount, but not a Micro Four Thirds sensor. The intention behind using a M4/3rds mount was to allow the use of the wide range of 3rd party adapters that are already on the market. Obviously adapting to EF-mout, PL-mount, or F-mount from M4/3rds is very easy.

The second camera is described as having the same “back half” as the LS300, but with a 1/2 1CMOS sensor and an integrated 12x powered servo zoom lens. The lens is equivalent to a 30-355mm f/1.2-3.5 zoom. The camera is called the GY-HM200. The HM200 is scheduled to ship late February, 2015. The HM200 will be selling for $2995.

There were two other cameras shown. JVC is producing a model called the GY-HM170. The HM170 appears to be virtually identical to the HM200 with a few exceptions. It lacks the dual channel XLR audio input and it lacks certain I.P. control and streaming features that the HM200 has. There is a $500 price difference, with the HM170 coming in at $2495. Finally, at NAB ’14 JVC showed a larger, shoulder mount cinema camera with a 4K Super35mm sensor. That prototype was still on display at the recent Japan IBEE show. Now word on when that would come to market but JVC suggested that it would have a more robust codec and be targeted at a higher end market.

Professional Video has been an authorized JVC dealer for nearly 25 years. I’m very excited about these new JVC cameras. I’m glad to see the brand remaining relevant in the market. It’s always nice to see other players besides the Canon/Sony usual suspects. I’m taking pre-orders for all the new JVC cameras now. Contact me for more information, 503-598-9142, .

Here’s the official JVC website for these new products. News has a brief interview with a JVC rep on the products.

Post by Eric C. Petrie

JVC w: Canon

GY-LS300 GY-LS300 GY-HM200 GY-LS300 JVC Prototype

Blackmagic Now Offers More PL Options

Blackmagic Design has made a minor announcement regarding their existing Cinema 2K and Production 4K digital cinema cameras. Both cameras are now available with native PL mounts on front. Originally the Cinema 2K was sold in electronic EF mount and passive M4/3 mount. The M4/3 could be adapted to PL via third party adapter. The Production 4K was only available with the active EF mount with no good PL options.

Well PL lens collection havers can relax. Now both cameras can be purchased with a native PL mount. You will pay $300 extra for the PL mount on the Cinema 2K camera. These will be shipping soon. For anyone with an existing camera that they want retrofitted we are selling Wooden Camera retrofitting for $1295.

BMD Lens Options

Wooden BMD Retrofit


Sony Adds Internal XAVC 4K Recording to F5

Several weeks a go an F5 owner discovered that it was fairly simple, from a technical standpoint, to reprogram the F5 to record internally in 4K, the same as the F55 can do strait out of the box. There were problems of course. Chiefly the camera couldn’t play back any of the 4K footage. And of course it voided the warranty.

The ease that this was accomplished lead many people to speculate that this was something Sony intended to unlock all along, it was just a matter of when. This theory does make sense. When the F5 was introduced 2+ years ago there was no high quality sub $20,000 4K cinema cameras. At this point though that is becoming more common. So Sony has decided to officially offer an XAVC 4K internal recording software key. This brings the F5 back to the front of the conversation of highest quality sub $20K cinema cameras.

Regardless of if you already own an F5 or if you plan on buying one new it will a $999 download key from Sony. This will be made available in December. The F5 body only sells for $16,490 so tacking on another $999 for the 4K still keeps the body well under $20K. There are several kits that package the F5 with viewfinder & shoulder pad options for right around $20k making this one of the highest quality bang-for-the-buck digital cinema cameras out there.

If you want to evaluate the Sony F5 contact us. We’ll put it in your hands. You can shoot some 4K XAVC and take the media back to your edit machine for a more detailed evaluation. And we GUARANTEE our price on the F5 will not be beat.

Sony F5 4K upgrade sheet


Odyssey 7Q Gains ProRes 422 at 4K Resolution

Earlier this year Convergent Design added the hotly requested ability to record 1080p in ProRes to their extremely popular Odyssey 7Q recorder. Previously it did RAW in 4K, 2K, or 1080p. But for people wanting 4K resolution full RAW was still the only option, resulting in massive file sizes. Now C.D. has officially announced they will be adding 4K ProRes capture to the Odyssey 7Q. This will provide a huge boost in flexibility to the Odyssey workflow. You’ll have the ability to have ready-to-edit 4K clips come strait off of the recorder and into your NLE.

The Convergent Design Odyssey 7Q has quickly become the go-to industry standard for portable high quality field recorder. We love to pair it with the Canon EOS C500 or the Sony FS700. Soon it will make a great companion for the forthcoming Sony FS7. Because its so light weight and double functions as a high quality LCD monitor it is very unobtrusive on the cameras footprint.

Odyssey 7Q +C500 PreRes.jpg


Sony Announces PXW-FS7 4K Cinema Camera

UPDATE: November 17th. We will be including a FREE Metabones Canon EF lens adapter with the purchase of the Sony FS7 cinema camera. Thats a $300 value, absolutely FREE.

We knew Sony had something special in store for us. Today we’ve seen what form that would take. Sony has officially shown the PXW-FS7 4K Super45mm XAVC CineAlta digital cinema camera.

What it is:

The FS7 sits between the FS700 and the F5 in Sony’s CineAlta lineup. It’s a compact light weight camera that is specifically designed to be as versatile as possible, fitting nicely into several markets. It will sell for $7,999 for the body. It features high speed shooting, internal 4K recording, and 12-bit RAW output for external recording. These specs certainly put it very closely in line with the F5. It features Sony’s E-mount lens system which is far easier to adapt to a wide variety of lenses then a PL or EF mount. It’s designed with a small shoulder rest under the body and a side mounted viewfinder but due to the compact nature of the camera it doesn’t have to be strictly shoulder mounted for off-tripod use. It also has a long extendable hand grip reminiscent of many film-style camera grips. It records to XQD cards in-camera.

The key specs:

The camera features an 8K Super35mm CMOS sensor. It has been loosely confirmed by Sony that it is the same sensor as the F5 and early image comparisons seem to indicate that it is the same. The camera will record 4K video in the XAVC format in-camera at 300mbps, 4:2:2, 10-bit I-frame specs. It can record internally at 4K up to 60fps. It can also record internal 1080p up to 180fps. The FS7 utilizes Sony S-Log3 picture parameters. It is powered by the BP-U series batteries utilized on Sony’s compact broadcast XDCam series cameras. There is also an expansion module available for $1,999. The module is a small block that clamps onto the back of the camera. It gives the camera a bit more of a true shoulder mount form-factor. When the module is attached the camera uses V-Lock style batteries. The module adds studio capability such as Gen-Lock and Timecode outputs. It also adds 12-bit RAW output for recording to a 4K external recorder like an Odyssey 7Q. The module also unlocks the ability to record ProRes 422 in-cameras. As with all announced Sony has announced ProRes on this is limited to 1080p, no 4K ProRes. Via the RAW output the camera will put out 240fps in 1080p.

Pre-order NOW:

The camera is expected to ship before the end of October. We are now officially taking pre-orders for it. We ask for a fully refundable 10% deposit to hold your place in our pre-order line. Please remember that we are a small company and that plays in your favor for pre-orders. While the big guys will get dozens and dozens, if not hundreds, of pre-orders, we won’t take more then a handful. That means when Sony starts shipping you’re more likely to get your camera earlier from us then the big box house.

More resources to check out:


Sony Broadcast USA’s official product announcement page

Sony Professional – IBC 2014 – New generation XDCAM Workflow solutions from Sony Professional on Vimeo.

FS7 w/ Expansion Module

FS7 Body w/ Top Handle & LCD FS7 w/ Servo Zoom













FS7 Expansion Module