You won’t be seeing or hearing much from Professional Video over the next couple of weeks. We’re going to be about 80% shut down from now till January 2nd. Between now and then we’ve got Christmas Eve and Day, New Year’s Eve and Day, and our office move. We’re staying in the same business complex we’ll just be in office L-11 now. For the next couple of weeks please contact Professional Video employees on their mobile phones. For Eric dial 503-780-6293, Doug 503-740-2198, Ray 503-810-3654, and Brad in Service & Installations 503-810-3642. We hope everyone has a pleasant and hopefully work-free holiday. Thank you for your continued business. We depend on you to keep our doors open and lights on.
Sony has announced another great firmware update for the cameras that just keep getting more and more features. The F5 & F55 are now on firmware version 3.0. There is a whole list of great features. Some of the big ones include user LUT’s, and look profiles 3D LUT, Center Scan mode for Super 16mm lenses, New log curve and color gamut (S-Log3/S-Gamut3), XAVC QFHD recording (3840 x 2160), MPEGHD 1280x720p recording, Slow and Quick motion on XAVC 4K, XAVC QFHD and Center Scan mode, User definable clip naming, AES/EBU audio input.
For full details and the download follow this link. Professional Video is the only full-line Sony CineAlta dealer in the Northwest United States. The full compliment of CineAlta will be on hand at the 2014 Cascade Mt. Video Show on February 26th. Sign up now. Post by Eric C. Petrie
Atomos today released a new version of their AtomOS for the Samurai Blade external HD-SDI recorder. Version 5.1 focusses on screen color adjustments with controls for Gamma, Y Lift and Y Gain. Canon Cinema EOS users will benefit from a new on screen C-Log color display. A single button push allows the user to toggle between Rec. 709 and C-Log color. Atomos Spyder color calibration support has also been added to AtomOS 5.1. The Blade is the world’s first portable recorder to feature on-set screen color calibration. Featuring calibration Matrix and 1D LUTs. Also added is D-tap mode which gives a visual indication of when the recorder is running on AC power. This stops constant checking between batteries which has reportedly caused mic clicks due to earth loops in some camera situations. Hit the link to download the firmware.
We’re almost 2 months away from the annual Cascade Mt. Video Show. It’s time to start the conversation and get people excited for it. The show is on February 26th, 2014 What is the Cascade Mt. Video Show? Where does it come from? Why does it keep coming back? Why should anyone care? Lets find out.
The Cascade Mt. Video show is an annual equipment trade show geared specifically for people working in professional, broadcast, and commercial video. Think of it as a tiny little NAB if that helps. There are typically over 25 manufactures that display their latest and greatest equipment. Some years there have been as many as 40 manufactures. Participants always include Canon, Panasonic, Sony, JVC, Fujinon, Zeiss, Blackmagic Design, and many more. It is a one-day only show that happens in late February. Typically about 400+ Northwest working video professionals attend. Some attendees have come from as far away as Boise and Alaska. For a lot of Northwest people this is much easier then making the trip to NAB but still allows them to make informed and educated decisions about how they’re going to spend their annual equipment budgets.
Besides equipment there are workshops, lectures, and seminars that run through out the day. These are often put on by manufactures but also will feature end-users of the equipment hosting discussions on what works for them and who they’ve been able to leverage technique and technology for success.
Where does it come from and why is it in Portland? The Cascade Mt. Video Show exists for one reason and one reason only: because we, Professional Video, create it. Every single manufacture that is at the show is there because we invited them. Every single workshop or lecture is there because we put it together. Shows like this are one of the single greatest values in having a local dealer. Customers are more educated about equipment these days then ever. With the ease of buying on-line a person might start to wonder “whats the point in local companies?”. We act as a go-between from the local Northwest user to the manufacturer like Sony or Canon. And it’s a two way street. Large companies like Sony or Canon simply don’t have enough feet on the ground to truly know the Northwest production community. Those large manufactures rely on local companies to help them keep a pulse on the people using their products.
How can you go to the show you as? Head on over to our Show page on our website and register. Admission to the show is free with your registration. You also get entered to win a GoPro camera kit. Please remember Professional Video created this show for you to benefit and make educated choices. Please support your local dealer. If you see a piece of gear at the show give us a chance to sell it to you. Our prices are the same as B&H, Sammy’s, and Abel. But those New York and Los Angeles companies don’t put on shows in Portland.
The Sony FS700 and the Canon C500 have something in common. They have both been on the market for a little while waiting to live up to their potential promise. Both cameras promise 4K and RAW acquisition. Yet both have remained a little bit of a mystery. Most customers have looked at these cameras and said, “4K isn’t for me right now.” The reasons’s given are usually cost, complexity of equipment, and the intense workflow process required to undertake such things. Those challenges are about to fade away.
Enter the Convergent Design Odyssey 7Q. This is a world class on camera monitor, complete with all the image analysis tools you would want, and it allows 4K and RAW recording from both cameras nearly as easily as plugging in a screen. Here’s how:
When combined with a C500 you have two recording options, 10-bit 1080p60 dpx files or Canon Cinema RAW 4K in Canon rmf files that can be processed with Canon RAW Utility. When combined with the Sony FS700 you can record 2K 12-bit RAW up to bursts of 240fps, or 4K 10-bit compressed up to 60fps, or 1080p60 in ether 10-bit 4:2:2 or 12-bit 4:4:4.
We have an Odyssey 7Q in-stock on the demo floor. Call us today. Check it out. Professional Video and tape is truly showing you the future first. Post by Eric C. Petrie
Our good friends at Communication Specialties have put together this infograph that goes over some of the basic, yet still widely misunderstood, need-to-know points about future video formats. Check out the graph for full details. Here are the basics.
4K is a capture format and UltraHD is a display format, both are 2160 pixies hight but “4K” has extra pixies on the width, 3840 vs. 4096. This is a similar relationship that we see between 1080p and 2K and between DV (720×480) and 4×3 displays (640×480).
30hz frame rate material requires a 6Gb/s connection and, naturally 60hz requires a 12Gb/s connection. HMDMI 2.0 supports 60hz material but the current HDMI 1.4, that most equipment on the market now is, has a limit of 30hz. To get 60hz from HD-SDI you need 2x 6Gb/s cables or 4x standard 3Gb/s cables.
Metabones has become widely known for their unique perspective changing lens adapters. They already introduced adapters for Micro 4/3 cameras like the GH3, but now they’ve created new F-mount (Nikon style) Speed Boosters designed specifically for the Blackmagic Cinema Camera and Blackmagic Pocket Cinema Camera that make lenses on those bodies even faster and wider, and give the Super 16mm Pocket essentially a Super 35mm sensor.
The new 0.64xBMCC Speed Booster reduces the full-frame crop factor of the BMD Cinema from 2.39x to 1.53x, thus effectively transforming it into a Super-35 format cine camera. In addition, the speed of any attached lens is increased by 1 & 1/3 stops.
The new 0.58xBMPCC Speed booster is made specifically for the Pocket camera. It reduces the full-frame equivalent crop factor to 1.75x, not quite Super-35 format viewing angle, but close. In addition, the speed of any attached lens is increased by 1 & 2/3 stops.
These adapters are made only for F-mount lenses at the moment, so it will be interesting if we get either standard Micro 4/3 or Blackmagic-specific Micro 4/3 adapters for Canon lenses at some point in the future. The issue with a Canon adapter is that those lenses need power to change the iris, and there is apparently some trouble making this work reliably from the Micro 4/3 mount (and a powered adapter would only work with the active Micro 4/3 Pocket). The biggest differences between these new Blackmagic Speed Boosters and the regular MFT Speed Booster is that the Metabones team was able to put the rear element farther back into the camera since there is no shutter on the video-only cameras (whereas there is one on cameras like GH2 or GH3). That’s what allows these adapters to make the image even wider than before.
This kind of performance does come at a price. While the generic MFT adapter is $430, these are going to be $490 when they ship sometime this month (though the Pocket may take a little longer). Contact Professional Video and get your orders in now. Post by Eric C. Petrie
The PBS documentary show POV recently conducted a survey of filmmakers regarding the equipment they use. The survey was conducted in September of 147 filmmakers. There are a few things to consider. Most of these documentaries would have been put into production in 2011 or 2012 with only some of them being shot in 2013. Digital cinema cameras like the Sony FS700, F5, and Canon C100 weren’t on the market when most of these were shot. Even the C300 would have only been on the market a short while and at a higher price point. It will be very interesting to see how these numbers shift over the next 12-18 moths. Here are some key points:
Cameras: Most popular single camera: Canon EOS C300, however if you combine 5DmkII and 5DmkIII then that becomes the most popular camera by a large margin.
Specialty Camera: nearly 1/3 of docs used a Canon consumer camcorder to get “discreet” footage.
Lenses: Since most people shot with Canon cameras most people used Canon lenses. However i thought it was interesting that the most common 3rd party option was Zeiss. At Professional Video we often preach the advantage of Zeiss all mechanical lenses.
Editing: Over 75% of editors used some form of Final Cut Pro, ether 7 or 10, in their post. Over 90% of post was done on a Mac.
Support: My personal favorite tripod, the Sachtler FSB8 with the carbon sticks, was also one of the most frequently used documentary tripods.
Buy or Rent: Nearly 85% of documentary filmmakers purchased their primary camera. A documentary can often mean many many hours of production at unusual schedules. Owning might have advantages when compared with commercial or narrative filmmaking.
Sony has announced that, in partnership with Professional Video, they will be continuing the Metabones EF adapter rebate. You with your purchase of an FS700 camera (now 4K ready) you’ll receive (via mail) an EF lens adapter that allows you to use Canon lenses that have an electronic iris. This adapter has a $400 value. One of the strengths of the E-mount that the FS700 employees is that it is very easily adapted to a wide range of lenses. Sony is leveraging that strength here by giving you a free gateway to the most extensive lens library out there, the Canon EF catalog. Right now the promotion is scheduled to run until the end of March. Post by Eric C. Petrie
Apple has announced a major update to Final Cut Pro X coinciding with release of the new Mac Pro. Version 10.1 enhances the softwares support with 4K among a host of other significant updates. The program is now optimized to work with the dual AMD FirePro graphics chips found in the new Mac Pro, increasing performance for playback and rendering. The 4K additions include titles, graphics and generators, as well as monitoring up to 4K via Thunderbolt 2 or HDMI on compatible devices. Here’s a full list of the updates found in 10.1
– Optimized playback and rendering using dual GPUs in the new Mac Pro :
– Video monitoring up to 4K via Thunderbolt 2 and HDMI on select Mac computers
– 4K content including titles, transitions, and generators
– Libraries allow you to gather multiple events and projects within a single bundle
– Easily open and close individual libraries to load just the material you need
– Option to import camera media to locations inside or outside of a library
– Automatically back up libraries to a user-specified drive or network location
– Project Snapshots let you quickly capture the project state for fast versioning
– Audio fade handles on individual audio channels in the timeline
– Add precise retime speeds by entering them numerically in the timeline
– Non-rippling retime option
– One step Replace and retime
– Custom project frame sizes
– Through edits displayed on all clip types
– Join Through Edit command removes bladed cuts to clips in the timeline
– Detach audio with Multicam clips in the timeline to manipulate audio and video separately
– Make video- or audio-only edits into the timeline with Multicam Clips as sources
– Blade and move audio in J- and L-cuts
– Ability to roll audio with J- and L-cut splits open
– Option to hide the Event browser to gain more screen space for viewing
– Native support for .MTS and .MT2S files from AVCHD cameras
– Used media indicators on source clips
– Improved performance with large projects
– Improved performance when modifying or adding keywords to many clips at once
– Easily move, copy, and paste multiple keyframes
– Option for the linear animation with Ken Burns effect
– Improved image stabilization with InertiaCam and Tripod mode
– Import photos from iOS devices
– Proxy and playback quality controls accessible in Viewer menu
– Support for portrait/landscape metadata in still images
– Effects parameters, fonts, and text size included in XML metadata
– Improved support for growing media and edit while ingest
– API for custom Share operations using third-party software
– FxPlug 3 with custom plug-in interfaces and dual-GPU support
– Share directly to YouTube at 4K resolution
Final Cut Pro 10 has been on the market for over two and a half years now. It’s been updated over 10 times in that span. Final Cut Pro remains a very popular choice amongst professional editors, particularly one-man-band operations.