Local Northwest filmmakers Ryan Walters and Tim Park have started a new website aimed at sharing their 20+ years of filmmaking experience. You may have seen some of Ryan’s own blog work reposted on popular video industry websites such as No Film School.com and Creative Planet. Now the duo is bringing you Indie Cinema Academy.com .
Indie Cinema Academy delivers in depth camera & lighting training for anyone who desires a cinematic look for their projects. Ryan & Tim share the tricks of the trade that they’ve accumulated in their work on feature films, national commercials, and corporate videos. They have designed the curriculum to ensure that the training is applicable & accessible to all levels of production.
Indie Cinema Academy’s website contains a deep array of lessons and articles that take the form of video features or text instructions. Some of this content is completely free to the general public. To take your education further a minimal fee is requested of ether $119 or $149 (depending on what features you want) for 12 months of access.
Professional Video is a huge believer in the idea that education is key to bringing creativity to its full potential. We know that by properly educating a customer on a piece of equipment the customer can then make the right gear-buying decision for themselves. And that is applicable on high-end equipment and entry level. Because of this belief in education we have partnered with Indie Cinema Academy to help spread the knowledge base a little further. Take a look at what Indie Cinema Academy had to offer. Sign up today and take your knowledge to the next level.
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.
We have begun receiving our first Blackmagic Design URSA cameras. Unfortunately at this point we still haven’t had a chance to go fully hands-on with one yet. Hopefully we’ll have a demo model soon. If you are interested in seeing this camera please call us at 503-598-9142 or email email@example.com. Although it’s still early we’re quoting people about 2-4 weeks for delivery if you place your order right now. Of course Sony has recently announced the FS7 which appears to be positioned to steal a bit of the URSA’s thunder. It’s also a semi-shoulder mount camera that shoots 4K natively in-camera. It can record 4K RAW externally, the URSA can do so internally. The Sony has up to 240fps recording. The URSA has a 10 inch screen. 10 inches!
We have very exciting news. Over the last year Freefly has revolutionized the camera stabilization world with the MoVI series of products. Since then many competitors have jumped up and said “me too”. While the quality of the competition has ranged greatly they have been able to offer prices that are significantly cheaper then the MoVI products.
Although MoVI remains the clear leader for professional cinema production quality gimbal systems they know that it has become tough to justify being 2-3x more expensive then the alternatives. We’re extremely pleased to announce that Freefly has lowered the prices on the MoVI products. The MoVI M5 is now selling for $3,959. The MoVI M10 is now selling for $7,929. And the MoVI M15 is selling for $11,895.
Professional Video continues to be the Northwest leader for MoVI products. We are the only dealer in the region and we offer complementary training for all customers who purchase MoVI products. We also have an M10 demo model that you can put your hands on. Contact us to pre-arrange your demonstration. The rig does take a little bit of time to set up so we always like to have it arranged ahead of time. And finally we always encourage people to do evaluation rentals. You can take the M10 out for test spin on your own shoot and use it in your circumstances with your gear. After your test we’ll credit 100% of your rental to a potential purchase.
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.
At IBC AJA has shown the first footage from the CION camera. The footage was shot in 4K and has not been color graded. Image analysis is part scientific and part subjective. The subjective part of me likes what i see. It looks very pleasing and full of detail. View the clip in 1080p below. There’s also a clip from the IBC floor where an AJA rep shares a little more detail. We are taking CION pre-orders right now with a fully refundable deposit of $900. As a reward for your pre-order we are including $250 of store credit that you can use towards any purchase.
Sony has announced a December release for firmware version 5.0 for the PMW-F5 & F55 cameras. This is mostly a compatibility firmware updates. It brings compatibility with CBK-55BK “ENG Dock” device. You also need 5.0 installed in order to use the F5 4K unlock key. Firmware 5.0 will also be needed if you chose to install the upcoming codec board CBK-55PD. This board adds ProRes & DNxHD.
The new codec board adds several flavors of ProRes & DNxHD. Once the board is installed you will be able to record in-camera to the SxS card in ProRes HQ 422 10-bit, ProRes 422 10-bit, DNxHD 10-bit and DNxHD 8-bit. All of these codecs will be in 1920×1080 resolution. There is a planned firmware updates schedule for mid-2015 to add ProRes 444 12-bit, still in 1920×1080.
These codecs will add to the already very robust options these cameras offer. This includes XAVC 422 10-bit, HDCam SR 444 10-bit. XDCam 422, and RAW 16-bit.
All said, Sony has truly made good on their promise with the F5 & F55 that more features would continue to come down the pipe. The cameras haven’t been “outdated” even though they’ve been on the market for over 2 years now. By adding codecs, resolutions, frame rates and other features Sony keeps these cameras very relevant at their given price points. Compared to other manufacturers who simply slash the price of their old hardware with outdated features as a form of “adding value”. Schedule your F5 demo now. We absolutely GUARANTEE our CineAlta prices will not be beat, ever.
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.
The struggle to get ENG-style lens flexibility on large sensor cameras came about as soon as people started shooting video on 5DmkII cameras. Traditional video shooters who shot before the large sensor revolution were very used to having huge magnification ratios. Video lenses with a 14x, 27x, or even 22x were common. These lenses also featured very bright apertures, usually holding near f/2.2 through the full zoom range. The feature that completed the package was powered servo motors with pressure sensitive rocker control. Usually the zoom, focus, and iris could all me motor controlled. Typically these were very precise motors that could go from a super slow crawl zoom to a turbo snap zoom just with the flick of the pressure rocker. These lenses were taken for granted as just being part of shooting video.
Most large sensor shooters use photo lenses. These lenses have zoom ratios of 2x, 3x, 4x, often have floating apertures as bad as f/6.3, and have no powered zoom. Lenses that combine the best of both worlds do exist but they are very expensive. Cine servo zooms from Fujinon, Canon, Zeiss, and more usually start around $35,000. Sony has attempted to provide low cost alternatives in the past. Previously the took their 18-200mm photo zoom and attached a small powered motor to the bottom of that. The results were less then impressive. The less drops to f/6.3 very quickly as you zoom and the motor has two speeds, slow and less slow. You can’t get a beautiful crawl nor can you get a snap zoom.
Sony’s taking another stab. This time they’re introducing a lens designed from the ground up to fit this niche. It is a 28-135mm f/4 constant zoom lens with powered zoom, focus, and iris. It has image stabilization and autofocus. It is an E-mount lens that will cover up to photo full frame sensor size. That means you could actually attach this to nearly any E-mount camera including the A7s. Since the lens has it’s own zoom nob on the side the camera itself doesn’t have to offer a rocker (though that is preferable). Only getting one in hand will let us know how the glass and motors actually perform. Sony says the lens will have 8-level variable speed control so that should help compared to the earlier attempts. The lens will be sold in a kit with the new FS7 camera or stand alone for about $2,500. It should ship before the end of 2014.
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.
Along with the exciting new FS7 cinema camera Sony has shown the XDCA-FS7 expansion module. This is a small box that mounts directly to the back of the camera. This box provides a few upgrades to the FS7. First, it changes the nature of the power supply of the camera from the Sony BP-U style compact batteries to full size V-Lock batteries. The dock also adds several industrial connections such as Timecode I/O, Genlock, and 4-pin XLR power. Additionally it is via this box that the camera gains the ability to output RAW 12-bit 4K up to 60fps or 2K up to 240fps. Finally the box contains a ProRes encoding board that gives the camera the ability to capture ProRes422 internally to the XQD card. The XDCA-FS7 will be selling for $1,999. It will be a must-have addition for many FS7 owners.