I’ve uploaded a few sample clips shot on the FS-700 at the Sony booth to Vimeo. These were shot on the camera set and include a couple of slow motion clips. I have a load more clips, but I need to get these cleared before I can upload them.

I didn’t really get a lot of time to look around the show, but here are a few things of note from the show:

Sony FS-700, obviously a big hit and drew a big crowd. The 240fps full resolution recordings capability is very nice. There was also a lot of interest around the tiny NX30. The entire optical block, lens and sensor is mounted in a gimbal that helps stabilise camera shake. It really is like having a tiny stedicam inside the camera. The PMW-100 is a nice little camera, but with only one sensor, it doesn’t meet broadcast specs, so I’m not sure how well it will sell.

In a back room was one of Sony’s best kept secrets, although the camera was officially launched before NAB, the PDW-680. This is an interlace only version of the PDW-700 that uses the CMOS optical block from the PMW-350. It’s considerably cheaper than the PDW-700 and aimed fair and square at news organisations. The camera body is identical to that of the PDW-700 with the exception of an “EXMOR” badge on the side. The 680 will be available in the EU.

Atomos have a new version of the Ninja, the Ninja 2. This adds HDMI out a slightly higher resolution screen and some extra horsepower under the hood. The extra processing power makes it possible to add new firmware features and the ability to read timecode embedded in the HDMI stream. In addition the Ninja 2 will run the soon to be released AtomOS3.0 firmware which has some very nice features including the ability to add shot markers plus a number of monitoring upgrades. The new SmartMonitor mode includes useful features like Peaking, Zebra and false colour exposure measurement.

Both Convergent Design and AJA were showing 4K capable recorders. Hopefully Sony will get together with these guys when figuring out how they will output the 4k data from the FS-700.

Dolby had a good glasses free 3D TV prototype. There are still sweet spots where you need to be to see the 3D, but these were quite big and there was plenty of them. The images did look a little flatter than perhaps they would have done on a conventional 3D TV, but it’s still an interesting glimpse of what might come in the near future for 3D viewing. Staying on the subject of 3D, Dashwood Cinema Solutions have a new version of their popular 3D editing plugin. The new version has some very powerful new tools taken from the high end “stereo CAT” 3D analysis tool as well as on screen sliders that are superimposed over the actual image you are manipulating.

GenusTech were showing a preproduction shoulder rig that is completely different from anything you will have seen from Genus before. Aimed squarely at the super35mm market this is a very high quality shoulder mount with hand grips and integral Arri quick release plate.

Wow, Blackmagic does it again. I didn’t see this one coming but at a mere $2,995 USD for an HD camera with 13 stops of dynamic range, DNG RAW workflow or ProRes/DNxHD recording internally, it’s going to rock the boat quite a bit. On my list of things to see at the show in the week.

http://www.blackmagic-design.com/cinemacamera/

Got to play with a working Alphatron EVF last night. There are still a few bugs in the firmware to be ironed out, but boy oh boy, what an improvement over the Cineroid or Zacutto. If you think the viewfinder on an EX3 is good, wait till you look into one of these. The resolution is right up there, crisp clear images that can be focussed without the need for a ton of peaking. Longer review will follow.

I tried to like it and “get used” to the ergonomics, but the audio controls, lack of switches for gain and white balance plus the stepping iris controls was driving me nuts. I had hoped the C300 would be that one piece solution I was looking for, but when you consider that you have to add an external box (the viewfinder module) to get Audio controls and XLR in, for me at least it kind of defeats the object. I’m sticking to my F3 with an external recorder, which does not restrict me to 8 bit 50Mb/s. I just love 10 bit S-Log on to the Gemini or Samurai.

The C300 is a great camera, the pictures are very good, but it’s just too much like a DSLR for me, so it had to go.

No real surprises here. I think we all knew this would come. Apparently looks very much like the C300 but offers 4K resolution RAW output amongst other things. There is also a new DSLR with 4K capability, the EOS 1D C. This records 4k using jpeg compression at 8 bits, so much less interesting as far as I’m concerned. Remember resolution isn’t everything, the Arri Alexa is a fantastic example of that. Here’s the press release from Canon

EOS-1D C

 

The EOS-1D C is a unique product offering a package of features not comparable to any other product on the market.

 

Based on the powerful core specifications of the EOS-1D X, it incorporates additional features such as 4K recording and Full HD/60p support, alongside the option of high quality stills capture.

 

As part of the Cinema EOS range, it’s also compatible with the complete range of EF and Cinema Lenses, offering video professionals exceptional flexibility.

 

Key Headlines:

 

• Internal 4K (4,096 x 2,160) recording with 4:2:2 colour sampling – direct to CF cards
• 8-bit Motion JPEG compression
• ISO sensitivity up to 25,600
• Clean HDMI out (Full HD, 4:2:2)
• Canon Log Gamma
• 24p support during 4K shooting
• 24, 25, 30, 50 and 60p frame rate support in Full HD (1920x1080p) resolution
• Full-frame sensor with crop support (APS-H, Super 35mm)

 

All other specifications are the same as the EOS-1D X.

 

 

EOS C500

 

Targeting both the motion picture and high resolution digital production industries, the EOS C500 will offer 4K RAW output and will be available with Canon’s EF mount and the industry-standard PL mount.

 

In November 2011 Canon announced the EOS C300 – the first camera in the Cinema EOS System, marking the company’s entry into the motion-picture and digital production market. Highly acclaimed by video professionals since launch, the EOS C300 offers exceptional video quality performance, outstanding mobility, durability and expandability, thanks to its modular design and its compatibility with Canon’s range of EF and EF Cinema Lenses. The EOS C500/EOS C500 PL will be based on the same advanced platform, adding support for 4K RAW video capture, and 4:4:4 sampling during 2K capture.

 

Supporting next-generation 4K-resolution video capture and RAW data output, the EOS C500/EOS C500 PL will achieve exceptional video results without any loss in quality. The camera’s uncompressed 4K output will unleash the full potential of Canon’s premium range of EF Cinema Lenses, combining with Canon Log Gamma, which delivers the high-quality video and wide exposure latitude required by digital cinematographers.

 

Furthermore, 12-bit RGB 4:4:4 signal during 2K (2,048 x 1,080 pixels) video output will deliver rich colour and high compatibility with image processes such as chroma key compositing. Support for frame rates up to 120p in both 4K and 2K resolution will provide enhanced creative flexibility, enabling high-speed (slow motion) video capture in high resolution.

 

A development prototype of the EOS C500 digital cinema camera will be on display at NAB 2012, one of the world’s largest events for the video, broadcasting equipment and digital media industries. NAB 2012 will take place from April 16-19 in Las Vegas, USA.

 

Cine lenses

 

The new lenses will join Canon’s existing line-up of high-end EF Cinema Lenses in forming the core of the Cinema EOS system, which spans lens, digital cinema camera and DSLR categories.

 

In addition to compatibility with industry-standard Super 35 mm-equivalent cameras, the four cinema zoom lenses will also offer superior flexibility. Each lens will feature a compact, lightweight body supporting a wide focal range, making them ideal for handheld shooting. Combined with the Canon’s existing high-end EF Cinema primes, the new lenses will offer a greater variety of creative possibilities for video professionals of all types.

 

Prime Lenses

CN-E15.5-47mm T2.8 L S (EF)

CN-E15.5-47mm T2.8 L SP (PL)

 

Telephoto cinema zoom lenses

CN-E30-105mm T2.8 L S (EF)

CN-E30-105mm T2.8 L SP (PL).

 

Prototypes of the new cinema zoom lenses will be on display at NAB 2012, one of the world’s largest events for the video, broadcasting equipment and digital media industries. NAB 2012 will take place from April 16 to 19 in Las Vegas, USA.

I’m doing some 45 min presentations on the fundamentals of working with S-Log at NAB on the Sony Booth. The presentation covers: What is S-log, how does it work, how do I expose, record and grade it. I’m on the 35mm stage at 4.30 on Monday and 9.30 on Tuesday and Wednesday. You can also watch excerpts from my “Night of Wonders” video of the Northern Light in the Sony 4K theater.