Canon has unveiled an entirely new product group – Reference Displays – and its first product – the DP-V3010.
It is a 30-inch, 4K professional reference display for 4K production workflows, offering superb image quality and excellent operability. Intended for use in a grading suite, for editing, or on location.
Guide Price is £29,000 + vat. The product will be available from March 2014. Please let us know if you are interested.
Those of you looking to attend our Canon Cinema EOS Open Day will be pleased to hear that we will have TVLogic’s LUM-560W 4K monitor on hand to show off the outstanding resolution of the C500 and 1 DC!
If you want to see what you are in for with this massive monitor, check out the specs below.
|Resolution||3840 x 2160 (16 : 9, 1920 x 1080 x 4ch)|
|Pixel Pitch||0.324 mm|
|Color Depth||1.07 Bil. (True 10bit)|
|Viewing Angle (Typ.)||176°(H) / 176°(V)|
|Luminance (Max.)||450cd/m² (center)|
|Display Area||1244(H) x 700(V) mm|
|4 X DVI-I||DVI A/B/C/D Channel Input|
|4 X BNC||3G-SDI A/B/C/D Channel Input|
|4 X HDMI||HDMI A/B/C/D Channel Input|
|4 X BNC||SDI A/B/C/D Channel Output|
|4 x BNC||3G-SDI A/B/C/D Channel (Active Loop Through)|
|DVI||VESA / IBM Modes|
|HDMI||480i/480p/576i/576p/720p/1080i/1080p & VESA/IBM Modes|
|SDI Input Signal Format|
29.97sF/25sF/24sF/23.98sF) / 1080i (60/59.94/50)
|SMPTE-274M||1080i (60 / 59.94 / 50)|
|ITU-R BT.656||576i (50)|
|2K Format||2048 x 1080p (24/24sF/23.98/23.98sF)|
|HD-SDI ITU-R BT.1769||3840 x 2160@60Hz|
|Audio IN||Embedded Audio / Analog stereo (Phone Jack)|
|Audio OUT||Analog stereo (Phone Jack)|
|Power||AC 100~240V (50~60Hz)|
| Power Consumption
|Operating Temperature||0°C to 40°C (32°F to 104°F )|
|Storage Temperature||-20°C to 55°C (-4°F to 131°F )|
|Accessory||AC Power Cord / Stand|
…and it goes straight out the door again, but not before we could take this intriguing photo of the box it arrived in which we see here modeled wonderfully by the office Boba Fett.
The wonderful fellows over at PixiPixel are now the proud owners of this camera which will keep them shooting well into the future!
Canon’s Cinema EOS range represents the most comprehensive set of Super 35mm tools in the industry. We will have on demonstration:
The Cinema EOS Camcorders:
The ideal step-up from DSLR shooting and new to the range. Super 35mm sensor, AVCHD recording to SD card, XLR inputs, built-in ND filters…it’s the camcorder you wanted after your 5/7D.
Canon’s first Super 35mm video camera has become ubiquitous in the world of broadcast. Come and check it out with Canon’s Cine lens range.
Canon gave the C300 a shot of adrenaline and created the EOS C500: Capable of gobsmackingly gorgeous 4K output, 4:4:4 colour space and able to output 120FPS.
Keeping alive the DSLR form-factor that kickstarted this whole range, the EOS 1DC represents the future of stills/video crossover. As well as some of the best still image capture available on any DSLR, the 1DC is capable of 144mbps in 1080P and 4K recording in the form of Motion JPEG making it ideal for independent film production and photography.
4K Recording Solutions:
The C500 outputs 4K via 3G-SDI output, so you’ll need a 4K capable recorder to get the best from the camcorder. We will have a number of 4K external recorders on demo:
Canon and Prokit product experts will be on hand to answer your questions and refreshments are provided. The day is free to attend and runs from 10am-5pm. Register your attendance by emailing firstname.lastname@example.org or on www.prokit.co.uk .
IMPORTANT : We cannot offer on-site parking on the day.Please use the Moran Hotel on the corner of Power Road and Chiswick High Road. They charge £3 per hour; or use public transport.
Buses – 391, 267, 237, H91. Nearest tube – Gunnersbury on the District Line.
It’s been a busy time at Prokit these last couple of weeks but now it is time to talk about the coolest new products we saw at the IBC Exhibition in Amsterdam. Read on for the latest Canon camcorder and 4K capable external recorder news…
The DSLR Step Up: Canon C100
We have already written our reaction to the news of Canon’s C100 camcorder but IBC was our chance to get our hands on it. As you can see from the photo it looks similar to the C300 but significantly smaller. It’s designed for those stepping up from DSLR and the small size should come in handy for anyone still wanting a similar sized form factor. We can’t wait to get these into stock at the end of this year.
The 4K-ers: Canon C500 and Canon 1DC
I’m a little bit more in love with the C500 every time I see 4K footage from it. I was lucky enough to go a 4K screening of two movies shot with Canon 4K capable cameras at IBC. “Man and Beast” (Director: Dante Ariola, DoP: Jeff Cronenweth ASC) is the story of a man overcoming a boyhood stutter through talking to animals. I’d seen some of the movie without any sound at the NAB exhibition earlier this year on some 4K monitors and it looked very pretty good even then, so seeing it on a massive screen with a 4K projector was a chance to make an accurate assessment of the C500′s cinema credentials. The quality of the image from the 4K projection was stunning (the Vimeo link is sharp, but not 4K sharp of course) and the short is very well made. The C500 is very exciting and further down the page you can read about the recording options that will hit the market soon that get the best out of the C500.
Our Canon 4K adventure didn’t stop at the C500 screening. Also shown via the 4K projector was a short made on the upcoming Canon 1DC camera. “The Ticket” (Director: P Chan, DoP: Shane Hurlbut) is the first short made on the 1DC, and shot primarily with the 4K Motion JPEG compression. The short itself has much more in the style of other short movies you find on Vimeo (slightly wistful storyline/iris wide open for bokey light….you know the sort) but the quality of the 4K image was brilliant and didn’t look highly compressed at all.
I’ve grown excited by the 1DC. Previously I couldn’t figure out how it fit the Cinema EOS range, or even if anyone would be into the DSLR form factor anymore now that well priced alternatives exist. Having seen the 4K, found out that the HDMI output is uncompressed and that the HD recorded on board can lay down at 140mbps, I’m a convert. It’s my 30th birthday next month: I’d like a Canon 1DC please.
External Recorder Options for the Canon C500
Recording 4K ProRes
AJA are following up the popular Ki Pro Mini ProRes recorder with a 4K capable version that will be ideal for the Canon C500. Although the Ki Pro Quad is not capable of recording 4K RAW from the C500, it can record a 10bit 4K resolution file in Pro Res. Combine that 4K ProRes with the flat Canon C-Log profile on the C500 and you’ll have footage in phenomenal 4K resolution with huge dynamic range.
RAW Recording from the C500
If you want the widest dynamic range and highest bitrate from the C500, then you’ll want to record RAW onto a RAW capable recorder. The Convergent Design Gemini RAW is the most compact solution for this, offering 4K RAW recording from the Canon C500 and 2K RAW from the Arri Alexa. It is due early 2013. Another option is the latest Codex Onboard S Recorder, which will handle the RAW stream from the Canon C500 on a removable SSD capture drive.
New Canon Cine and Prime Zoom Lenses
So you’ve got your Canon Cinema EOS C100/300/500/1DC. Now you need some glass for them! IBC this year displayed not only the already-announced Prime Lens kit (which Prokit have just taken stock of for demonstration) but some new primes (a 14mm and a 135mm prototype) and also two new T2.8 constant aperture zooms. The 15.5-47mm T2.8 is an ideal short zoom and the 30m-105mm T2.8 is the slightly longer, less wide option. Just like the whole Canon Cine Lens range they have been designed for 4K production, hold focus through the zooming range and are beautifully made.
Canon 4K Monitor Display and our December 6th Canon Cinema EOS Open Day….
Have you ever seen a 30”4K resolution monitor? If you haven’t then try to see these from Canon. We saw them briefly at NAB and then again at IBC…they are just beautiful. The photo above does not do it justice!
You’ll be able to see a selection of the above products during a Canon Cinema EOS open day here at Prokit on Thursday 6th December. More information on the full line up closer to the date!
Today’s blog by Stuart Dennis
Welcome to the first of our post-NAB reports! We saw so much it’s hard to know where to start, but we may as well start with the product type that got the most attention: The small matter of new cameras…
The Large Sensor Camcorders
In the large-sensor arena, this year’s NAB saw the genesis of low-cost 4K acquisition in the shape of new models from Sony and Canon, and the curious 2.5K resolution debut of Blackmagic’s Cinema Camera. Let’s deal with these one by one…
Sony’s latest large sensor camcorder has been designed around the body chassis, layout and lens mount of their FS100 model, but the similarity really ends there: The internal specifications of FS700 make this a different beast altogether.
First of all we have totally new sensor capable of delivering 4K resolution via the 3G-SDI output when using an external recorder. The 4K output will not be active straight away, and will become usable with a future firmware upgrade. Although there is potentially a 4K recorder coming from Sony in the future, this NAB saw the launch of some third-party 4K capable external recorders which I shall cover in more detail next week.
So if 4K for the FS700 is a “future” capability, then what of the specifications on release? Well, as you may have read in previous blogs, the FS700 is set apart from closely priced rivals by its unique framerate capabilities. To quote the marketing blurb from Sony: “The camcorder delivers Full-HD quality images at 120 and 240 frames per second in an 8 or 16 seconds burst mode respectively. The NEX-FS700’s high sensitivity and low noise shooting capability makes super slow motion shooting more convenient without additional equipment. 480 fps and 960 fps rates at reduced resolution are available for faster frame rate recording.”
We saw some slow motion footage of the Bellagio fountains in Las Vegas shot by Alister Chapman, which you can see for yourself by clicking here. The YouTube footage doesn’t really do it justice: We saw it on Full HD OLED monitors on the Sony stand and it looked brilliant. There really isn’t another camera even remotely in this price range that has this kind of capability when it comes to frame rates and scalable resolution. Another nice touch is the inclusion of ND filters built into the front of the camera. Yes, that does mean increased girth at the lens mount end but it’s worth it if it means being able to knock down light at the flick of a switch.
All sounding good? Well, it gets better because the handgrip incorporates a zoom rocker. We all know what that means: Sony are planning a motorised servo zoom lens, meaning that the FS700 isn’t just for prime lenses and other fast optics. With the addition of a zoom controlled by the rocker, you’ll be able to use the camcorder in much the same way as a standard small sensor camcorder but with all the added benefits of the FS700’s impressive specification and capabilities (great low light performance, high framerates etc).
All in all the FS700 excites us. It’s scalable in terms of resolution, offers unique features at an excellent price and the eventual introduction of a powered zoom lens make it a great all round camcorder that will be ideal for accomplishing both cinematic and televisual aesthetics. And we’re taking pre-orders now…
Canon’s follow up to the wildly popular C300 gets their 4K ball rolling in a similar way to the Sony FS700 by equipping the camcorder with a sensor capable of 4K and a 3G-SDI output that will send out the 4K stream. So – like the Sony – no 4K on board but instead you’ll able to get that huge resolution onto the imminent range of 4K capable external recorders.
The C500 differs to the C300 in other ways as well. The 3G-SDI output will be capable of 10bit output, allowing you to go to recorder capable of that bit depth and technically extending the limits of what is possible in the post production grading process. Moreover, on-board you’ll be able to record up to 120FPS, making it a powerful slow-motion camcorder that will likely be broadcast legal due to the 50MBPS bitrate. In a necessary chassis design change from the C300, the C500 foregoes the side grip found on the C300 in order to make space for what looks like a heat sync/vent. One imagines that when in 4K mode, it gets a little hotter inside than its 8 bit/1080P relation.
Just like the C300, the camera will be available in the choice of EOS or PL mount. We’d love to know what you guys would put on the front: Would you be inclined to use feature and commercial level PL glass on a camera capable of such a resolution? Or would you stick it out using EOS glass from your DSLR days? It’s an interesting question, and we’d like to know your answers.
So enough of the tech talk on the Canon C500, onto what the footage looked like…
We saw a demonstration film played on Canon’s insanely impressive 30” 4K monitor (yes, I did say 30” and 4K in the same sentence) and put simply: It was quite beautiful. It probably helped that it had clearly been shot by a very talented crew, but what was striking was how sharp and “filmic” it was. I’m not normally one for the occasionally vague language employed by some of the online production community, and I would never say “filmic” unless I was attempting to convey the textural quality of celluloid itself, but in this case I can’t really find another adjective that really nails the feel of the C500 footage. Even then, it wasn’t so much texture on its own in a tactile sense, but more the way it interacted with the movement, colour and latitude around it. It was a type of aesthetic I hadn’t seen since I first looked at a Red R3D file with the RedSpace setting switched on: Full of detail, colour and punch, but without ever feeling like the OLPF-compensated sharpness of other camcorder footage. Of course, a demo real made to look brilliant through talented crew, high level grading and then displayed on a 4K monitor was always going to look great, but even if you’ve taken all that into account and the hairs on your neck still stand up…then surely you’ve just seen something that is just a little bit special.
The camera will be arriving sometime in the last quarter of this year. I can’t wait.
Blackmagic Cinema Camera
At a broadcast exhibition, always expect the unexpected. The unexpected can come in various forms: At last year’s IBC exhibition in Amsterdam, a man in a gorilla costume demonstrating a very strange piece of camera suspension kit casually sped past me with the aid of rollerblades. This year at I saw a middle-aged businessman singing “My Way” at a dedicated Karaoke tent (yes, really) outside the North hall. His audience? Nobody in particular, just exhibition attendee’s walking past.
Of course, the unexpected can also come in the form of a new product…
This year’s unexpected product was the Blackmagic Cinema Camera, which judging by its pricing, ergonomics and capabilities is directly aimed at the DSLR filmmaking community.
It’s intriguing, curious, it looks seriously weird…but boy could it be a neat little B-camera if it does what the specification says. We’ve blogged this already but I’ll run the important specs past you one more time: a 16mm (or ½”) sized sensor/EOS lens mount/touch screen interface/big range of recording options including uncompressed, Avid DNX and Pro Res/records to removable SSD drives. And the cost? About £2,000.
I have seen no footage to wax lyrical about like the aforementioned Sony and Canon cameras, and my experience so far has been limited to peering at this strange, silver, miniature monolith through the glass cabinet you can see in the picture above (which, in a way is kind of apt: the camera looks a little like a science project or an experiment). It essentially feels like a recorder with a sensor and lens mount installed, and of course the 16mm sized sensor will mean a 2x crop over 35mm. Still, the planned capabilities are impressive, and it will be interesting to see a company more famed for converters and recorders make their debut in the world of large sensor camcorders.
The camera is due for release in June.
The Small Sensor Camcorders
Sony expanded their range of small sensor camcorders with the introduction of two new models. They are actually covered in detail in a previous blog which you can read here. Suffice to say we saw them in action on the (enormous) Sony stand and they both look good.
The first model is the NXR-NX30, which is a like a cross between the MC50 and NX70. That means small and neat, recording onto internal memory or onto SD card in the NXCAM format.
The second model is the 50MBPS recording PMW-100 camcorder, which uses SxS cards. Think of this as a 1/3” sensor sidekick to the larger, shoulder mounted PDW-500 camcorder.
Pumping bass. A racing car. Lots and lots of people. It could only be the Go Pro stand.
Last year GoPro acquired a company called Cineform, who create RAW codecs for high end recorders. It may have seemed an odd choice for an up and coming point-of-view camera company primarily concerned with extreme sports, but our visit to the Go Pro at NAB 2012 pushed a little logic our way and now we get it.
The result of the partnership is threefold: An upcoming flat/LOG picture profile to get the most dynamic range possible out the GoPro 2, the ability to shoot at a datarate of 35mbps (just under double the existing data rate) and their new “Protune Software” (basic version is free, fully spec version you need to pay for) which allows manipulation of footage, application of simple LUTs and some 3D manipulation when having shot stereoscopically.
The introduction of a higher data rate and flat picture profiles will make the GoPro 2 a more flexible and powerful tool than it already is, and make it easier to match the footage from the diminutive shooter to other high end camcorders.
So folks, that all for today. This week we’ll have blogs on camera grip, lighting and the latest on external recorders.
Today’s blog by Stuart Dennis
If last week’s Sony 4K announcement didn’t quite satisfy your appetite for higher-resolution-than-HD imaging then worry no more, because today Canon have also crashed the 4K party with the announcement of two very exciting and powerful new models.
Canon EOS C500
The first is a 4K update of the C300, called a C500 and essentially a 4K version of the aforementioned Super 35mm shooter. Here are the preliminary specs:
The Canon C500 is clearly designed to be a high resolution tool for top-end acquisition, and will be duking it out with the likes of the Red Scarlet, Red One MX , Sony FS700 and F65 in the world of 4K. No word on pricing yet but we can safely guess that it will be more than its older HD brother, the C300. Be aware that just like the Sony FS700, 4K recording is likely to be via the 3G-SDI and onto an external recorder (not supplied) and the onboard recording is likely to be HD resolution.
Canon EOS 1DC
The second camera announcement is a 4K recording, Full Frame sensor, DSLR-shaped camera called the EOS 1DC. The camera will record 4K onboard using the motion JPEG format, and looks a lot like the Canon 1DS, which also has a full frame sensor. In video mode the camera records in and image size equivalent APS-H, which is larger than Super 35mm (although presumably not as large as full frame).
Obviously these are all preliminary specifications, and when more info is available we will have a more comprehensive idea of the specific camera functions. Hopefully we will see both of these camcorders at the NAB Exhibition next week!
Scheduled release date and RRP for EOS-C500: Q4 2012 – £16,666 + VAT
Scheduled release date and RRP for EOS 1-DC: Q4 2012 – £8,333 + VAT
Please be aware that as these prices are tentative and are subject to change.
Today’s blog by Stuart Dennis
It’s been an exciting few months for cutting edge camera technology. So far this year we’ve seen the launches of the Canon C300, the Canon 5D Mark 3 and also JVC’s entry into 4K imaging. It was about time Sony reacted, and reacted they have…
This coming NAB Exhibition will see three new – and very different- professional camcorders from Sony.
Sony NEX-FS700E Super 35mm Camcorder
The model that steals the headlines is the NEX-FS700E, which looks and sounds like a future-proofed update to the NEX-FS100, and to all intents and purposes it is an FS100 with the helpful and sensible addition of in-built Neutral Density filters. Using the same body chassis as the FS100, this camcorder packs a Super 35mm sensor behind a familiar E-mount and records AVCHD to SD-HC card. So far, so similar to the NEX-FS100. But the next two features set this apart from its predecessor and indeed the competition:
Getting 4K from this camcorder will have large benefits: you’ll be able to shoot for cinema, have the option of cropping into shots if you’re going for a 1080P/2K finish, and get ultra clean chromakey shots thanks to this heightened resolution to name a few. However this 4K recording will not be on board the camera, and will instead be via the 3G-SDI output and onto an external recorder. Both output and recorder options will be added after the planned release of the camcorder in late June this year.
Now, there will be a bit of a resolution compromise for those ultra-high framerates, and right at the top end they are really “burst modes” (ie you only get it for a very short period) but still, Sony are neatly filling a gap here: quality high-speed filming at a low cost.
The estimated price of this camcorder will be around £7,000 for a body only and £7,600 with a 18-200mm E-Mount lens. Add to this that Birger Engineering’s long awaited Canon EF adapter is launching at NAB in two weeks, and the large sensor camcorder world just got a whole lot sharper.
Sony PMW-100 Compact Solid State Camcorder
Canon have had 50 megabits 422 single-chip shooters for nearly two years now in the form of the XF100 and XF105. In Sony’s world, 50 megabits has either meant spending £20K on the shoulder mount PDW models or adding a third party recorder onto their sub £10K range camcorders to record beyond the on-board datarates.
However, Sony have sensibly seen the high data rate light and will be debuting the PMW-100 compact camcorder at the NAB Exhibition. Here are the main features:
Preliminary pricing looks to be just over £3,000. This camcorder will be ideal for events and corporate videography. Moreover the high data rate and colour compression will make it ideal for chromakey work. No word yet on some of the more specific features: Hopefully a “world” camera? Hopefully the familiar Sony menu system from their professional range? Hopefully uses an existing battery system? Make it happen, Sony.
Sony NXR-NX30E UItra Compact NXCAM Camcorder
Is the diminutive size of the Sony HXR-NX70 still too large for you? Want something even smaller, still supplied with professional level XLR inputs but with the added bonus of an in-built projector? If you answered yes to all of the above then the upcoming NXR-NX30E is for you.
This looks to be the smallest professional level camcorder we have seen. It uses the NXCAM format and looks absolutely tiny. Pro level XLR inputs allow you to use real shotgun and radio microphones, and the inclusion of a projector means you can review your rushes whilst on location/in a hotel room/with your clients. At Prokit we got to have sneak peak of this projector technology in its prototype stage last year and it really is very impressive!
Pricing looks to be a little over £2,000. We still can’t quite get over how small this camcorder looks: let’s hope professional features haven’t been sacrificed in the same way Canon did with the XA10!
So there you go guys. Three new Sony models: One is a biggie in terms of capabilities and potential, one fills a high bitrate gap in the Sony entry-level range and the other is a pro level travel camcorder. We’ll be checking these out at NAB in two weeks and we’ll be keeping you updated with our impressions of the new Sony’s, as well as responding to Canon’s upcoming “EOS 4K” announcement, and the hot new products from other camcorder manufacturers. Sony have set a precedent with these new announcements…it will be fascinating to see how the competition responds.
Today’s blog by Stuart Dennis