Massive codec upgrade for Sony's PMW-300 and PMW-400

A surprise upgrade for Sony's shoulder-mount ENG cameras means they can record HD with the same quality as visually lossless ProRes

www.redsharknews.com/production/item/1719-massive-codec-upgrade-for-sony-s-pmw-300-and-pmw-400

Hands on with Panasonic 4k Varicam 35

The Varicams don't feel too heavy. I would say they are slightly heavier than a Sony F55 with a R5 recorder attached. The B4 mount Varicam HS version felt nicely balanced on the shoulder when coupled with a broadcast ENG lens. With a lot of the new breed of cameras, the lens feels too close to you when it's on your shoulder, but the Panasonic felt like it was in the right spot. It really did remind me of using a traditional ENG camera in terms of its handling.

www.newsshooter.com/2014/05/29/exclusive-matt-allard-goes-hands-on-with-the-new-panasonic-4k-varicam-35

The evolving review of the Panasonic GH4

The evolving review of the Panasonic GH4

Normally I would steer clear of in camera effects that burn in adjustments because in other cameras this was never a good idea and would result in image deterioration. But this does not seem to be the way with the GH4. Have a look at the short video below shot with screen overlays via the Atomos Ninja Blade for an idea of the results.

I wanted to see what in camera colour profiling would be like on the GH4. For this test I put the Luminance Level to 16-235 opposed to the higher 16-255. Mostly because I want a simple path of handing on files to production without wording about Luminance clipping.

Starting at Cinelike V I reduced the sharpness to -5 to take the edge away from the USM style in camera sharpening. I also but the Noise Reduction to -5 to remove the plastic mush that can occur in the images. I set the Saturation to -5 and +1 on Hue for personal preference.

http://philipbloom.net/2014/05/12/gh4/

Arri Alexa vs. Canon C500 Camera Tests | Hurlbut Visuals

In this corner, weighing 13.7 lbs. and a height of 13 inches and boasting 2.8K imagery, The Arri Alexa!!!!!
In the other corner, weighing 6 lbs. and a height of 7 inches displaying 4K capture, TheCanon C500!!!!

When we started prep on Need for Speed, the Director Scott Waugh wanted me to do an extensive camera test of all of the possible players on the market so that we could find the visual voice of Need for Speed. This was a daunting task to pull off. Zacuto had done the Great Camera shootout. I loved the in-depth tests that the experienced cinematographers had put them through. However, when you are going for a specific look, these tests need to be done internally so that you can personally see which camera sensor responds best with the specific way that you expose.

http://www.hurlbutvisuals.com/blog/2013/10/arri-alexa-vs-canon-c500/

New Rokinon 12mm T2.2 Cine Lens for Canon EF-M Mounts | Video & Filmmaker magazineVideo & Filmmaker magazine

The Rokinon 12mm T2.2 Cine Lens for Canon EF-M Mount is a wide-angle lens optimized for digital cinematography. The lens produces an image circle that will cover APS-C sized sensors or smaller. For use with a follow focus unit, the focus and aperture rings feature industry-standard 0.8 pitch gearing. The aperture ring is also de-clicked to allow for smooth iris pulls while shooting. Focus, aperture, and depth of field markings are on the side of the lens to aid focus pullers, who typically operates on the side of the camera.

http://videoandfilmmaker.com/wp/index.php/new-gear/new-rokinon-12mm-t2-2-cine-lens-canon-ef-m-mounts/

News Shooter | Would you recommend the Panasonic Lumix GH4? – Sky News cameraman Andy Portch gives his perspective

The Panasonic GH2 was genius. I loved the little camera; amazing video quality, great gamma options, superbly positioned controls, neat fit in your hand. The Micro four thirds sensor perfect for news with access to shallow or deep depth as required from a super compact camera body and lenses. I shotoutstanding stories with this little gem.

The GH3 was ghastly; unusable viewfinder, awful video with jittering and stair-stepping. Hard to use controls and layout. I tested it through prototype to production, but didn't buy it.

Now with the GH4 the goodness is back. It shares the GH3 zero body styling and slightly tricky controls, but everything else in the GH4 has massively improved. Without doubt the video quality is exceptional. The EVF is clear and sharp (monochrome if desired) without the edge smear that marred the GH3. Manual focus peaking works well with different colours and levels available. Selectable zebra at percentages you choose. Synchro scan shutter adjustment eliminates flicker shooting computer screens. Timecode has familiar options to my broadcast camera. There is a huge range of Gamma mode and curve settings, codec choices up to 4K and a terrific Lumix menu.

www.newsshooter.com/2014/05/08/would-you-recommend-the-panasonic-lumix-gh4-sky-news-cameraman-andy-portch-gives-his-perspective

TVTechnology: Choppers v. Drones for ENG

At the same time, it costs anywhere from $600,000 to $1 million a year to maintain, fuel, man (two pilots) and fly a chopper on an as-needed basis, at a time when TV stations are cutting news staff to save money.

"In contrast, a news drone can cost as little as $3,500," said Ian Hannah, owner and operator of Avrobotics, a Toronto-based aerial footage company that flies video drones within stringent Canadian aviation regulations.

www.tvtechnology.com/news/0086/choppers-v-drones-for-eng/270052