By David Hague   Thu, Feb 09, 2012

This year’s show, held in the Exhibition Centre in Yokohama was much smaller than I – and many of my peers – expected. Nonetheless, all the big guns were there such as Sony, Canon, Nikon, Olympus and their like, but sadly there was nothing glaringly new in the way of dedicated video cameras that I could see anyway.

Having said that though, there was enough gadgetry and ‘stuff’ to keep even the most hardened videographer happy. If you ignored the “booth babes”, many dressed in the ubiquitous school uniform (and it was hard to I admit; I have to say there are many very attractive Japanese women in Tokyo/Yokohama), some gems came to light.

A showstopper was the tele lenses from a company with the wonderful name of Borg.  A new entry to the scene, these guys make bespoke lenses with all the necessary extension tubes and adaptors to nail onto a range of cameras and camcorders. I had a Sony NEDX 20 with me, and adding one of these lenses was a hoot!

The one I chose was about 18” long, and once added, you could fill the frame of the viewfinder with a full stop from a sign 10 metres away! Depth of field is shot, but the sharpness is epic to say the least. Other samples they had there were bolted a range of cameras from an Olympus E5 to a Q.

For around AUD$800? For shooting astronomy these would be tops. And motor sport (or any sport). There are no plans for Australian distribution at this point sadly.

Get the idea though? 4/3rds was BIG at the show (and the most popular was the new Olympus OMD with a wait time of 30 minutes + to get a hands on). All three of my travelling companions were dribbling at the mouth at the site of this little beauty, and it seemed the only decision was which colour to get!

Retro was big here with leather cases and other re-jigged accessories being the norm.

Other favourite was the Cokin stand. Regular Auscam readers will know of my penchant for the French company, and they had a monstrous range of filters on hand from the very sensible and usable to the extreme kitch. It’s lucky that the exhibitors were not allowed to sell off their stands I can tell you.

But I cannot let go without mentioning that as Nikon were my hosts for the trip – and damn fine ones at that (and it isn’t over yet with a visit by bullet train to Sendai tomorrow for a factory tour for the newly released D4) another star of the show was the D800 / 800E from Nikon.

This has been designed with video in mind, and as soon as I have had a physical play, I’ll give my initial findings and thoughts. A full review will be carried out by two of Auscam’s finest who have far more experience than me as soon as we can get review units. The same applies to the Canon 1D, which we had a quick play with at the show and was, photographically at least, mind numbing I am told by better people than me.

Earlier in the week we had been treated by a briefing from Nikon boffins as to the new range for this year and Nikon has certainly upped the ante with a swag if new compacts, the D4 and the aforementioned D800 series.

This space is going to be the next major battleground for video as well as still photography if the show is any indication, and the Big Boys are very serious indeed about getting supremacy.

Will the likes of Sony, Panasonic fight back with their traditional camcorders? Well Sony probably needs to enter the dSLR video fray with the alpha series to keep some presence and this could compromise their traditional camcorders and of course the NEX series. Panasonic is probably the best placed having dropped their LUMIX dSLRs a few years back and the other major, JVC ‘seems’ to be a bit of turmoil of late – at least in Australia with their new masters, Kenwood, seemingly not really that interested from the reaction I have received from them and what my peers also confirm.

Samsung could be a dark horse here; they are taking Apple on head-to-head and they are not noted for shyness. Their recent ranges of camcorders and cameras have not been particularly inspired, but they appear to be keeping their cards close to their chest.

We live in interesting times. I have two more days in Japan, and as I glean more, I’ll let you know!

I also have a bunch of video and will edit these and post them as soon as I can. There is some interesting stuff! And some funny things too.

(By the way, if you have never indulged in Japanese food – genuine stuff – you don’t know what you are missing. It is delicious)

By David Hague   Sun, Jan 29, 2012

Go to our review of the Kaiser Baas car camera (and see the video) at http://auscamonline.com/issue/july-2011/article/review-kaiser-baas-carcamera and then follow the link there to enter.

How easy is that?

By David Hague   Mon, Jan 23, 2012

Auscam magazine knows the need for schools and training organisations to keep down costs. So we have decided that it is only fair that we allow access to the very best writers, reviewers and other associated scribes who specialise in video, audio and production to help you out!

If your organisation does any training in video or other video production - from schools, to government bodies, or anyone else for that matter - contact us to apply for a free 12 edition subscription to Auscam magazine, and we'll get you on board to get the very best as Australia's ONLY video camera and production based magazine and website.

Simply email david@auscamonline.com and tell us your story. We'll do the rest!

Oh and tell your friends and colleagues as we'd love to help them too!

For any queries, call me, David Hague (Publisher and Editor) on 0413 632286

(And you'll still be in the draws for the VG007 monitor for your school or organisation from our friends at GDB International!)

By David Hague   Sun, Jan 22, 2012

Keyboards are a very difficult thing to review, simply as one man’s ceiling is another man’s floor. For me for example, the best keyboard I have ever used is on a Tandy Model 100 portable beastie way-back-when. The IBM PS/2 keyboards were pretty good too and I have fond memories of the Olivetti M24 and the Tandy Model 2000. The Model 1000 was a stinker though as was the original NEC PC (the non-totally IBM compatible one in beige).

In later years, I liked the ‘kinked’ Microsoft one and currently I use a LogicKeyboard for Sony Vegas which has colour coded keys for the various editing command for video editing. The key ‘feel’ is not the best I’ve used, but as I use Dragon Dictate a lot these days, it is not a deal breaker. I’m looking forward to using Microsoft Kinect with it and that will be the almost perfect system then. Think “Minority Report” or Spooks!

Portable keyboards are a different kettle o’ fish however. With the advent of tablets especially, these have become a major factor in the game and lately I have had the chance to play with models from Logitech and Kaiser Baas. They each have their own pros and cons.

Let’s accept keyboards do what they do so there is no need to go into the nitty gritty of what they are and how they work. Both models reviewed are powered by “AA” batteries and are Bluetooth enabled. They were easy to set up and connect to my HP Touchpad and Samsung Galaxy, but the Kaiser Baas does tend to log off on its own accord occasionally which is a nuisance.

The Logitech has an added advantage of being supplied with a tablet stand suitable for either 10” or 7” tablets, however it has no charging capabilities, essentially being a fancy piece of hinged plastic.

Marks are given to the Kaiser Baas due to it having a joystick control and mouse “buttons”, however the Logitech, being a dedicated Android based keyboard enjoys the luxury of having dedicated keys for the Android menu commands (Home, Back and Command)

What is odd though, is despite it being designed specifically for Android, SHIFT-2 (@) doesn’t produce the “@” symbol on the Galaxy TAB, instead giving the “#” symbol. Similarly SHIFT-‘doesn’t give ‘ “ ‘ but also the ‘#’ symbol. This is a bit limiting and may be a Samsung issue perhaps?

The Logitech is a full size keyboard, sans right hand keypad whereas the Kaiser Baas is ¾ size but with full size A-Z keys in the right places. Other keys need some finding.

The keys on the K-B are slightly stiffer than the Logitech which I personally approve of, but overall, the Logitech is the better keyboard to use I feel. But if it came to space in a backpack, the K-B is the choice. If price is the issue, then K-B wins hands down.

Kaiser Baas Bluetooth Mini Keyboard $49.95 – see http://www.kaiserbaas.com/kaiser-baas-product-page/wifi-devices/bluetooth-keyboard

Logitech Tablet Keyboard for Android - $99.95 – see http://www.logitech.com/en-au/keyboards/keyboard/devices/8232

By David Hague   Thu, Jan 19, 2012

There’s a bit of a stoush on at the moment chaps, and a few bods are in a bit of a flap. Oops, sorry, I have been going through a Sherlock Holmes stage of late, reading all the original stories and so got a bit carried away there in 1890’s speak …

Where was I? Oh yes. Seems Apple has released a new version of the free software people can use (on a Mac only of course) to create ‘ebooks’, or as they call them, ‘ibooks’. There is nothing so new about that of course; there are a number of these sorts of tools around from Amazon, Adobe and others for starters. Indeed, Auscam itself is outsourcing the process to a third party company to create ebook versions of the magazine for Android and Apple tablets etc.

What makes the Apple system a tad different though, and why there is a bit of a stink in the air is that Apple has apparently  put a clause in their EULA (End User Licence Agreement), stating that the output of their tool can only be sold through their online iBookstore thingo and nowhere, repeat nowhere else.

Already there are many threads of comments on the ‘net up in arms about this (eg http://venomousporridge.com/post/16126436616/ibooks-author-eula-audacity ), and curiously, despite the draconian approach here by Apple, even a few amazingly defending it!

So what is so bad about it?

Well this clause apparently in fact means Apple has control of not only the sale of your book – and takes a healthy 30% cut, no negotiation will be entered into – but also the content of the book. In other words, the fruits of your imagination are also theirs!

Imagine if Microsoft said they will tell you what you can and cannot write using Word? Ah but say the Apple defenders, Word is not free, so Apple is right to have some control as recompense for their ‘generosity’. But what then about Google Docs? That is free too.

And effectively, so is say, iMovie. Imagine if all the video editing software publishers, not just Apple, said, we want a cut of all the films you make, we’ll tell you where you can sell them, AND what they can and cannot contain!

Let me know your thoughts. By the way you can place comments on any Auscam story; all you need to do is register for the site (that is free – see the top right menu bar). All NEW registrations go in to the competition to win a VGEAR camera monitor (see the home page).

By the way, if you like a cracking story, great cinematography and all the things that make for great, great viewing, watch the Stephen Moffat versions of Sherlock that are set in modern times. Simply brilliant. As are the original stories for that matter!

By David Hague   Mon, Jan 09, 2012

Canon today revealed three new video cameras at CES in Las Vegas (Booths N109 and 13304), set to launch in Australia from March, 2012. The new LEGRIA HFR36, HFR38 and HFM52 video cameras deliver a new benchmark in handheld video production, with full High Definition video recording as standard and improved features including full Wi-Fi connectivity. 

“Image quality is continually cited as the most important feature for video camera users as they capture significant life moments and memories on video. With full HD and features like Intelligent Auto and the new Intelligent Image Stabiliser delivering great video at the press of a button, the 2012 video camera lineup delivers quality like never before,” said Anna Kalinowska, Brand Manager, Digital Video, Canon Australia. “With more than two billion video views a day and 24 hours of video uploaded to YouTube every minute*, our new wi-fi connectivity features help connect a passionate community of movie makers worldwide, allowing anyone to share their favourite home movie moments at home or on the go”.

Canon’s 2012 LEGRIA range of video cameras provides the perfect tool to create quality memories and mini movie productions easily at home.

Across each of the three new models, some of the new and improved features include:

• Wi-Fi: New feature to the Canon camera range, enabling recorded video to be sent and viewed anywhere via a wireless connection and uploaded to Facebook or YouTube via a new iPhone App “Movie Uploader”. The video cameras are also DLNA compliant, meaning home movies can be watched instantly on the big screen on DLNA enabled TVs.
• Easy back-up to an external hard drive: This easy back-up feature allows users to save large amounts of video data shot on vacation to a hard disk without the need for a computer. Video is backed up to a hard disk can also be played on a TV, via the camcorder. (NB: requires an optional USB Adapter - UA-100).
• Intelligent Image Stabiliser: Automatically switching between different image stabilisers to ensure users get the best image quality and minimise shake in conditions of shooting while walking, telephoto shooting, macro shooting and more. Story Creator and Video Snapshot: Designed to help first-time users create engaging movies easily, the Story Creator tool follows a story board structure offering suggestions on composition, length and type of shot for mini-movie themes like Birthday, Travel, Kids and Pets. Users can rate their favourite takes and play the best scenes, resulting in a ready-made movie. No complicated editing required.
• MP4 Recording Support: A container format that enables direct video playback on iPhone or iPad devices without conversion. Using the 2012 LEGRIA range, recorded MP4 files can be easily uploaded to typical social networking sites such as YouTube or Facebook.

The Canon HFM52 delivers full HD quality video though the eyes of Canon’s advanced HD CMOS PRO sensor, seen first in Canon’s professional video camera XF series range.  The Canon HD CMOS PRO sensor delivers more image detail and less noise to video images and strong low-light performance, so videos created during the day or night make the cut.

The Canon HFM52’s new features also include Audio Scene Select, allowing users to choose a scene mode to suit the audio of the shooting situation. Simple in camera guidance is given (e.g. Music, Speech, Forest and Birds) to shoot video optimised to produce realistic audio for that situation.

The Canon HFM52 also packs 32GB internal flash memory expand the shooting times with additional SD cards. Delivered in a more compact body than its predecessor (15% smaller and 30g lighter), the HFM52 weighs only 310gms and features a , flat touch panel. A waterproof case is also available for underwater shooting up to 40m.

Rounding out the pack, the LEGRIA HF R Series (HFR36 and HFR38) deliver full HD video features as standard, with increased zoom capabilities (32x optical and 51x advanced) and wider angle view that capture more in frame. The HFR36 has 8GB of internal flash memory while the HFR38 packs in 32GB. These tiny but mighty 250g video camera delivers powerful movie making tools in a unit the size of a soft drink can, ensuring you can always have it handy with you.

Ensuring each of the video cameras meet the demands virtually any shooting environment, a wide range of compatible accessories are available for the range including a long-life batteries, wide and tele-adaptors, microphones and even an underwater case for the HFM52, enabling shooting at depths of up to 40 meters.

By Ben Longden   Tue, Jan 03, 2012

What would you do if I told you a short story about a High Definition digital video camera, that records to SXS card, at 1920 pixels, with a genuine 35mm CMOS chipset, AND three 35mm lenses for UNDER $25,000. 

Fiction? No. Its real. And one Australia and NZ supplier is currently marketing this Sony PMW-F3 kit for under $20,000!

That’s less than a thousand a day for a three week shoot. And that cuts your budget say, from $200,000 plus, to under $20,000 for the entire camera and ‘film’ costs. This puts the future of film making back into the realm of reality for most independent film makers.

Reality strikes

When the Sony PMW-F3 camera arrived, I knew I was in for a surprise. I opened the Pelican case and found more than what I thought was a fair deal. Not only was there the camera, and the lenses, but also the SXS cards AND reader.

I read the manuals, and the brochures before connecting things together and immediately wondered about the cost of this kit. I checked the email from Nick Buchner of Sony, who had graciously allowed me to play with the gear for a few days. 

$25,000 including lenses, was what he wrote.  My first thought was typo, so I rang Nick. It was NOT a typo. This price was REAL, and not for a limited time either.

We chatted about the costs of an ARRI, and the RED ONE cameras, which are the current 35mm cinematic industry tools, and I quickly realised that this camera was destined for big things.

While it has only been on the market for a short time, it is already in use by major television commercial production companies in Melbourne (The current MYER ads are shot on this camera) and that a few are being used shooting new major television series, as we go to print.

Advantages

The advantages of shooting digital are well known in keeping production costs down. The TV series ‘Sanctuary’ produced by Amanda Tapping of Stargate fame (slobber – Ed), is shot using RED cameras. As fans will know, most of the storyline is shot on a very large green screen stage, and the scenery and sets digitally ‘supered’.

Even George Lucas shot the recent episodes of Star Wars using digital, so it would seamlessly fit with his digital production flow.

Having a look

Let’s have a good look at the camera. It’s a black box, slightly larger than a brick. It weighs about the same as well. The battery goes on at one end, and the lenses at the other. Mic on top, and controls on the left. In other words, a pretty standard setup for most cammos. Even I could use this. Attaching the lenses was a snap. The battery (a quarter the size of the Sony V-mount battery) slipped in its socket and was virtually hidden

The TWIN SXS card dock is mounted under a secure cover. The flip out screen is easily located and works fantastically and features the standard zebra for exposure control. Remember this is a manual camera as it should be.

Assembling the camera was easy, with the lens using the standard mounting bayonet.

While the kit comes with the 35, 50 and 85mm lenses, covering most situations, it keeps the door open for you to use other optics if required

So what if you don’t like the option of the three supplied lenses. Well, don’t worry; Sony has a huge number of PL lenses to suit, including zooms. Not only that, but PL mounted lenses of any make, even Carl Zeiss, will fit.

Deliberately, the F3 does not come with a tripod plate (like the Sony ENG cameras with their VCT-U14 quick release plate). This is to save you money as the tripod and support system you use may not be the VCT plate, which is recognised as an ENG/EFP system. Having said that, it did take a few moments with various adaptors in the drawer to sort a solution.

Powering up was normal, as was setting exposure. Sony has designed this camera so that anyone familiar with their equipment can adapt easily to this camera with a minimum of fuss. This is smart thinking. Thank you Mr Sony, for making it easy for a humble ENG ‘cammo’ to use.

While the vision on screen looked stunning, the real test was about to come; After all, the viewer sees the END product, not what’s on the cammo’s screen, over his shoulder during the shoot.

Time to ingest

As most will know, my NLE of choice is Sony’s Vegas Pro. I’ve been using it since version 3, and I also occasionally use a few others, including Grass Valley Edius. As Vegas is my personal favourite, due to its sheer flexibility and ease of use with intuitive workflow, I decided to keep things normal in the cut suite.

‘Treat this vision like any other’ I thought. ‘Keep the workflow exactly the same as usual’.

So I did apart from installing the SXS software and plugging in the SXS card reader into the USB port. Once done, and system restarted, I opened Vegas, popped in the card; and instantly it was recognised. Ingesting was astonishingly fast. Clients drop in vision to me on all sorts of media, from the SD and XD cards through to MiniDV tape. Ingesting the vision from this camera was easier than any of them. The ingest was blisteringly fast, the whole workflow was simple and very quick.

Import to the timeline in Vegas as normal. Click drag and drop and it was there.

Cut as required, then render. But render to what? Well, as is the norm with Vegas, you can render to almost any format that’s available. As the vision is 1920 wide – the true HD, the vision truly can be rendered to anything you want. Even 4K.

So I did. Just for the heck of it. And it bloody well worked. Then I decided to do a Blu-ray version as well, and that worked too. Next I thought of good old television– the bread and butter standard - and rendered one to MPEG2 720 wide PAL.

When I played this vision on a Trinitron monitor, the vision (SD remember) was. very, very clear and extremely clean. Then watching it on a 42” plasma, the vision was simply stunning.

To summarise…

In short, if you are an independent film maker or a production house requiring a new camera then forget ARRI, forget Panavision, forget RED; Think Sony.

On a bang for buck basis, this camera resets the standards. Not only does it cost less to buy (1/3 of ARRI and 1/2 of RED), but the system is easy to use, 35mm standard, and offers a simple and easy workflow for post production.

By David Hague   Tue, Jan 03, 2012

Shine Australia has installed five Boxx Meridian Zero-delay Wireless Camera Links supplied by G.D.B. International for use in Network Ten’s latest series of “The Renovators”, “The Biggest Loser” and “MasterChef”.

On the set of “The Renovators”, the largest purpose-built television set in Australia, stands Nick Parker, Technical Manager at Shine Australia. “This literally is an Australian first. We’re working without safety cables…” he grins. And true to his word, there’s not a camera cable to be seen.

When the idea for the Ten Network’s hit series “The Renovators” was being developed by Shine, Parker knew that the combination of camera cables coupled with large distances and the sheer unpredictable nature of the many and varied proposed contestant “challenges” would not mix well together.

It was Parker’s idea to untether the Cameramen - not just one, but five - all working in the same space, all working at the same time, and all free to move in whatever direction the action in front of them dictated. He explained: “On this show, the action is immediate… and so the (camera) guys need to be able to react to that. There’s no opportunity for the camo’s to rehearse moves and certainly no time for cable-pullers to lay out gear.”

Parker pointed to the massive set area. “The standard practice of running cables to the control room just wouldn’t have worked in this situation. The camera cables themselves would become a major OH&S hazard. The (camera) guys need to be able to follow the action where-ever it leads without the worry of getting tripped or tangled as they move…” Parker nods at the black box adorned with four small antennas sitting to the rear of one of the cameras used for the shoot. “… and that’s what the Boxx systems allow them to do.”

Asked if there were any operational procedures that needed to be changed due to the addition of the transmitters to the cameras, Parker commented “As with any rig that the guys need to carry, whether on their shoulder or on a steadicam, the number one consideration is weight. Anything that you add is always an issue. The Boxx transmitters are great. The boys barely even notice that they’re on the camera. I think they really enjoy the freedom that the Boxx system gives them….they can go anywhere and everywhere on-set, from here, to there…”

Parker turns and gestures to the Production Control Room located some 150 metres distant. “And the best part is that there’s absolutely no delay. Back in the Control Room, they don’t notice any difference” (to using standard camera cables).

“In fact, it works so well that everyone just forgets that the pictures that they’re seeing have all come via wireless camera links.

There’s no picture or audio latency… and that means no lip sync issues and no vision stutter when switching between sources. Not only does it make the production process easier, it actually saves time, money and man-power. There doesn’t seem to be a significant increase in the number of battery changes required so I don’t think the additional power required by the transmitters is an area of concern. They’re light, they’re efficient, they deliver the best pictures of all the links out there - these systems really are a no-brainer.”

Parker admits that they were offered alternative solutions. “But all of them had issues of one sort or another - whether it was multi-frame latency, Spectrum Licensing or deficiencies in the output vision. Some couldn’t handle having more than one system operational in the same area at the same time, let alone five.  They were all show-stoppers as far as I was concerned. None came close to the overall quality and flexibility of the Boxx Meridians. And they are so simple to set-up and operate. You just turn them on and they work. Did I mention that there is zero latency?” Parker grins, knowing full-well that he has.. “You really need to experience it to understand how many problems that this one feature solves…. Everyone who sees and works with the Boxx gear loves it.”

Parker mentions the system works offsite as well as in the studio. 

"Renovators has been using the links for offsite as well as in the studio where traditionally we would have to run cable or not run cable at all due to OH & S issues.

With Masterchef around the corner I can't wait to put these into a commercial kitchen and finally have some pictures in a portable control room. We have had to direct from the kitchen sides in the past due to the limits of cables in a commercial kitchen. Having the Boxx links in a Kitchen is going to change everything, better quality content, faster turn around… all in all, saving us money.”

Asked if he felt the investment has been worthwhile, Parker smiles and simply says “I’m thinking about what I could do with another five… The reality is now we can not go back to cable.”.

By Frank McLeod   Tue, Jan 03, 2012

I first used a monitor in this 5-7inch (12.5-18cm) size range to help framing the shot while shooting a talking head – mine – for a video on a medical topic.  It was much better than simply reversing the LCD viewer of the camera.  Then I noted more cameras arriving on the scene without viewfinders and realised those dinky little LCD monitors could certainly do with some form of image enlargement. And finally one of my video club friends found he benefitted form an external monitor so he could avoid wearing his reading glasses while recording video. It meant he could comfortably alternate his view between the larger monitor and the subject he was recording.

Both the VG-005 5 inch and VG-00 7 inch HD monitors can display from 1920 x 1080p high definition using component or HDMI leads, right down to standard definition video using the usually supplied RCA-type leads. While the technical specifications state that the smaller monitor has a wider view angle and slightly higher contrast ratio than the larger, their visual performance was equally excellent to this observer’s eye.

"Note that all input leads must terminate in BNC male connectors and RCA-to-BNC adapters (which of course fit both standard video and component leads) and are readily and cheaply available. "

An adjustable bracket/stand also comes standard with both, and it can be fixed to a flat surface using the supplied double sided tape. The 7” has an infra-red remote control for off-the-camera use but no so the 5”. 

The supplied sunscreens click on with little effort and feel nice and solid in position. The 7” model has a narrower screen that covers the top and part of both sides, but leaves the lower edge free. The screen for the 5” surrounds the whole viewing area, protruding at the top about twice as far as the screen on the larger model but narrows considerably at the bottom edge. While I rather liked the look of the 5” sunshade and felt it would provide better protection from glare, I found that it obstructed my big fingers when I tried to manipulate the buttons and knobs of the controls.

Both come standard with a 240V power pack and the option is there to provide power from either the mains or battery. While the 7“ model comes supplied with a rechargeable battery that lives in the monitor, the 5 inch is supplied with two battery adapters that allow the use of  rechargeable batteries  by Sony – the NFP970 and Panasonic – the DU21 - as a power source. As a optional extra, an adapter for Sony’s QM91D is also available. I presume/expect any batteries that use similar mounts to these three will do the job as long as they can supply the necessary 450mA power for a reasonable time.

Using the 970 battery (very tight fit!) with the optional hot shoe mount attached the 5” unit weighed in at 758gms as opposed to the complete 7” (with the mount) at 680gms. There is a ‘battery saver’ switch on the back of each unit, which is to be switched off if the monitor is not being to be used for some time.

Controls

On the front of the VG-005, there are the power button and three indicator lights showing the type of video input. Then there are four programmable buttons which can be used for a variety of presets selectable inside the menu. The menu is accessed by pressing in the first button, the Brightness/Menu/Selection button. The other button is the volume control.

The VG-007 which it must be said has a more modern look, has the infrared receiver window, plus and minus buttons (various uses) menu button, select right or left and power/standby buttons.

At the back, there are some differences. The VG-005, not having any speakers, has a video in and both video and audio out in addition to the three plugs for component output. In contrast, the VG-007 which has a speaker, while also having the three component connections, has Video 1, Video 2 and Audio inputs. All these connectors require RCA to BNC adapters to use the cables supplied with most consumer cameras. Both monitors also have a HDMI input and the inlet port for the mains power pack.

Conclusion

These are great little monitors, but for me, the 7” would be my choice. I would almost always use it on camera, but like the idea of its application for talking head videos to aid framing and focussing. The VG-007 has easier access to the control buttons at the front which is a plus and I prefer an inbuilt rechargeable battery. Given the heavy Sony 970 battery I would be using on the VG-005 the reduction in weight is a minor but significant benefit. By preference, I would probably use either monitor with the component leads as the image improvement with HDMI is marginal at these sizes. Also, as I would rarely need sound from a monitor, preferring headphones, this would eliminate the possibility in the VG-007 of feedback from the camera’s mic getting distortion from the monitor sound when mounted on camera.

No matter the final choice, both of these monitors are great little units, with beautifully clear pictures and plenty of controls to get that picture the way you like it. I can see a real market for both of these VG monitors inside the video club members ‘of mature age’. So, if you note some difficulty with changing your focus from the LCD monitor to the subject, then I suggest you seriously consider looking at either one as a possible acquisition for your camera kit.

The VG005 has an RRP of $269.95 and the VG007 is $329.95. More info is at GDB International.

By David Hague   Tue, Dec 20, 2011

There is no doubt that 2011 has been a year of some amazing advances in video and still camera technology. Some of it you can buy right here and now, others teased us and we have to await the New Year and beyond.

Looking back over the year though what did we see as standouts in areas camcorder, software, accessories and so on? And what were dropkicks in the missed goals of the season?

Most Outstanding Camcorder

Back in May, Canon showed us the XA10, a whole new concept for the company as far as we could tell by packing all the elements of a full blown professional camcorder into a relatively miniscule body. The results were mind blowing as Steve Turner discovered in his field test review in June.

In my First Look in May I asked whether this was the next Camcorder if the year. I think it may be, just edging the Sony HVR-NX70 by a whisker.

dSLR Shenanigans

2011 continued to see the uptake of dSLR technology for usage in video shooting. The reasons are varied – with let’s face it, hype being one – but access to different lenses, large sensors and convenience is up there too. All the major dSLR manufacturers leapt in to play the game, and the field was further enhanced by the uptake of the so-called 4/3rds cameras such as the Sony NEX series and Panasonic updating the LUMIX G series.

Whether this genre of film making continues to grow is still out with the jury in my opinion with the biggest drawback being ergonomics. Indeed, camcorder manufacturers themselves who make dSLRS will give you compelling advice why a dedicated camcorder is better.

We’ll wait and see.

Consumer Camcorders

These have got better and better, adding more features as manufacturers leapfrog each other to have the latest and greatest. For instance, Sony added projection capabilities and Panasonic brought out a 3D add on lens suitable for its SD900. JVC has been relatively quiet this year, although they to did bring out a 3D camcorder that challenges Panasonic’s. Their Everio range of SD and HD camcorders remained firmly in the ‘tried and true’ area however; maybe with a change of distributor for Australia next year, things may spark up a bit in JVC-land.

Samsung too played the safety game, with the only exception being the HMX-Q10BP/XSA (that’s easy for you to say!) having a novel LCD mounting arrangement allowing the camcorder to be flipped and used by left handed folk. Late in the season Toshiba put their foot back in the water with a new Camlio, but I fear these styles of camcorder, along with the JVC Picsio etc are doomed by the increase in capability of video in smartphones. Smartphones will never be as good as a dedicated video camera of course, but today’s mobile person simply doesn’t want to carry two devices – unless one is an iPad it seems.

Finally, models from BenQ dribbled through on occasion, but it doesn’t seem as if this company is at all serious in the camcorder market, for the moment anyway.

Accessories

That great Australian RØDE Microphone continues to charge ahead leading the way with locally made and world class mics and accessories. We wonder how long, if ever, they’ll get onto the lucrative radio mic industry as well. Also buzzing along, albeit in comparative silence is the other great icon of Aussie film making, Miller Tripods. A trip through their factory, as I did earlier this year, is certainly an impressive treat (as is one through RØDE which I did a few years ago) I must say.

In January we looked at the Lens Skirt, a nifty way to shoot through glass and lose the problem of reflections and pointed you to the Lens Simulator website. February and March saw us finding the Stedipod Portable Tripod System and the DSC Colour Chart which reviewer David Smith thought was absolutely brilliant! April was the month we found one of our favourite combinations of toys, the dedicated video editing keyboard from Corsair (in my case Sony Vegas) and the Contour Shuttle Pro (also from Corsair). I reckon these are simply a must have and speed up to task of editing immeasurably.

We also pointed out the Steadicam for iPhone … true!

The next few months saw a bit of a dearth in decent gadgetry, the closest being the Kaiser Baas Car Cam and the Hague (no relation) Pro Cam Slide. September found us reviewing another favourite - albeit non-video – toy, the Livescribe Echo Pen and October another baby camcorder from Kaiser Baas, the Sports Helmet Camera

To us though, the granddaddy of all gadgets was the Kymera Wand we found after watching an edition of the UK based TV show, Dragons Den. So impressed in fact we have organised rights to sell the wand and future The Wand Company products in Australia! Not quite a Victor Kyam moment (I bought the company), but a good second best!

Christmas is Turkey Time

The world of video is pretty well tried and proven so it is very hard to screw up a new product. As such, it is very rare to see something that is a horror, embarrassment or has a “what were they thinking” tag attached.

But there is always one thing that has to cause eyebrows to rise, and this goes to the Panasonic HX40 waterproof camcorder. At review time we said “At $499 it’s not a bad price for a multi-purpose camcorder-cum-camera. It is sturdily built, takes decent footage and as a weekender for the beach, water ski-ing or in the snow, does an admirable job.”

But whoever thought that it was a great idea to press the record button to switch from RECORD to PLAYBACK mode must have had a bad morning. It’s almost as if they finished making the entire camcorder and then thought, “We have missed something. What could it be? Oh hell ….” And decided the only way to fix it was to defy the laws of operability and whack it onto the record button!

Have a great Christmas and New Year folks, and as always, thanks for the support! See you in 2012.

By David Hague   Tue, Nov 15, 2011

For a full review of the Kymera Wand and its magic, click here. It's magical! Harry would want one! And Merlin ...

By David Hague   Wed, Nov 09, 2011

I am an enormous fan of the TV show Dragon’s Den. For those that don’t know, it is a BBC UK show that has a panel of self-made millionaires who judge the worthiness of ideas, products and services from aspiring entrepreneurs. If they see one they like, they bid for the right to invest in it. (an earlier series is being shown on ABC1 and ABC2 at the moment - check it out).

Dragon’s Den is entertaining, inspirational and contains many gems of business wisdom such as make sure you have a business plan, know your numbers, have a marketing strategy and more. The books each of the panel has written (including Theo Paphitis, Deborah Meaden, Duncan Bannatyne and Peter Jones) are worth a read in their own right. They are all available on Kindle, and I confess, along with similar books from Lord Alan Sugar (of UK Apprentice fame), I have used their ideas and advice to form what is the new incarnation of Auscam.

Anyway, approximately two years ago, a product appeared on Dragon’s Den that is an absolute game changer. A pair of technical whizzes had created a device that replaced the remote control for almost any device you’d like to name; it was a magic wand a la Harry Potter!

It could be waved, rotated, flicked, tapped (once or twice), swished, pushed forward or backward and more – 13 operations in total – to replicate the commands from your remote control(s).

I have resisted for a long time to order one, but a few weeks ago caved in. I have just added an XBOX Kinetic to my home theatre system and to perform the basic functions I do, whilst I have a Logitech Universal control and it is very functional, the Wand – called a Kymera– looked far more fun!

It finally arrived today in its elegant display box and instructions on Olde English parchment. Firstly you have to learn the various actions to perform commands, and this takes about 10 minutes. Next, you “teach” the commands you want to assign to each of the Wand’s options.

For example, to turn my Sony 52” Bravia on, I wanted to use the “flick up” command, and to turn it off, the “flick down”. It’s really very easy; you tap the side of the Wand twice while it is vertical to put it in learning mode, perform the required action and then point the sharp end at your remote’s infra red sender and press the button for that action. The Wand will respond with a vibration (every action has a specific vibration code to signify what is has done or it understands) and voila! Done.

In truth, it took me a few goes to get it just right, but this was down more to my ham fistedness than any error on the Wand’s behalf.

Once I had the knack of programming the wand, it was only a short time before I had the whole system setup; the Denon receiver/amp volume was controlled by rotate right and left, flicking between HDMI devices was flick left/right, XBOX options were taps and so on. The piece de resistance – the BIG SWISH was reserved for putting my Sony Blu-Ray player into play mode with something that starts with a bang!

When you use the Wand to perform an action, especially if there are others present, you simply cannot help but to ham it up a little – or a lot! And I confess, when I got the first command working, I burst into laughter. It’s just one of those gadgets that is a must have, for no other reason that it is Great Fun! You’ll want to turn things on and off, switch between devices or whatever you have programmed it for (lights, heating, iPod dock or whatever uses an IR remote) just for the sheer delight of it!

At $79.95 it makes a fantastic present. The Kymera is beautifully presented in its box, the instructions are almost worth laminating and framing and well… what more can I say. They even provide the AAA batteries it uses in the price.

In fact, I am so impressed that I have negotiated that Auscam can sell the Kymera Wand to our readers for AUD$79.95 including freight. Simply click on "STORE" in the menu bar above to order.

Or email us at david@auscamonline.com  and you can call on 08 94675922 or 0413 632286

By David Hague   Wed, Feb 15, 2012

By David Smith   Mon, Jan 30, 2012

There are numerous physically small professional quality video cameras available today. These are extremely useful in specialised applications such as sporting or adventure videography or when filming in tight spaces is unavoidable. One critical limitation in all cases is the size and picture quality of the LCD screen. Some of the cameras we have reviewed here at Auscam have excellent LCD screens but all are limited to a relatively small size because of the physical dimensions of the camera.

We often use our Sony A1P as a second camera: its picture quality is superb but its LCD screen is woeful. Coupled with the very tricky focus ring this makes the A1 a real challenge in real-world shooting situations.

When we were offered V-Gear’s two new model 5” and 7” monitors to review I hoped we’d find these of sufficient quality to overcome the limitations of the A1 LCD screen. I was not disappointed!

The monitors we tested are the 5” VG-005 and the 7” VG-007.Both offer high resolution LED-backlit  LCD screens up to 1920 x 1080 and both accept HDMI, YPbPr and AV inputs.

Some key features are summarised below:

VG-005

This excellent monitor can be either mains or battery powered and I was able to use the Sony NP-F970 infoLithium batteries from my Z1P camera. On the Sony A1P I used the yPbPr component output and selected this via the input switch on the front panel. The picture quality was excellent and made framing and focussing much easier.

I attached a ball-socket adapter and cold shoe via the ¼”thread on the base of the monitor and was then able to easily adjust the viewing angle.  The large sunshade really worked and allowed filming outdoors in bright sun.  The case seems fairly well sealed against the weather , unlike the *IKAN monitors reviewed earlier which had huge slots exposing the main circuit board to the elements. The V-gear monitors are well built and should stand up to the rigours of real-world filming. The only slight proviso is the ¼”thread which, although made of metal, should probably be made with about twice the length of thread to ensure that it’s strong enough.

The cold shoe on the A1 proved a little bit flimsy when the monitor and heavy battery were fitted. The led to slight wobbling after a rapid tilt so some care should be exercised when mounting the monitor via the cold shoe. In fact I prefer a different approach which is to simply mount the monitor on a separate stand altogether. This completely eliminates any wobbles and also removes any risk of damage to the camera’s cold shoe.

Overall the VG-005 was a delight to use and I would never use the A1 in a studio setting without one of these monitors. The buttons and menu system are clear and simple to use – thank goodness V-Gear have labelled the buttons in clear white lettering! So many electronic devices take the lazy (cheap) option of using raised black letters against a black case which is absolutely hopeless on a shoot.

Rear connections are straightforward, although it would be great to have green blue and red colours to signify the Y, Pb and Pr BNC jacks. There are three additional BNC jacks for Audio In, Video In and Video Out, plus an HDMI socket for those cameras that can output HDMI.

VG-007

This 7”monitor is larger and heavier than its 5”cousin and sems better designed for previewing video or as a director’s or client monitor.  It uses a different arrangement of buttons and menus and I found them a little harder to use than the very simple system on the VG-005. The buttons feature easy-to-read red backlit labels and a tell-tale light indicates whether the battery is charging (red) or fully charged (green).

This monitor is also well built and fairly weatherproof. Its sunshade is shallower so it’s not quite as good in bright sun. The picture quality is good but slightly softer than the smaller VG-005. For this reason I would prefer the 5”model as a camera monitor, but the 7”model is still an excellent one for a variety of uses on the set or in the edit suite. On the back are the three component In BNC jacks plus two Video In and one Audio In BNC jacks, plus the HDMI In jack.   This model also features ¼”sockets on the base and both sides for added flexibility of mounting.

Conclusion

V-Gear have produced two high quality highly portable HD monitors that are extremely reasonably priced and which deliver crisp, bright images with a host of menu options including over- and under-scan, a full range of brightness, contrast, hue and many other controls. Being both mains and battery operated is a real boon. and the range of batteries that can be used on the VG-005 is excellent, simply requiring the correct choice of adapter.

Vendor:                                    G. D. B. International

                                                www.gbint.com.au

Price:                                        VG-005 $279.95

                                                VG-007 $329.95

Auscam ratings

Ease of use:                        9

Features:                             8

Build quality:                        9

Value for money:                9

We liked:    Build quality, power options, useful connections and menu systems, picture quality, especially on the VG-005.

We didn’t like:   Nothing to dislike.

By David Hague   Sat, Feb 11, 2012

During February and March, Sony are offering great trade-in deals on purchase of a new PMW-350K or PMW-320K camcorder.

The PMW-350K offers a 2/3” sensor and standard B4 lens mount, while the PMW-320K offers a ½” sensor and mount. Both models record HD or SD to SxS memory cards and feature a full professional feature set, including a supplied Fujinon 16X zoom lens.

Trade-in any 3-chip professional camcorder, working or not, and purchasers are eligible for:

-        $2,500 trade-in value on a new PMW-320K

-        $3,000 trade-in value on a new PMW-350K + bonus SD Record/Playback option (valued at $990 ex GST)

See http://pro.sony.com.au for more product details, email to production.au@ap.sony.com or contact any Sony authorised Content Creation Dealer.

By David Hague   Mon, Jan 30, 2012

The Sony PMW-F3 Super 35mm digital cinematography camcorder has struck a chord with Australian educators looking to equip their students with industry standard systems to meet current and future requirements.

Sony’s first professional handheld digital production camera with a Super 35mm imager was the right acquisition tool at the right time for three of the country’s leading tertiary institutions.

Faced with students trending to DLSRs, tutors were looking for a large sensor camera that could deliver the desired shallow depth of field ‘look’ without breaking their budgets.

F3 kit delivers DOF for Griffith Uni

“Students were chasing a 35mm aesthetic but DLSRs don’t provide enough functionality or sound recording options to make it practical option for a film school so we looked for an alternative,’ explained Dean Chircop, a lecturer at Griffith Film School, part of Griffith University’s Queensland College of Art.

“We were stuck with cameras with 2/3” chips or 16mm  frame sizes but the students were after DSLRs because the chip size has a shallower depth of field. After discussions with local cinematographers to see where the industry was going and what the trends were, we looked at options ranging from ARRI to a fully kitted DSLR. Then we heard of the Sony F3 and set it up in a benchmark test against a Sony HDCAM HDW-750 and other cameras from Panasonic, Canon and ARRI.”

Based on the outcome of the shootout a PMW-F3 camera kit complete with three Sony prime lenses was ordered in May 2011 through local reseller Videopro. The decision was announced to third year students about to commence their graduate short film work and seven out of eight projects planning to shoot on DLSRs moved to the F3.

“Shortly after it arrived the F3 went straight into seven weeks of work, going from one student production to the next. Some of these projects were quite ambitious - one was shot 12,000 kilometres west with no quick back-up available but the camera came through without problems,” said Chircop.

“As an out of box solution that can be quickly built into a production camera for single camera acquisition it performs really well in terms of integration with existing accessories. The ability of the F3 to marry a full 35mm sensor with the PL prime lenses was a beautiful combination to curb students gravitating to DSLRs and I have no doubts the F3 will service the film school well.”

AFTRS adds F3s

At Sydney’s Australian Film and Radio School (AFTRS) the Head of Cinematography, Kim Batterham ACS, also noticed the industry’s move to large sensor cameras.

“In the last two years the television landscape has radically changed and there has been an acceleration of big sensor shooting, especially in Australia. AFTRS has been at the mercy of these changes and part of our teaching philosophy is that we need to have a certain industry currency where we reflect what is happening in the industry.

“We bought a RED camera in December 2009 because it was the cheapest to buy but in mid 2011 we bought two Sony F3s because we saw the opportunity to expand our large sensor offerings at reasonable cost and they fitted our teaching needs very nicely.”

Batterham explained that the F3s have enabled AFTRS to continue to provide training for feature film makers in the face of the declining use of film due to increasing costs. “It was becoming hard for students to practice in large format shooting but the F3s have maintained that teaching opportunity without the cost of film.

“Staging and lens choice with the F3s is very similar to 35mm film cameras. We have new Zeiss lenses and are also using Zeiss primes from 20 years ago which have a nice look. Panavision lent us older Cooke zoom lenses which work well with the F3 too.”

Batterham believes the Sony F3 represents the meeting of 35mm film with the handycam revolution of the late 90‘s where a lightweight, portable, shoot anywhere camera can be handheld or shoulder-mounted and deliver high resolution images.

“It also means we are giving students a camera that they can shoot with outside of workshop environments - the F3s don’t require professional technicians to take care of them.”

The F3s were first used for a one week television directing module and have since been utilised on an in-house project to interview well known AFTRS alumni including Alex Proyas. “The F3s were a natural choice for that - the images looked good and the cameras were easy to use,” said Batterham.

WA finds F3 advantage

At the West Australian Screen Academy at Edith Cowan University, Director John Rapsey also selected the Sony F3 to teach cinematography to his students.

The Screen Academy has a relatively small intake of local and international students with industry experience and offers them specialist classes in cinematography taught by leading local DOP Jason Thomas.

“We set up in 2005 with Sony Z1 camcorders then upgraded to the EX1s but a big issue was that we needed to have cameras with interchangeable lenses. We know the RED camera has made an impact in our industry but we understand it has limitations - it’s big and bulky and takes a lot of infrastructure to support it. So we began talking to Sony to find a camera that was light, portable and easy to use,” said Rapsey.

Working with Perth reseller Vizcom Technologies, the Academy put the F3 through three days of testing under a wide variety of conditions before ordering the camera and its three prime lens kit which was delivered in September 2011.

“The lenses supplied with the camera are surprisingly good considering other lenses cost much more. We are also waiting for the new Sony SCL-Z18X140 14x zoom lens. It is important that we have equipment that appeals to prospective students as they want to learn using the best cameras so they will go where the best cameras are. It has been a real advantage to us to have the F3,” explained Rapsey.

As the convener of the Academy's graduate third year production slate, he has already seen his students’ work gain international attention. After projects were screened at an international student short film festival in France, seven short films and six documentaries were selected for a festival of film schools in Russia.

An eye on future expansion

Both AFTRS and Griffith Film School tutors are keen to explore the expansion options available for the F3.

An RGB and S-LOG Gamma output option, the CBK-RGB01 delivers uncompressed 10-bit RGB 4:4:4 1080p, over industry-standard dual-link or 3G HD-SDI. This signal can be recorded on units such as Sony's SR-R1 SRMaster recorder or SRW-1 HDCAM-SR recorder that are capable of up to visually lossless 880 Megabits per second image capture.

“I’m looking forward to recording uncompressed to a hard drive with 4:4:4 capabilities - that’s the final frontier,” said Chircop. “4 and 8K image sizes are what people are heading to and with the F3 we are meeting the minimum requirements for digital projection being 1920x1080, so we are getting a toe into that market without a huge cost.”

“AFTRS has looked into getting a 10bit recorder to bring the F3 data flow up to the Apple ProRes standard,” said Batterham. “For our use the camera is able to be used native for television work or maxed out with dual-link output and uncompressed data capabilities so our students can train for high-end cinema shoots.”

By David Hague   Sat, Jan 28, 2012

Tonight I found the flaw and a chink in the armour of using computers to act as fancy TV servers, recording devices and so on.

Quite simply until developers get their act together and the software is made a lot more reliable then the old TV and VCR/DVD recorder combination are still the optimum way to fly at this point in time.

Why so?

Well here is the example of what happened tonight that has brought me to this decision. I was recording New Tricks on Channel 2, that is ABC 1, when suddenly about a minute before the end it cut off and went to the next program. Now I had been pausing New Tricks during its recording and therefore had delays of around about 2 min to catch up before the end. Because of this I can understand that when the new program came on, Windows Media Centre probably flicked automatically to the new program which I also wanted to record as I may have missed a setting. No argument there; possibly my fault. I'll check that out.

However what also happened was that the audio cut off. I have no idea why. And no matter what I did I couldn't get it to come back again. And I am supposed to know what I am doing. This made watching the new program pretty ordinary; I was not that fussed over New Tricks as I could go back and watch the end it any time as it had been recording quite successfully. But because I couldn't get the audio to work with the new program I had to reboot my computer.

As anyone knows rebooting a Windows based PC is not a 30 second affair. By the time it had sorted itself out and I had a picture back on screen it was close to 7 minutes. Now with a TV if the sound had suddenly gone for whatever reason, you would simply turn it off and turn it back on again. 7 min for a TV to reboot would be unacceptable, but we are expected to rely on this sort of delay when it comes to using PCs or Apple TV when they are used as substitutes or adjuncts to our surround sound and home theatre systems.

I have never used Apple TV so cannot vouch for the delays it may have on a reboot but I am assuming it would be a lot more than mere seconds and closer to minutes. If anyone would like to comment on this, especially the Apple scenario please let me know via david@auscamonline.com.

Perhaps Windows 8 may change all of this with an update to Windows Media Centre. We'll have to wait and see. But until the problem is fixed, the TV will reign supreme more's the pity because the flexibility given by such applications as Windows Media Centre are actually very good and I for one am sold on the system as a whole just not quite yet on reliability.

A dedicated PC would certainly help in this area and with the price drops that we have now and with people buying new computers to replace old ones and old ones quite happily able to act as Windows Media Centre devices this is an option. This is not the optimum however and a bit of a copout for the average person / family.

By David Hague   Thu, Jan 19, 2012

With full acknowledgement for all content to http://blogs.suntimes.com/ebert/art-in-many-forms/gregg-toland-cinematographer.html

By David Hague   Thu, Jan 19, 2012

The Seven Network has revitalised its Martin Place news set in Sydney with the installation of three Panasonic 103-inch Full High Definition commercial Plasma display panels.

The panels provide an backdrop for the national and local daily news bulletins that are broadcast from the set to up to 400,000 viewers at peak times.

The set was specifically designed to accommodate the large Plasma panels, which span a six metre-wide space directly behind the newsreaders. The panels replace a 2.5 metre projection screen previously used as the set background.

According to David Lewis, Facilities Manager of Broadcast Operations at the Seven Network, the panels’ sheer size as well as resolution and image quality were key factors in deploying the solution.

“The Panasonic Plasma solution satisfied our requirements for an eye-catching set backdrop with excellent image quality and striking dimensions that was also flexible in terms of content,” he said.

“The challenge for us was to find a display solution that allowed our team to present a wide variety of content in any combination across all three screens simultaneously with exceptional picture quality, such as live backgrounds, live remote crosses as well as both still and moving graphics.”

“It was also crucial that the displays were robust and reliable for use in such a demanding ‘live on air’ environment that is used 365 days a year,” he said.

The news set is used to broadcast the 11:30am News (Network), local hourly updates, the 4.30pm News (Network) and 6pm News (local) as well as two local updates and two Network updates each evening, totaling around three and a half hours of news content every day.    

The network’s design team - 7Design - creates and updates the content through the Studio Control Room (excluding live content), and the vision is then processed through a Vista Spyder unit that controls and manipulates all elements in an effective and reliable presentation.

“We have been very pleased with the results that the solution has delivered – it has met all our expectations for a robust, reliable and certainly visually stunning backdrop to our news set,” added Mr Lewis.

Mr Lewis also praised specialist AV solution provider, Mediatec, for providing the network with excellent technical and design support both during the installation and after completion.   

The 103-inch panel has a moving picture resolution of 1,080 lines and a contrast ratio of 40,000:1[i]. For greater protection in high-traffic, public locations, the panel also features tempered glass on the front. Like all Panasonic Plasma displays, it has been manufactured with lead-free glass to minimise environmental impact.     

By David Hague   Thu, Jan 19, 2012

Blackmagic Design today released a new version of its popular HyperDeck Shuttle Solid State Disk recorder. HyperDeck Shuttle 2 replaces the existing model and adds broadcast quality 10-bit recording and playback to the Avid DNxHD format for the same low price of $369 (AU$ Inc GST).

HyperDeck Shuttle 2 is shipping now and available from Blackmagic Design resellers worldwide. HyperDeck 2.0 software public beta is available to download now from the Blackmagic Design web site. Any customer who has HyperDeck Shuttle 2 can download this software update to add DNxHD compressed recording.

HyperDeck Shuttle now records the highest quality uncompressed or compressed video formats onto common low cost SSDs in the smallest possible size! HyperDeck Shuttle is small, affordable and battery powered so it’s perfect as a field recorder. For direct camera mounting, HyperDeck Shuttle Mounting Plate can be added to provide multiple pre drilled 1/4” and 3/8” mounting holes.

HyperDeck Shuttle turns low cost cameras into high end broadcast cameras because it allows video file recording to bypass the camera's compression by recording from SDI and HDMI directly to 10-bit uncompressed QuickTime or Avid DNxHD MXF formats. SSDs are cheap and fast, and can be plugged into an eSATA dock for instant access to the media files, so are the most flexible recording medium available.

DNxHD is a broadcast industry standard for media files and adding native support for this compressed video format into HyperDeck Shuttle will allow dramatically longer recording times, lower media storage costs, and provide full file format compatibility with Avid Media Composer systems. All media is recorded in MXF format that’s immediately available for all Avid Media Composer systems and leading video applications including Blackmagic Design’s DaVinci Resolve.

SSDs are the latest computer disk technology that features flash storage in a low cost and small 2.5" size. Using SSDs with HyperDeck Shuttle provides video recording with blazing fast speed, low power consumption and totally silent operation. This is a perfect replacement for mechanical tape based acquisition and also eliminates complicated and expensive disk arrays. With no moving parts, SSDs are unbelievably robust and can handle shocks and vibrations that would destroy conventional hard drives or videotapes.

With SDI and HDMI inputs and outputs, HyperDeck Shuttle works with virtually every camera, deck or monitor and effortlessly plugs into monitors or televisions for instant on set preview. HyperDeck Shuttle can also be used as a video playback source for digital signage systems or connected to a live production switcher for recording events and then used for live playback!

“Recording DNxHD files straight to disk now costs less per minute than recording to professional tape plus it’s the most efficient workflow possible,” said Grant Petty, CEO, Blackmagic Design. “A 64Gb SSD is less than $100 (US$) and will record 50 minutes of the highest quality DNxHD video! This update means that both HyperDeck Studio and HyperDeck Shuttle customers can record broadcast quality DNxHD files for less than $2 a minute!”

HyperDeck Shuttle Key Features
Capture and playback with Solid State Disks in uncompressed and compressed 10-bit quality.
10-bit capture and playback of uncompressed QuickTime and compressed Avid DNxHD MXF files.
SSD is removable for editing, and changing to blank disks.
3 Gb/s SDI input using mini coax SDI connector and HDMI input. Auto selects.
3 Gb/s SDI output using mini coax SDI connector and HDMI output.
Power supply connection also recharges battery.
USB connection for software updates and settings.
Machined out of solid block of aluminum for maximum strength and attractive design.
File compatibility with Media Composer, Final Cut Pro, Premiere Pro, DaVinci Resolve and more.

Availability and Price
HyperDeck Shuttle 2 is shipping now and available from Blackmagic Design resellers worldwide. HyperDeck 2.0 software public beta is available to download now from the Blackmagic Design web site. Any customer who has HyperDeck Shuttle 2 can download this software update to add DNxHD compressed recording.

By David Hague   Wed, Jan 18, 2012

RØDE Microphones is extremely proud to announce the VideoMic HD, a high-fidelity, precision RF bias shotgun microphone with integrated digital recording, designed for use with DSLR and large-sensor video cameras.

The VideoMic HD’s audio DNA is directly inherited from RØDE’s flagship NTG3 professional shotgun microphone. Incorporating the same capsule and sharing much of the electronic design of the NTG3, the VideoMic HD is a true condenser super-cardioid shotgun microphone with RF bias technology. This makes it virtually immune to RF interference and condensation that can cause other condenser microphones to fail.

Continuing its history of innovation and ‘industry-firsts’ RØDE has incorporated a high quality digital recorder into the body of the VideoMic HD. This completely removes the requirement for a separate audio recorder, while still also providing throughput of the audio signal to the camera for a superior reference audio track

File storage is via microSD card and a microUSB port is supplied for convenient file access and possible firmware updates.

An integrated headphone jack with level control allows users to monitor their recording in real-time, while a high contrast LCD display on the rear of the microphone provides visual metering as well as basic recording control.

Audio capture and output can be configured in a number of ways thanks to the microphone’s innovative output selection. In its default mode the VideoMic HD’s audio is recorded and outputted as a dual mono signal. When in ‘safety recording’ mode, the microphone captures and outputs the standard audio signal on the right channel and a -20dB attenuated signal on the left channel. In case of unexpected boosts in the audio the user has a safety backup channel of audio that can be referenced. A third output setting allows for dual mono audio capture and a balanced signal output using the optional RØDE VXLR 3.5mm to XLR adaptor.

The VideoMic HD offers a 3.5mm mono line in that supports ‘plug in’ power, allowing for the connection of a secondary microphone such a lavalier or headset. The microphone’s fourth output mode allows the tracking of the line-in to one of the stereo channels, both on the on-board recorder and through the 3.5mm output jack.

The microphone body is constructed from rugged, lightweight die-cast aluminium and features a quick release cam lever for simple and secure mounting in any universally sized camera shoe mount.

Drawing on the design architecture of the award winning RØDE Blimp, the VideoMic HD features a unique windshield and suspension structure. The capsule and line tube are completely suspended inside the microphone, providing superior shock mounting and isolation from physical sound sources through the microphone body, and the outer geodesic structure provides strength while offering superior wind protection to foam windshields. A DeadCat VMHD furry windshield is supplied with the microphone to provide protection in high wind environments.

For more information and to register your interest to be notified when the microphone begins shipping, please visit rodemic.com/vmhd.

By David Hague   Wed, Jan 18, 2012

Nikon is excited to announce their partnership as the official camera and lens brand of Tropfest. With major advancements in DSLR video technology, an increasing number of films are now being shot solely on DSLR. Nikon is committed to supporting these film makers through the continual development of advanced DSLR video technology, from entry level to professional, making it accessible to both amateur and professional film-makers.

Last week Nikon announced the new flagship D4 DSLR. The D4 is Nikon's first FX DSLR with full HD video recording, capability to record uncompressed video to an external hard drive and Ethernet port and IP address for quick and easy file transfer anywhere in the world, making it Nikon's most creative professional film making tool yet.

Nikon will be showcasing the complete range of new products at the Tropfest Symposium on February 18, including the Nikon D4.
 
In addition, multi-award winning film-maker Jason Van Genderen (Tropfest New York winner 2008 and Tropfest Australia runner up 2011) will be on hand at the Symposium as Nikon’s special guest speaker. He will be showcasing his latest short film shot exclusively for the Symposium on the Nikon D4. In this 45 minute DSLR film making workshop Jason will show exclusive behind-the-scenes footage, share his insights on DSLR film making and explain how DSLR technology is changing film making as we know it.

Van Genderen says: “There’s no question that DSLRs have changed the way we shoot films, and the D4 is quickly raising eyebrows around the world. The D4 is intuitive and easy to use, being able to implicitly trust in that technology now has opened a new door for me as a filmmaker.”
 
To further support Australian film-making talent, in addition to being crowned with the prestigious title, Nikon has provided a prize pack up to the value of $6,000RRP of Nikon gear for the winner of Tropfest 2012 to help them further their creative ambition.

By David Hague   Wed, Jan 18, 2012

Building on the success of the VideoMic Pro, which launched in early 2011 and quickly became the defacto standard for DSLR on-camera audio, and RØDE’s original Stereo VideoMic, the new Stereo VideoMic Pro provides a high quality stereo option for videographers, and is ideal for recording music, and the atmospheric ambience essential in building a realistic audio scene.

Based around a matched pair of high sensitivity ½”cardioid condenser capsules in a coincident XY pair, the Stereo VideoMic Pro provides a wide stereo image with natural depth.

The Stereo VideoMic Pro builds on the feature set of the VideoMic Pro, with an ergonomic form factor perfectly suited to DSLR, consumer camcorders and large-sensor video cameras. The integrated shock mounting system provides superior isolation from vibration and mechanical noise that can otherwise degrade the recording quality. Additionally the lightweight yet robust multi-strand cable provides excellent acoustic decoupling from the camera and offers significantly lower noise transference than traditional audio cable.

The user friendly designed rear of the microphone body features the power and equalisation controls, including a high pass filter at 75Hz which is designed to cut out the noise generated by air conditioning, traffic and other undesirable low frequency interference.

A -10dB PAD allows the user to reduce the sensitivity of the microphone, making it suitable for recording loud sound sources such as live music or at sporting events.

Like the VideoMic Pro, the Stereo VideoMic Pro features a +20dB level boost specifically designed to provide a higher quality signal with DSLR cameras.  When activated, the typically low quality camera preamp level can be reduced, resulting in a lower noise floor and much clearer recording

“The release of the Stereo VideoMic Pro reaffirms RØDE’s category ownership of the on-camera microphone, and gives yet another tool to filmmakers, content creators and musicians” commented Damien Wilson, RØDE Microphones’ Global Sales & Marketing Director. “The audio quality of this microphone really is outstanding, and I can’t wait to hear some of the great content our customers will create with it.“

The RØDE Stereo VideoMic Pro is shipping now. For more information please visit rodemic.com/svmp

By Press Release   Wed, Jan 11, 2012

Blackmagic Design today announced Intensity Shuttle, a revolutionary new video capture and playback solution that uses Intel’s groundbreaking Thunderbolt™ technology. Intensity Shuttle makes the highest quality 10-bit SD and HD video affordable for everyone, in a truly portable solution that’s priced at only $239.

Intensity Shuttle will be displayed on the Intel CES 2012 booth at Central Hall #7253.

Intensity Shuttle features all the video connections needed to connect video cameras, set-top boxes, game consoles, large screen TVs and projectors to a Thunderbolt-enabled computer. The attractive inline design includes HDMI, analog component, composite and S-Video inputs and outputs. These high quality HDMI and RCA connectors are the worldwide standard for connecting digital and analog consumer video equipment.

Thunderbolt™ enabled computers connect to Intensity Shuttle using a single cable that is capable of 10 Gbps data transfer speeds, that’s 20x faster than USB 2.0 and 12x faster than FireWire 800. Intensity Shuttle is powered over the Thunderbolt™ cable and, with no need for an external power supply, is a completely portable device that can be moved easily between laptop and desktop computers.

Intensity Shuttle uses the same high quality electronics as Blackmagic Design’s high end broadcast capture and playback solutions! Now it’s possible to capture live game play, archive family movies and create amazing videos in full broadcast quality 1080HD video! Intensity Shuttle’s HDMI output can be connected to large screen HDTVs and projectors for full high resolution monitoring and playback of your work!

Most consumer video cameras compress HD video to fit longer recordings on to tapes and discs. For video editing compressed media needs to be decoded to play back each frame of video and this puts additional strain on a computer’s CPU and limits real time editing effects. Capturing directly with Intensity Shuttle bypasses camera compression by recording directly from the camera’s image sensor, so a low cost consumer camera can be used to capture full HD resolution video in broadcast quality!

Intensity Shuttle offers the flexibility of working with compressed and uncompressed video in standard definition PAL/NTSC up to full 1080p HD video. Blackmagic Design’s Media Express software is included for a complete capture and playback solution without the need for any additional software. Video files are fully compatible with popular editing and design software including Apple Final Cut Pro, Adobe Premiere, Avid Media Composer, Adobe Photoshop and After Effects.

“Using Intensity Shuttle with Thunderbolt™ technology combines the quality and speed that videographers demand”, said Grant Petty, CEO, Blackmagic Design. “It’s incredibly exciting when technologies come together and create new opportunities for the way people work with video. The barriers of working with broadcast quality video have gone forever and everyone can create amazing looking work!”

Intensity Shuttle Features
   •    SD and HD compressed and uncompressed 10-bit video capture and playback.
    •    HDMI in and out.
    •    Component analog in and out.
    •    Composite video in and out.
    •    S-Video in and out.
    •    Stereo analog audio in and out.
    •    Thunderbolt™ port.
    •    Powered over Thunderbolt™ cable.
    •    Supports Apple FInal Cut Pro, Adobe Premiere, Avid Media Composer and leading editing software.
    •    Supports Adobe After Effects, Adobe Photoshop, The Foundry and more design and compositing tools.
    •    Includes Blackmagic Design Media Express capture and playback software.

Availability and Price
Intensity Shuttle Thunderbolt™ will be available in Q1 2012 for $255 from all Australian Blackmagic Design resellers.

By Press Release   Tue, Jan 10, 2012

What if most of what’s being taught about screenwriting is wrong? What if the rules, paradigms and secrets widely touted in books, seminars and classes not only don’t improve your chances of making it, but could actually sabotage you?

And what if there were specific skill sets nobody talks about that could dramatically boost your chance for success? Join this webinar to learn the five main reasons people fail at screenwriting and to come away with specific insights and hands–on tools that can help give you the best possible shot at success. Perfect for experienced screenwriters as well as beginners.

During this informative webinar, he will cover topics screenwriters need to know like:

• What is required to launch a career

• Why most scripts fall apart in the middle and how to avoid it

• The power of the unifying principle

• Organic character driven narration

• How to avoid the five traps that sink most scripts

• How professionals rewrite their scripts

• Why story structure formulas don’t work

• Creative integration of the conceptual and intuitive approaches

• How to get an agent or manager

• Tools to stop procrastination

Tuesday, January 18, 2012
from 6:00 PM to 7:30 PM (PT)

Click here to register

By Press Release   Tue, Jan 10, 2012

The GY-HMQ10 is the world's first hand held camcorder capable of capturing and recording real-time video at 4 times the resolution of full HD—3840 x 2160 images at 24p, 50p and 60p. Now you can deliver stunning cinema-quality recordings with the same ease of operation as a standard HD video camera.

Great images begin with a great optical system. The GY-HMQ10 employs a razor sharp F2.8 10x zoom lens specifically designed for 4K imaging. A high speed 1/2-inch class CMOS device with 8.3 million active pixels (3840 x 2160) captures live progressive images at up to 60 frames per second. This tremendous amount of data is then processed using an array of custom JVC Falconbrid LSI chips that deBayer the image and provide a live 4K output while simultaneously compressing video for recording onto separate solid state memory cards. 4K recordings up to 2 hours in length can be made using four 32GB SDHC cards.

Operation and form factor are very similar to JVC's popular GY-HM150 with manual or auto control of focus, iris, gain, shutter, gamma level, color matrix, and white balance.

The GY-HMQ10 also functions as an exceptional HD camcorder thanks to its larger 4K imager and superb optics. It records full HD (1920 x 1080) at 50/60p or 50/60i onto a single memory card in the AVCHD format.

MAIN FEATURES:

• 1/2.3" Back-illuminated CMOS Sensor (8.3 million active pixels)

• Ultra high resolution F2.8 10X Zoom Lens (F2.8 to 4,5 — f=6.7-67 mm) (35 mm conversion: 42.5 to 425 mm)

• Built-in optical image stabilizer

• 4K Recording: 3,840 x 2,160 MPEG-4 AVC/H.264(.MP4) 4 Stream Separate Recording 60fps/50fps/24fps Progressive at 144Mbps

• 4K recording for up to 2 hours (32GB SDHC, x4)

• JVC file utility included for combining separate streams into single editable file

• Also functions as fully featured full-HD camcorder AVCHD progressive (.mts) 60i/60p or 50p/50i

• Interval (time lapse) recording in both 4K and HD modes

• JVC's patented "FOCUS ASSIST" function

• Full HD (1920x1080) trimming function

• 3 assignable user buttons

• 2 audio channels

  4K mode: AAC, 2ch, 48kHz,16bit
  HD mode: AC3, 2ch, 48kHz, 16bit

• Manual audio level controls with audio meter

• XLR inputs with 48V phantom power

• Large 3.5-inch 920,000 pixel LCD display with touch panel

• 0.24" Lcos 260,000 pixel viewfinder

• Records to inexpensive SDHC/SDXC memory cards

  4 used in the 4K mode
  1 used in the HD mode

• Wired remote control capability

By David Hague   Mon, Jan 09, 2012

Lexar, today announced new Lexar Professional 400x CompactFlash (CF) card capacities, including the industry’s first 256GB memory card. Also available in 64GB and 128GB capacities, the increased capacity options provide enormous storage capabilities and impressive performance for photographers and videographers to capture large volumes of high-resolution images and high-definition video. These increased capacities also open the door for new uses in the industrial and commercial markets where higher capacity hard disk drives have previously been used. For additional information about the Lexar Professional 400x CF card, visit www.lexar.com.

The new Lexar Professional CF card capacities are speed rated at 400x and provide a minimum guaranteed transfer speed of 60MB per second, allowing professionals and advanced photo and video enthusiasts to enjoy extended capture of 1080p full-HD video and sustained, rapid-fire shooting.* When paired with UDMA 7-compatible devices, like the Lexar Professional USB 3.0 Dual-Slot Reader, the new Professional 400x CF card capacities provide rapid transfer of content from card to computer, significantly accelerating the digital workflow and enabling photographers to spend more time creating and less time waiting.

“With enhanced quality available now in the HD video format, I know just how quickly memory space can disappear! My work style is fast and spontaneous and storage capacity is a big issue
for me. Having the freedom to keep shooting without having to stop to change cards helps my creative flow tremendously,” said Scott Duncan, Lexar Elite Photographer. “Lexar Professional cards have always given me the large capacities I need to focus on my shooting, and the performance I require to get my footage onto my computer for editing.”

All Lexar product designs undergo extensive testing in the Lexar Quality Labs to ensure performance, quality, compatibility, and reliability with more than 800 intended digital devices.

“More professional photographers and enthusiasts are embracing the fact that they can capture high-quality images and HD video with their digital SLR. As a result, they’re shooting longer and longer, and need a storage solution that won’t interrupt the creative process,” said Manisha Sharma, director of product marketing for cards, Lexar. “The new capacities of the Lexar Professional 400x CF card empower photographers to just keep shooting, without the need to change cards or risk missing once-in-a-lifetime shots or footage.”

The Lexar Professional 400x CF card includes a free copy of the latest version of award-winning Image Rescue® software, worth US$33.99, to help recover lost or deleted photos and videos, even if they have been erased or the card has been corrupted.** Additionally, the Lexar Professional 400x CF card comes with a limited lifetime warranty and free, dedicated professional technical support. The new 64GB and 128GB capacities of the Lexar Professional 400x CF memory card will be available in January, with RRPs of $316.20, and $537.50 respectively. Lexar is currently sampling the 256GB capacity of the Professional 400x CF memory card to commercial and industrial customers, as well as strategic imaging industry partners, to assure compatibility and reliability with current and future applications. The 256GB Lexar Professional 400x CF card is expected to be released for consumer purchase in the first half of 2012. 

By David Hague   Tue, Jan 10, 2012

Samsung Electronics Australia today announced the latest additions to its family of camcorders. The new Q20 takes Samsung’s Switch Grip feature one step further for even easier recording compared to its predecessor, while the F80 is the range’s go-anywhere family-friendly companion.

“Samsung’s latest camcorders are our strongest ever – consumers now have more options to suit every lifestyle and any budget,” said Emmanuele Silanseu, Director of IT, Samsung Electronics Australia. “Our new and improved Switch Grip feature coupled with Samsung’s stylish design and suite of creative features makes this range, a must have for Australian’s in 2012,” he added.

Flexible Family Fun With The Q20

The Q20 follows on from the popular Q10, incorporating the new Switch Grip 2 which increases flexibility to three recording angles – horizontal, vertical and left-to-right. The Switch Grip means that however the camcorder is held, the G-magnetic sensor inside recognises the angle and turns the LCD display so it’s easy to see and control recording from virtually any angle.

The Q20’s stylish design houses 1080i Full HD recording, 20x optical zoom and creative functions in a slim and portable form. Ideal for busy young families, it is a lightweight and easy-to-use grab-and-go companion.

Samsung’s new ‘Shake It’ feature incorporated in the Q20 gives an extra sense of fun to family movies, allowing artistic effects to be added randomly with a simple shake of the camera and Art time lapse effects including reverse time lapse can allow anyone to unleash their creativity. Meanwhile the camcorder’s One Touch recording function and touch-LCD make it easier to control recording and editing on the go.

Fun Family Moments In HD with the F80

The F80 is a family-friendly option that offers HD capabilities and upgraded image quality in an affordable and stylish package, full of intelligent features and powered by HDMI. With 52x optical zoom and 65x intelli-zoom, the F80 brings consumers closer to the family action. The F80 also features 1280 x 720 30p recording for smooth and clear video capturing in clear and bright detail on the 1/3.2″ 5M pixel CMOS Sensor as well as 1080i video upscaling via HDMI and the Smart Background Music II makes it easy to add a custom soundtrack to make users movies truly memorable.

Create Memories That Are Works of Art

Each new camcorder in Samsung’s new line-up offers creative options to bring consumers movies to life easily and without the need for editing experience or even a computer. My Clip, found across the whole range, is a simple way to bookmark the most important parts of the action as they happen so that users can pick the best moments for an instantly edited ‘highlights’ montage. The upgraded Smart BGM II (Background Music) adds atmosphere to movies through syncing music, automatically adjusting volume under/over a video clip.

Pricing and Availability

The Samsung F80 will be available at RRP $219.00 from February 2012 and the Samsung Q20 will be available at RRP $329.00 from March 2012.

By David Hague   Mon, Jan 09, 2012

From parties, gigs and fun days out to adventure-packed holidays: the new MHS-TS22 Bloggie™ Sport from Sony keeps pace with whatever’s happening. Shooting Full HD videos and detail-packed stills at the touch of a button, the tough new HD snap camera even shrugs off water, dust, sand and shocks.

Boasting a colourful new look, Bloggie™ Sport is ruggedly styled with gently curved lines for a sure, comfortable grip. It’s waterproof*1, withstanding immersion in 5m of water for up to an hour. You can even use the touchscreen while you’re snorkelling or diving: there’s also a special underwater shooting mode that adjusts colour balance for beautifully natural results. Ideal for active lifestyles, Bloggie™ Sport handles drops*2 from a height of 1.5m, or dusty*3 conditions on the beach or mountainside.

Bloggie™ Sport is brilliantly simple and fun to use, whatever you’re doing. Shoot with the camera in portrait or landscape position: the informative on-screen display ‘flips’ automatically for comfortable viewing in either orientation.

With its bright autofocus/automacro lens and sensitive Exmor CMOS sensor, Bloggie™ Sport shoots clear, beautiful images in any situation – even at dusk or indoors. SteadyShot keeps images stable and blur-free, while Face Detection keeps portraits crisp and clearly exposed. Dual Record lets you grab still photos without interrupting video recording. If you’re shooting after dark, a built-in LED throws more light on arm’s-length self-portraits and close-up shots.

Video footage captured in Full HD mode (1920x1080/30p) is perfect for viewing on your HD TV or PC. There’s also an HD mode (1280x720/30p); HD Sports mode (1280x720/60p) for fast-moving subjects; and Lite mode (480x270/30p) for super-quick uploads to social networking sites. A generous 4GB of internal memory gives space to store around 2 hours of HD video.

If you’re shooting in a hurry, the handy ‘Share-it-Later’ function lets you tag clips and still images via the touchscreen for easy uploads to Facebook, YouTube or PlayMemories Online™ when you’re back home.

Sharing your memories couldn’t be easier. Connect Bloggie™ Sport to your PC via the camera’s built-in USB arm that also recharges the camera’s built-in battery. Full compatibility with PlayMemories Home™ software by Sony makes it beautifully easy to upload videos and stills to your favourite sharing sites. PlayMemories Home™ can be installed via the camera’s Setup Guide website. It’s accessible at http://www.sony.net/start/bloggie or from a shortcut on the camera’s internal memory.

An HDMI port connects Bloggie™ Sport to your HD TV or compatible PC for a big-screen view of your photos and videos.

By Press Release   Fri, Jan 06, 2012

Sony has continued to roll out its professional OLED monitors with placements across the country including the latest installation at Gearhouse Broadcast Australia, a leader in HD Outside Broadcast technology.

With Seven Network, Fremantle Media and Fox Sports as principle clients, Gearhouse Broadcast Australia is keen to keep its 18 month old fleet of OB units updated with the latest equipment. As part of this process the company has taken delivery of 16 PVM-1741 17-inch Professional OLED Picture Monitors and installed them in the largest four trucks of its outside broadcast fleet.

“I’ve been waiting for years for LCD to be superseded and was right on Sony’s door when OLED’s were released,” said Ray Martin, General Manager, Gearhouse Broadcast Australia. “I believe OLEDs are the first true grading monitors since CRTs and they have matched the hype - they haven’t disappointed and have met all our expectations.

“I first saw Sony’s 7 inch OLED monitors at NAB 2010 and the larger production models in 2011. I also saw them during a roadshow where OLEDs were show in a side-by-side test with LCDs and CRTs - you could definitely see the quality of the OLED monitor.”

The PVM-1741’s have been installed in CCU/grading and monitoring positions of Gearhouse’s HD-1 and HD-2 double-expanding semi-trailers and into TD/grading positions for the HD-3 and HD-4 single-expanding trucks.

Improved image quality

The quality of images provided by Sony’s OLEDs was the obvious choice for Martin when he needed to match client requests for improved technical monitoring. Their existing LCDs could not provide a full HD pixel count and operators were having to guess at black levels.

“Some of our clients felt the LCD monitors were not giving their images a just representation and I knew Sony was about to release its OLEDs, so I managed to hold off upgrading until then,” said Martin.

“In the future we plan to install the OLEDs into all the technical positions throughout the additional fleet as well. If there is any requirement for the LMD-1751 LCDs we will install PVM-1741’s instead into the grading positions and deploy the LCDs elsewhere. I still feel the LMD-1751 and 24” LCDs are very good monitors for production galleries but when you are in CCU or grading positions the OLEDs are far superior. Eventually in 5-6 years OLEDs take over from LEDs and we’ll see them throughout our trucks, including 24” OLED monitors in use in the production gallery.”

The installation of the PVM-1741 OLED monitors also provided Gearhouse Broadcast Australia with the benefit of having HD-SDI inputs as standard. Martin explained, “Monitors have always been a problem for us in the past because we had to pick the input card to match what the monitor was going to be used for. In our business we move them around a lot and require different inputs so having the HD-SDI input as standard on the PVM-1741s is a huge bonus.”

By John Westwood   Tue, Jan 03, 2012

Some video editors may feel, in the scheme of things, that Edius editing software is a fringe dweller. That may be the case in terms of market share but there are hundreds of thousands of end users across the globe.

Typical of software developers, operating instructions for their wares often come bound in book form or as a PDF file. By the time you get to page 842 you’re either totally confused or have run out of time to do the planned work. Enter the DVD complete with audio and visual support which often helps those of us who are confirmed visual learners or too busy to take on more tertiary study.

Gavin Lucas, a certified Edius trainer has produced a training DVD entitled Edius 6 – A comprehensive tutorial. All up, there is nine and a half hours of clear concise information, and I mean it. There are ten chapters in all plus a summary or conclusion. The DVD is well illustrated with high definition video and well-spoken with clear English. Moving from chapter to chapter is easy and once you have learned the contents using the DVD as an on the job reference point is second to none.

For those of you that are already using Edius 6 or Edius Neo 3 the recommended retail price of $A79.00 is a bonus and a very good investment in power editing. For the beginner, watching this DVD will inspire you to embrace the Edius software, it’s that easy. The fact that this DVD is suitable for the PC and Mac is a step forward but having the iPad version included for the one price is a real plus.

What you get in the DVD package is more than 160 lessons, coverage of all the important basics and themes, detailed and descriptive step by step explanations plus lots of practical tips and tricks.

Some of the topics covered include important settings and adjustments, optimisation, batch capturing, detailed bin functions, important basics for editing and management, working with still images, how to use video transitions and filters, improving audio, creation of DVD and Blu-ray discs and other bonus lessons. Something for everyone.

 I’ve been editing for close on thirty years, over 3000 documentaries, and more than 300 on television across the world. This is the first DVD editing tutorial that I can endorse with confidence. Who’s it for? A power user or novice, it will appeal to all. If you already have Edius, buy the tutorial. If you’re looking for a good editing program Edius has just become all that much better with this training resource.

Auscam rating

Ease of use                        10

Features                             10

Value for money               10

Price                                    $79.00 inc. GST

Contact                               www.onscreentraining.com

By David Hague   Tue, Jan 03, 2012

In my experience, the greatest threat to any small – or indeed large – business is the lack of full usage of resources. Just as a hotel makes no money on a vacant room, so if a piece of equipment is not utilised to its fullest, it could be costing money.

To illustrate this, allow me to digress for a moment.

Many years ago at a trade show at Darling Harbour I had the misfortune to slip on a carpet tile while carrying a heavy box of books. The pain was like a bolt of lightning going through my skull and I was physically ill for more than a few minutes. Next morning I couldn’t move. I lay in my bed in the hotel room absolutely rigid and it was only when a housemaid knocked that I managed to get some action in the form of a physio and a doctor to free me up. The mistake I made at the time was not insisting on an X-Ray, and so the damage to my spine incurred that day stays with me 25 years later and for ever.

It manifests from time to time and lays me horizontal for days on end. During one of these periods I decided to have a read of all the ‘gadgets’ and software manuals I have accumulated. May as well, there was nothing else I could do!

To say it was enlightening is an understatement. I learnt that the ‘stuff’ I had could do far, far more than I knew about. And these were in basic everyday things most of us use such as my favourite digital watch (I collect cheap tacky watches for my sins), Microsoft Word and Excel, my Livescribe pen (see last month’s Auscam), digital still camera, SatNav and more.

Whilst some of these discoveries could simply be described as ‘cool’ and fun such as using the GPS in my still camera, or some of the trick I can do with the Livescribe pen, others are almost epiphanies and have allowed me to streamline many operations of Auscam so that I have a finger on the pulse of the administration side, which is easily arguably my major weakness.

For example I have my invoicing (using Word) linked into an Excel spreadsheet that has separate (also linked) tabs for Budgets, Cash Flow, Receivables, Payables, Manufacturing Costs and so on. Whenever a value changes, eg cost of envelopes to post editions out, everything related is updated immediately to reflect that change.

Now I know this is what spreadsheets are designed to do; the difference is the way I have done it by using formulas and techniques I had no knowledge of before reading the Excel manual.

Whereas I used to spend hours (and usually put off!) doing the dreaded BAS, the figures I need are now available at any point in time.

Also linked in is the database of subscribers, advertisers, contributors, media and vendors. This means at any time I can tell exactly what my advertising revenue (now and projected) will be and ditto for subscribers. Crucially though, I can also tell if marketing or production costs are out of control. I intend to take this one step further by also pulling Microsoft Project into the mix allowing me to schedule resources better as well as costs.

My major point is that you no doubt spend lots of time reading the documentation for your camcorder to get the very best from it professionally, so why not do the same for your business software as at the end of the day, these are also tools contributing to your business!

Have you read the documentation on your NLE lately? Have there been upgrades allowing you to work faster or smarter or offer facilities you could not do before such as shooting and editing in 3D? Anything that speeds up the process of getting the finished product out the door is saving you money thus lowering overheads and allowing you to “sell” more time.

Having knowledge of the administration tools lets you control your business more effectively and pick up trends and other nuances to either catch before they get out of control, or maybe can offer an opportunity you might have missed.

If you have or find any good tips, feel free to share with us by sending them to david@auscamonline.com

By Frank McLeod   Tue, Jan 03, 2012

In two recent articles, Frank McLeod delved into many of the attributes of Sonic Pro’s Express Track and also Scoring Editing, both by SmartSound.  Space precluded our mentioning the availability now of plugins for Adobe Premiere Pro CS 5 & 5.5, Adobe After Effects CS5 & 5.5, Apple’s Final Cut V6 &7, Avid Studio 1.0 and Pinnacle Studio 15. These software packages install alongside the editing program and interface with the respective programs.  This makes tailoring your music to the contents of the timeline that much easier as well as facilitating the work flow, thus saving time. While there will be minor differences in how this software interacts with your editor, the work flow in Premiere Pro will give you an idea how it works.

Run your plug in software and the Express Track interface opens. After selecting and modifying the music to suit your needs, click the ‘Send’ button and the music is then added to the open project in the editing package. Then, simply add the music to your timeline in the usual way and the deed is done. Should you wish to make some additional adjustments to the music later on, by just double clicking on your track, you will open the music in Express Track for further tinkering.

If you subscribe to the SmartSound website, you will get regular notifications of the many specials with marked price reductions that may well tempt you back to enhance your music collection over time.