Priced at less than $5,000, Sony’s new FDR-AX1 4K Handycam will appeal to indie filmmakers and videographers on a budget who want to move into 4K video without breaking the bank. Built around a BSI 1/2.3-type Exmor R CMOS sensor, the FDR-AX1 can record 4K as well as HD video.

Movies are recorded in the XAVC S format using MPEG-4 AVC/H.264 Long GOP for extended recording time of almost two hours of 4K/60p or 3 hours of full HD when storing footage on a 64GB XQD card. The camcorder features dual, hot-swappable XQD card slots so you can continue to record while replacing a full card.

Equipped with a 20x, image-stabilized G lens, the AX1 has an optical zoom range of 31.5-630mm (35mm-equivalent). The camcorder also features dual XLR connectors and an HDMI out. The latter will be upgradeable to the new HDMI 2.0 standard via a firmware update. Since 4K TVs are expensive and haven’t become as ubiquitous as HDTVs, the AX1 can easily output full HD by changing the camera’s output settings.

Although there are a few 4K cameras that are smaller than the 7 7/16 x 7 19/32 x 14 ¼ inches, 86.1 ounce FDR-AX1 and less expensive (see Greg Scoblete’s roundup of a half-dozen 4K cameras on PDNOnline) but, at first glance, the FDR-AX1 seems to provide entrée to 4K video without too much compromise in terms of pro features and functionality. It’s likely that the competition for prosumer-type 4K video cameras will increase in the coming year. We’ll have to wait and see what happens but our money’s on a very interesting NAB show in April 2014.

The FDR-AX1 ships in October and comes with Vegas Pro 12 Edit software and a 32GB XQD memory card.

Price: $4,500

www.sonystyle.com

http://blog.sony.com

Related articles
6 Cameras to Ease Your Way into 4K Video

The post Sony Adds $4,500 4K Handycam to Its Line-up appeared first on PDNPulse.

This may be the year of the 4K-compatible CompactFlash card, the latest coming from Delkin. The new 1050X UDMA 7 Delkin Cinema card targets videographers, particularly those shooting 4K on DSLRs such as the Canon EOS-1DC and C500. This is Delkin’s fastest card to date, featuring write speeds of up to 120MB/s and read speeds up to 160MB/s.

As Delkin explains, the Canon EOS-1DC, for example, requires UDMA 7 cards with a minimum write speed of 100MB/s in order to record 4K footage at 24 frames per second without dropping frames or stopping recording.

The 1050X is also compatible with digital file recorders such as AJA’s Ki Pro Mini.

Delkin’s CF Cinema cards are available now in three capacities: 32GB, 64GB and 128GB.

Prices:

32GB: $150

64GB: $350

128GB: $700

www.delkin.com

Related articles from the PDN archive:

6 Cameras to Ease Your Way Into Shooting 4K Video
9 Tips on How to Light 4K Video

The post Delkin Announces Fast 1050X Cinema CF Card appeared first on PDNPulse.

Photographers who also aspire to be cutting edge cinematographers can get the best of both worlds with the new Panasonic Lumix DMC-GH4, which is the world’s first mirrorless, interchangeable lens camera with 4K video capture.

Panasonic just introduced the Lumix GH4 ahead of the big CP+ Camera & Photo Imaging Show 2014 in Japan next week, where it will join several intriguing new cameras. (Yesterday, Pentax announced that its newest 645D medium format camera with a CMOS sensor will also be on display at CP+)

Panasonic first teased the 16-megapixel GH4 at the CES show in Las Vegas last month, showing off a prototype of the 4K-shooting camera under glass. We were able to snap a stealthy photo of the camera during the show.

The new Panasonic Lumix GH4 looks similar to its predecessor, the GH3, which was introduced at photokina 2014 and also used a 16MP sensor.

Under the hood though, the GH4 is a whole new animal, with a newly developed 16.05MP “Digital Live MOS sensor” designed to not only capture 4K video, but reduce the wobbly “rolling shutter” effect you can get when you pan too aggressively with a CMOS-based camera. This is key because rolling shutter can be even more pronounced in ultra-crisp 4K video, which features 4,000 pixels of horizontal resolution, making it approximately four times the resolution of HD video.

We actually predicted this trend of 4K video shooting coming to more digital cameras in our piece “5 Tech Trends That Are Changing the Photo Industry Today” from last year.

Read more of this story about the new Panasonic Lumix GH4 here.

The post Panasonic Unveils 4K-Shooting Lumix GH4 Mirrorless, Interchangeable Lens Camera appeared first on PDNPulse.

(Sponsored) Come see why 4K video is quickly becoming the new standard in video capture and learn about workflow options at this free seminar being conducted by National Geographic veteran photographer & Sony Artisan of Imagery David McLain.  At this seminar (one of three at a day-long event), you’ll experience how McLain used the Sony a7s full-frame interchangeable lens camera to cover the World Cup in Brazil and learn why professional photographers and videographers alike are moving to 4K video. August 28, 2014, 11:00 a.m. at the B&H SuperStore in New York City.

More information at: www.bhphotovideo.com/find/eventDetails.jsp/id/1879

For more on McLain’s filmmaking, see PDN’s “Frames Per Second: Documentary Film Traces the Roots of Play.”

The post Free Seminar Alert: David McLain on 4K Video Workflow appeared first on PDNPulse.

Panasonic hit NAB with an update to its GH4 mirrorless camera plus a new point-of-view camera and preview of a new video camera we can expect to see in the fall.

With a Version 2.2 firmware update at the end of this month, the GH4 will be able to record anamorphic video content to mimic the widescreen, cinemascope aspect ratios used by cinematographers. With the new firmware, GH4 owners will have be able to shoot in 4:3 Anamorphic Mode to capture video at  3328×2496 at a frame rate of either 23.98, 24, 25 or 29.97 fps.

The GH4 will also get a faster electronic shutter speed with the new firmware, maxing out at 1/16,000 sec. after it’s installed.

Panasonic will also launch a new 4K camera in the fall. The AG-DVX200 (pictured above) is a fixed lens camcorder with a new Four Thirds CMOS image sensor capable of 12 stops of dynamic range.

The DV200 will record 4K (4096×2160) at 24 fps as well as UHD (3840×2160) at up to 60 fps and HD up to 120 fps in either MP4 / MOV file formats to a pair of SD cards.

According to Panasonic, the DVX200 will feature the same tonality and colorimetry as the company’s VariCam lineup.

On the optics front, you’ll find a 13X Leica Dicomar f/2.8-4.5 zoom lens with three manual rings for focus, iris and zoom. The lens uses a five-axis hybrid image stabilizer to keep footage blur-free. Additional features include time-code in/out, 3G HD-SDI and HDMI 2.0 (4K) video outputs.

Panasonic plans to ship the DVX200 in the fall for under $5,000.

Panasonic also launched a new point-of-view action camera. The New HX-A1 is an HD camera weighing in at a svelte 1.6 ounces. It’s waterproof to a depth of 5 feet without a housing, shockproof up to 5 feet and freezeproof.

It features built-in Wi-Fi for remote control and image sharing via a mobile device. It can also send a video stream to Panasonic’s W970 and W870 camcorders to merge its video in a sub-window with footage captured by either of the two conventional camcorders.

A loop recording function enables continuous recording by erasing earlier clips after you’ve recorded for more than an hour. You can shoot up to 120 fps at 848×480 or up to 60 fps at 1280×720. Full HD is captured at 30 fps.

When connected to a computer via USB, the A1 can double as a webcam. Pricing and availability were not announced.

The post Panasonic Will Give GH4 New Tricks, Adds 4K Video Camera, New Action Cam at NAB appeared first on PDNPulse.

Sponsored by Samsung

Display resolutions don’t change often, but when they do, the change is momentous. When the world switched from standard to high definition, the revolution transformed both the media and electronics industries.

A similar revolution is underway again, as the world starts its trek from high definition to 4K or “ultra-high definition.”

As with any change of this sort, early adopters face a number of challenges before taking the plunge, but those who do strike early can be rewarded. Here are three reasons why now is the best time to invest in 4K.

Photo © Andrew Putschoegl

It’s the future

The consensus among market research firms is that 4K-television adoption is a matter of “when” not “if”—and the “when” starts just about now. The Consumer Electronics Association projects that 4 million 4K TVs will be shipped this year in the United States alone, up 208 percent from 2014. Worldwide, the trend looks similarly bullish. Futuresource Consulting pegs the global market for 4K TVs at 100 million in just three years, representing more than a third of every TV sold.

As those screens find their way into homes, the race is on to fill them with content that fully takes advantage of all that resolution. It’s why streaming services like Amazon and Netflix are rapidly building up their library of 4K videos, from original programs to feature films and documentaries. YouTube and Vimeo have also rolled out support for 4K video as well.

Whether your video is destined to be viewed on desktop monitors or TVs, creating a 4K “master” of your video is an investment in the future of your work, viewable on the highest quality displays ever built for the world’s living rooms.

It makes your HD video better

Many industries, such as wedding videography, don’t necessarily need to produce a 4K deliverable today. Even if you a client only requires an HD file, it can still make sense to shoot in 4K. All those extra pixels give you ample room to crop or reframe your video to improve image stabilization or remove extraneous detail without sacrificing resolution. You can pan across your 4K video using post-production software without rapidly running out of pixels.

Depending on how you’re shooting, a 4K-video file may also capture more than just additional pixels, but more color information as well. Armed with this additional color information, you can down-sample a 4K file to HD with improved color detail.

Screen Grabs Are Awesome

Enhance! Zooming in on a 4K screen grab / Photo © Andrew Putschoegl

Shooting in 4K doesn’t just mean high-quality video; it can enhance your still photography, too. Isolating still images from HD video produces images that are a measly 1920×1080 pixels in size or about 2 megapixels—barely enough for a decent print.

A 4K still frame, on the other hand, is a chunkier file, either at 4096×2160 or 3840×2160 pixels in size, depending on your setting. That’s equivalent to an 8-megapixel image, ample resolution to print by.

This doesn’t just mean that stills from your video production will be higher quality (though they will be), it also means you can use 4K video as a “burst mode on steroids” for moving subjects to capture images that your camera might otherwise miss. It’s not necessarily applicable in every situation of course, but it opens up new creative possibilities that aren’t available to you when shooting in high def.

Samsung and PDN recently launched the 4K Filmmaking Challenge, giving motion shooters the opportunity to shoot a short 4K film. One grand-prize winner will receive $2,500, an NX1 and a profile in a print PDN/Samsung supplement. Check it out at 4kfilmmakingchallenge.com

The post Three Reasons to Go 4K appeared first on PDNPulse.

Panasonic continues to expand the number of 4K cameras in its arsenal with the introduction of the new GX8 and FZ300. Beyond the new models, Panasonic said it was prepping a Lytro-like “post focus” capability for its new cameras that would leverage 4K recording and touch screens to allow users to adjust the focus point after capture. New lenses, too, are also in the works.

Let’s start with the cameras.

GX8

In addition to 4K video, the Micro Four Thirds-based GX8 is the first in Panasonic’s lineup to offer a dual image stabilizer–one for the camera body, the other for the lens–that work in tandem to combat camera shake at all focal lengths. According to Panasonic, most of its image-stabilized lenses will be able to work with the new dual stabilizer system in the GX8. When filming videos, the GX8 will employ a 5-axis hybrid stabilization that combines sensor shifting and digital corrections and is similar to the system used in the company’s video cameras.

The GX8 features a new 20.3-megapixel image sensor and quad-core Venus Engine CPU to drive continuous shooting at 8 frames per second in AFS mode and 6 fps in AFC mode. Dynamic range has been improved by a 1/3 stop over its predecessor, the GX7.

Like most recent Panasonic cameras, the GX8 will record 4K video (3840x2160p30) as well as 1920x1080p60 video in either AVCHD Progressive or MP4. Similar to the G7, the GX8 features a 4K Photo Mode that lets users shoot 4K video in any aspect ratio and isolate an 8-megapixel clip from a 4K video file during playback. According to Panasonic, the virtue of using 4K Photo Mode versus simply grabbing stills from 4K video is the ability to change aspect ratios and the faster shutter speed of 1/500 sec. that keeps 4K Photo Mode stills in sharper focus than 4K video frame grabs. The color range is also wider in 4K Photo Mode than it is during 4K video capture.

There will be three new 4K photo modes in the GX8.

A 4K Burst Shooting mode captures frames at 30fps for the duration of your shutter press (up to 4GB worth of data). A 4K Burst S/S (Start/Stop) mode starts consecutive shooting with a single press of a shutter button and stops it with the second press. Finally, a 4K Pre-burst mode automatically records 30 frames before and 30 frames after your shutter press for a total of 60 4K video frames to choose from.

Other features of the GX8 include:

* a tilting OLED Live Viewfinder with a magnification ratio of 1.54X and a 100 percent field of view

* a free-angle 3-inch OLED touch screen display

* 240 fps Contrast AF system with DFD (depth from defocus) technology that calculates the distance to the subject by evaluating 2 images with different sharpness level while consulting the data of optical characteristics of the current lens to deliver a .07 sec. AF speed

* 49 AF points

* 1/8000 mechanical shutter speed and a 1/16,000 sec. electronic shutter

* improved low-light focusing down to -4EV with a Starlight AF mode to help users shoot stars in the night sky using autofocus by narrowing the AF zone

* Wi-Fi and NFC

* weather proof magnesium alloy die cast frame

* in-camera RAW processing

* focus peaking

The GX8 is due to ship in mid-August in two versions: all black and a model with a silver top with a black bottom for $1,200 (body only).

The FZ300

Panasonic also rolled out the successor to the FZ200. The new FZ300 delivers a similar optical package with a 25-600mm f/2.8 built-in lens with optical image stabilization and adds 4K recording and a new Venus Engine image processor to improve ISO sensitivity to a max of ISO 6400.

The FZ300 features a 12-megapixel image sensor, 4K video recording and the same 4K Photo modes as the GX8 above.

You can frame your compositions through a 1,440K-dot OLED LVF with a 100 percent field of view when shooting in 4:3.

Additional features of the FZ300 include:

* 3-inch, free angle LCD

* 12 fps continuous shooting in AFS mode or 6 fps in AFC

* .09 sec. AF speed with DFD technology

* low light focusing down to -3EV

* Wi-Fi

* 5-axis hybrid stabilizer for HD video recording

* focus peaking

* in-camera RAW processing

The FZ300 will ship in mid-October for $600.

Coming Soon: Post Focus Mode

According to Panasonic, a new Post Focus mode will leverage a 4K burst mode to compile multiple exposures which a user would then use to freely determine a focus point in the frame using a touch screen. Post Focus mode will come to both the GX8 and FZ300 later this year via a firmware update as well as future models not yet announced by the company.

Beyond the focusing capabilities, Panasonic also said it was working with Leica to develop a Leica DG 100-400mm f/4-6.3 telephoto lens for its Micro Four Thirds lineup. The lens would offer a 35mm equivalent focal length of 200-800mm and a dust and splash-proof build. Panasonic said its light weight and image stabilization would allow for handheld shooting out to the very end of the focal length.

The company is also prepping a Lumix G 25mm f/1.7 prime lens. Release date and additional specs for both lenses are not yet available. Product photography is preliminary.

The post Panasonic GX8, FZ300 Deliver 4K Recording, Faster Processing While Company Eyes Focus-Free Future appeared first on PDNPulse.

Panasonic is celebrating the 15th anniversary of its Lumix camera business in appropriate fashion, by introducing three new models: an interchangeable lens camera, an advanced compact and an ultra-zoom. They also gave a few details on the GH5, which will ship next year.

The GH5 will record at up to 6K at 30p. The 6K video function will support a 6K Photo mode that will let users isolate 18-megapixel still images from a video file, similar to how users can isolate 8-megapixel stills from a 4K video in Panasonic’s 4K Photo mode.

The GH5 will have an 18-megapixel sensor that can also record 4K video at 60p at 10-bit 4:2:2. Three new lenses–an 8-18mm, 12-60mm and 50-200mm–are also coming. They’ll all have variable apertures of f/2.8-4.0.

The G85

Like the GX85, the G85 features a 16-megapixel CMOS sensor with no optical low-pass filter for sharper images. It also features an updated version of the GX85’s dual image stabilization system for a CIPA-sanctified 5 stops of image correction. According to Panasonic, while the dual stabilization platform corrects for image shake at both the wide and tele ends of the zoom, it’s maximum impact can be seen at the telephoto end.

The camera has a 49-point AF system. You’ll hit 9 fps in continuous shooting with AF fixed on the first frame or up to 6 fps with continuous autofocus engaged. The G85 is weather sealed and has an economy battery mode that can deliver up to 900 shots per charge—impressive for mirrorless cameras, which typically struggle to deliver half that endurance. An accessory battery grip (DMW-BGG1) will also be available to deliver up to 640 shots in normal mode and up to 1,800 in power save mode.

The G85’s shutter mechanism has been engineered to dampen vibration so it’s not only able to deliver sharper images but it’s fairly quiet as well.

Like other Panasonic cameras, the G85 offers 4K video recording with Panasonic’s 4K Photo Modes and Post Focus capabilities. Alongside Post Focus will be a new focus stacking feature which combines dozens of images all with different AF points selected and compiles them into a single, in-focus image. The final focus-stacked image will have a resolution of 8.3-megapixels.

It will also offer a new live cropping mode that lets you zoom and pan in on a 4K video during playback to create a 1080p final video file with those cinematic effects. The G85 can output an 8-bit, 4:2:2 video through its HDMI output while simultaneously saving a 4:2:0 copy to an SD card. While Panasonic didn’t include its V-Log color profile in the G85, it will let users change luminance settings for video shooting.

Finally, you’ll have a 3-inch free angle LCD, a high-res OLED EVF, Wi-Fi and a 3.5mm mic input.

The G85 goes on sale in October for $899. It is available for pre-order now.

The LX10 is the latest advanced compact from Panasonic with a fixed 24-70mm equivalent Leica lens. It’s a fast lens with an aperture range of f/1.4-2.8 throughout the zoom range. You’ll enjoy 5-axis hybrid image stabilization and a minimum working distance of 3cm for super-close focusing.

The camera employs a 20.1-megapixel sensor with a maximum ISO of 12,800. The camera can clip along at 10 fps with focus fixed on the first frame or at 6 fps with continuous AF engaged.

The touch screen display supports touch focusing and touch shutter release. It can be tilted 180-degrees.

The  LX10 records 4K videos in 3840 x 2160 resolution at either 24 or 30 fps. Full HD recording is available to 120 fps. Like the G85, the LX10 features Panasonic’s 4K Photo modes, Post Focus, Focus Stacking and Live Cropping. In-camera RAW development is also available as is Wi-Fi.

Ships in November for $700.

Finally the new FZ2500 packs a built-in 20x optical zoom Leica lens  (26-520mm f/2.8-4.5) with an inner zoom structure that Panasonic says zooms more like a camcorder than still lens. Another camcorder-like addition: built-in ND filters that are accessible viable a direct switch (-2EV(1/4), -4EV(1/16), -6EV(1/64) and AUTO)^./

The camera features a 1-inch, 20-megapixel MOS sensor with a native ISO of 125-12,800 (extendable to 80 and 25,600).

The FZ2500 is one of the few still cameras that can record 4K video to the capacity of the card (most cameras cap 4K recording at 30 minutes). It also hits the “true” 4K resolution of 4096 x 2160 at 24 fps alongside 3840 x 2160 at up to 30 fps. High bitrate (200 Mbps) full HD recording is also available without limit. The camera includes Panasonic’s 4K Photo Modes, Post Focus and Focus Stacking features.

In still shooting, you’ll enjoy a burst rate of 12 fps with AF fixed on the first frame or 7 fps with AF engaged.

The FZ2500 features an OLED EVF and a free-angle 3.0-inch touch display. Additional features include Wi-Fi, NFC,  It will ship in December for $1,200. It is available for pre-order now.

The post Photokina 2016: Panasonic Teases GH5 and Releases G85, LX10 and FZ2500 appeared first on PDNPulse.

Priced at less than $5,000, Sony’s new FDR-AX1 4K Handycam will appeal to indie filmmakers and videographers on a budget who want to move into 4K video without breaking the bank. Built around a BSI 1/2.3-type Exmor R CMOS sensor, the FDR-AX1 can record 4K as well as HD video.

Movies are recorded in the XAVC S format using MPEG-4 AVC/H.264 Long GOP for extended recording time of almost two hours of 4K/60p or 3 hours of full HD when storing footage on a 64GB XQD card. The camcorder features dual, hot-swappable XQD card slots so you can continue to record while replacing a full card.

Equipped with a 20x, image-stabilized G lens, the AX1 has an optical zoom range of 31.5-630mm (35mm-equivalent). The camcorder also features dual XLR connectors and an HDMI out. The latter will be upgradeable to the new HDMI 2.0 standard via a firmware update. Since 4K TVs are expensive and haven’t become as ubiquitous as HDTVs, the AX1 can easily output full HD by changing the camera’s output settings.

Although there are a few 4K cameras that are smaller than the 7 7/16 x 7 19/32 x 14 ¼ inches, 86.1 ounce FDR-AX1 and less expensive (see Greg Scoblete’s roundup of a half-dozen 4K cameras on PDNOnline) but, at first glance, the FDR-AX1 seems to provide entrée to 4K video without too much compromise in terms of pro features and functionality. It’s likely that the competition for prosumer-type 4K video cameras will increase in the coming year. We’ll have to wait and see what happens but our money’s on a very interesting NAB show in April 2014.

The FDR-AX1 ships in October and comes with Vegas Pro 12 Edit software and a 32GB XQD memory card.

Price: $4,500

www.sonystyle.com

http://blog.sony.com

Related articles
6 Cameras to Ease Your Way into 4K Video

The post Sony Adds $4,500 4K Handycam to Its Line-up appeared first on PDNPulse.

This may be the year of the 4K-compatible CompactFlash card, the latest coming from Delkin. The new 1050X UDMA 7 Delkin Cinema card targets videographers, particularly those shooting 4K on DSLRs such as the Canon EOS-1DC and C500. This is Delkin’s fastest card to date, featuring write speeds of up to 120MB/s and read speeds up to 160MB/s.

As Delkin explains, the Canon EOS-1DC, for example, requires UDMA 7 cards with a minimum write speed of 100MB/s in order to record 4K footage at 24 frames per second without dropping frames or stopping recording.

The 1050X is also compatible with digital file recorders such as AJA’s Ki Pro Mini.

Delkin’s CF Cinema cards are available now in three capacities: 32GB, 64GB and 128GB.

Prices:

32GB: $150

64GB: $350

128GB: $700

www.delkin.com

Related articles from the PDN archive:

6 Cameras to Ease Your Way Into Shooting 4K Video
9 Tips on How to Light 4K Video

The post Delkin Announces Fast 1050X Cinema CF Card appeared first on PDNPulse.

(Sponsored) Come see why 4K video is quickly becoming the new standard in video capture and learn about workflow options at this free seminar being conducted by National Geographic veteran photographer & Sony Artisan of Imagery David McLain.  At this seminar (one of three at a day-long event), you’ll experience how McLain used the Sony a7s full-frame interchangeable lens camera to cover the World Cup in Brazil and learn why professional photographers and videographers alike are moving to 4K video. August 28, 2014, 11:00 a.m. at the B&H SuperStore in New York City.

More information at: www.bhphotovideo.com/find/eventDetails.jsp/id/1879

For more on McLain’s filmmaking, see PDN’s “Frames Per Second: Documentary Film Traces the Roots of Play.”

The post Free Seminar Alert: David McLain on 4K Video Workflow appeared first on PDNPulse.

Panasonic hit NAB with an update to its GH4 mirrorless camera plus a new point-of-view camera and preview of a new video camera we can expect to see in the fall.

With a Version 2.2 firmware update at the end of this month, the GH4 will be able to record anamorphic video content to mimic the widescreen, cinemascope aspect ratios used by cinematographers. With the new firmware, GH4 owners will have be able to shoot in 4:3 Anamorphic Mode to capture video at  3328×2496 at a frame rate of either 23.98, 24, 25 or 29.97 fps.

The GH4 will also get a faster electronic shutter speed with the new firmware, maxing out at 1/16,000 sec. after it’s installed.

Panasonic will also launch a new 4K camera in the fall. The AG-DVX200 (pictured above) is a fixed lens camcorder with a new Four Thirds CMOS image sensor capable of 12 stops of dynamic range.

The DV200 will record 4K (4096×2160) at 24 fps as well as UHD (3840×2160) at up to 60 fps and HD up to 120 fps in either MP4 / MOV file formats to a pair of SD cards.

According to Panasonic, the DVX200 will feature the same tonality and colorimetry as the company’s VariCam lineup.

On the optics front, you’ll find a 13X Leica Dicomar f/2.8-4.5 zoom lens with three manual rings for focus, iris and zoom. The lens uses a five-axis hybrid image stabilizer to keep footage blur-free. Additional features include time-code in/out, 3G HD-SDI and HDMI 2.0 (4K) video outputs.

Panasonic plans to ship the DVX200 in the fall for under $5,000.

Panasonic also launched a new point-of-view action camera. The New HX-A1 is an HD camera weighing in at a svelte 1.6 ounces. It’s waterproof to a depth of 5 feet without a housing, shockproof up to 5 feet and freezeproof.

It features built-in Wi-Fi for remote control and image sharing via a mobile device. It can also send a video stream to Panasonic’s W970 and W870 camcorders to merge its video in a sub-window with footage captured by either of the two conventional camcorders.

A loop recording function enables continuous recording by erasing earlier clips after you’ve recorded for more than an hour. You can shoot up to 120 fps at 848×480 or up to 60 fps at 1280×720. Full HD is captured at 30 fps.

When connected to a computer via USB, the A1 can double as a webcam. Pricing and availability were not announced.

The post Panasonic Will Give GH4 New Tricks, Adds 4K Video Camera, New Action Cam at NAB appeared first on PDNPulse.

Sponsored by Samsung

Display resolutions don’t change often, but when they do, the change is momentous. When the world switched from standard to high definition, the revolution transformed both the media and electronics industries.

A similar revolution is underway again, as the world starts its trek from high definition to 4K or “ultra-high definition.”

As with any change of this sort, early adopters face a number of challenges before taking the plunge, but those who do strike early can be rewarded. Here are three reasons why now is the best time to invest in 4K.

Photo © Andrew Putschoegl

It’s the future

The consensus among market research firms is that 4K-television adoption is a matter of “when” not “if”—and the “when” starts just about now. The Consumer Electronics Association projects that 4 million 4K TVs will be shipped this year in the United States alone, up 208 percent from 2014. Worldwide, the trend looks similarly bullish. Futuresource Consulting pegs the global market for 4K TVs at 100 million in just three years, representing more than a third of every TV sold.

As those screens find their way into homes, the race is on to fill them with content that fully takes advantage of all that resolution. It’s why streaming services like Amazon and Netflix are rapidly building up their library of 4K videos, from original programs to feature films and documentaries. YouTube and Vimeo have also rolled out support for 4K video as well.

Whether your video is destined to be viewed on desktop monitors or TVs, creating a 4K “master” of your video is an investment in the future of your work, viewable on the highest quality displays ever built for the world’s living rooms.

It makes your HD video better

Many industries, such as wedding videography, don’t necessarily need to produce a 4K deliverable today. Even if you a client only requires an HD file, it can still make sense to shoot in 4K. All those extra pixels give you ample room to crop or reframe your video to improve image stabilization or remove extraneous detail without sacrificing resolution. You can pan across your 4K video using post-production software without rapidly running out of pixels.

Depending on how you’re shooting, a 4K-video file may also capture more than just additional pixels, but more color information as well. Armed with this additional color information, you can down-sample a 4K file to HD with improved color detail.

Screen Grabs Are Awesome

Enhance! Zooming in on a 4K screen grab / Photo © Andrew Putschoegl

Shooting in 4K doesn’t just mean high-quality video; it can enhance your still photography, too. Isolating still images from HD video produces images that are a measly 1920×1080 pixels in size or about 2 megapixels—barely enough for a decent print.

A 4K still frame, on the other hand, is a chunkier file, either at 4096×2160 or 3840×2160 pixels in size, depending on your setting. That’s equivalent to an 8-megapixel image, ample resolution to print by.

This doesn’t just mean that stills from your video production will be higher quality (though they will be), it also means you can use 4K video as a “burst mode on steroids” for moving subjects to capture images that your camera might otherwise miss. It’s not necessarily applicable in every situation of course, but it opens up new creative possibilities that aren’t available to you when shooting in high def.

Samsung and PDN recently launched the 4K Filmmaking Challenge, giving motion shooters the opportunity to shoot a short 4K film. One grand-prize winner will receive $2,500, an NX1 and a profile in a print PDN/Samsung supplement. Check it out at 4kfilmmakingchallenge.com

The post Three Reasons to Go 4K appeared first on PDNPulse.

Panasonic continues to expand the number of 4K cameras in its arsenal with the introduction of the new GX8 and FZ300. Beyond the new models, Panasonic said it was prepping a Lytro-like “post focus” capability for its new cameras that would leverage 4K recording and touch screens to allow users to adjust the focus point after capture. New lenses, too, are also in the works.

Let’s start with the cameras.

GX8

In addition to 4K video, the Micro Four Thirds-based GX8 is the first in Panasonic’s lineup to offer a dual image stabilizer–one for the camera body, the other for the lens–that work in tandem to combat camera shake at all focal lengths. According to Panasonic, most of its image-stabilized lenses will be able to work with the new dual stabilizer system in the GX8. When filming videos, the GX8 will employ a 5-axis hybrid stabilization that combines sensor shifting and digital corrections and is similar to the system used in the company’s video cameras.

The GX8 features a new 20.3-megapixel image sensor and quad-core Venus Engine CPU to drive continuous shooting at 8 frames per second in AFS mode and 6 fps in AFC mode. Dynamic range has been improved by a 1/3 stop over its predecessor, the GX7.

Like most recent Panasonic cameras, the GX8 will record 4K video (3840x2160p30) as well as 1920x1080p60 video in either AVCHD Progressive or MP4. Similar to the G7, the GX8 features a 4K Photo Mode that lets users shoot 4K video in any aspect ratio and isolate an 8-megapixel clip from a 4K video file during playback. According to Panasonic, the virtue of using 4K Photo Mode versus simply grabbing stills from 4K video is the ability to change aspect ratios and the faster shutter speed of 1/500 sec. that keeps 4K Photo Mode stills in sharper focus than 4K video frame grabs. The color range is also wider in 4K Photo Mode than it is during 4K video capture.

There will be three new 4K photo modes in the GX8.

A 4K Burst Shooting mode captures frames at 30fps for the duration of your shutter press (up to 4GB worth of data). A 4K Burst S/S (Start/Stop) mode starts consecutive shooting with a single press of a shutter button and stops it with the second press. Finally, a 4K Pre-burst mode automatically records 30 frames before and 30 frames after your shutter press for a total of 60 4K video frames to choose from.

Other features of the GX8 include:

* a tilting OLED Live Viewfinder with a magnification ratio of 1.54X and a 100 percent field of view

* a free-angle 3-inch OLED touch screen display

* 240 fps Contrast AF system with DFD (depth from defocus) technology that calculates the distance to the subject by evaluating 2 images with different sharpness level while consulting the data of optical characteristics of the current lens to deliver a .07 sec. AF speed

* 49 AF points

* 1/8000 mechanical shutter speed and a 1/16,000 sec. electronic shutter

* improved low-light focusing down to -4EV with a Starlight AF mode to help users shoot stars in the night sky using autofocus by narrowing the AF zone

* Wi-Fi and NFC

* weather proof magnesium alloy die cast frame

* in-camera RAW processing

* focus peaking

The GX8 is due to ship in mid-August in two versions: all black and a model with a silver top with a black bottom for $1,200 (body only).

The FZ300

Panasonic also rolled out the successor to the FZ200. The new FZ300 delivers a similar optical package with a 25-600mm f/2.8 built-in lens with optical image stabilization and adds 4K recording and a new Venus Engine image processor to improve ISO sensitivity to a max of ISO 6400.

The FZ300 features a 12-megapixel image sensor, 4K video recording and the same 4K Photo modes as the GX8 above.

You can frame your compositions through a 1,440K-dot OLED LVF with a 100 percent field of view when shooting in 4:3.

Additional features of the FZ300 include:

* 3-inch, free angle LCD

* 12 fps continuous shooting in AFS mode or 6 fps in AFC

* .09 sec. AF speed with DFD technology

* low light focusing down to -3EV

* Wi-Fi

* 5-axis hybrid stabilizer for HD video recording

* focus peaking

* in-camera RAW processing

The FZ300 will ship in mid-October for $600.

Coming Soon: Post Focus Mode

According to Panasonic, a new Post Focus mode will leverage a 4K burst mode to compile multiple exposures which a user would then use to freely determine a focus point in the frame using a touch screen. Post Focus mode will come to both the GX8 and FZ300 later this year via a firmware update as well as future models not yet announced by the company.

Beyond the focusing capabilities, Panasonic also said it was working with Leica to develop a Leica DG 100-400mm f/4-6.3 telephoto lens for its Micro Four Thirds lineup. The lens would offer a 35mm equivalent focal length of 200-800mm and a dust and splash-proof build. Panasonic said its light weight and image stabilization would allow for handheld shooting out to the very end of the focal length.

The company is also prepping a Lumix G 25mm f/1.7 prime lens. Release date and additional specs for both lenses are not yet available. Product photography is preliminary.

The post Panasonic GX8, FZ300 Deliver 4K Recording, Faster Processing While Company Eyes Focus-Free Future appeared first on PDNPulse.

Panasonic is celebrating the 15th anniversary of its Lumix camera business in appropriate fashion, by introducing three new models: an interchangeable lens camera, an advanced compact and an ultra-zoom. They also gave a few details on the GH5, which will ship next year.

The GH5 will record at up to 6K at 30p. The 6K video function will support a 6K Photo mode that will let users isolate 18-megapixel still images from a video file, similar to how users can isolate 8-megapixel stills from a 4K video in Panasonic’s 4K Photo mode.

The GH5 will have an 18-megapixel sensor that can also record 4K video at 60p at 10-bit 4:2:2. Three new lenses–an 8-18mm, 12-60mm and 50-200mm–are also coming. They’ll all have variable apertures of f/2.8-4.0.

The G85

Like the GX85, the G85 features a 16-megapixel CMOS sensor with no optical low-pass filter for sharper images. It also features an updated version of the GX85’s dual image stabilization system for a CIPA-sanctified 5 stops of image correction. According to Panasonic, while the dual stabilization platform corrects for image shake at both the wide and tele ends of the zoom, it’s maximum impact can be seen at the telephoto end.

The camera has a 49-point AF system. You’ll hit 9 fps in continuous shooting with AF fixed on the first frame or up to 6 fps with continuous autofocus engaged. The G85 is weather sealed and has an economy battery mode that can deliver up to 900 shots per charge—impressive for mirrorless cameras, which typically struggle to deliver half that endurance. An accessory battery grip (DMW-BGG1) will also be available to deliver up to 640 shots in normal mode and up to 1,800 in power save mode.

The G85’s shutter mechanism has been engineered to dampen vibration so it’s not only able to deliver sharper images but it’s fairly quiet as well.

Like other Panasonic cameras, the G85 offers 4K video recording with Panasonic’s 4K Photo Modes and Post Focus capabilities. Alongside Post Focus will be a new focus stacking feature which combines dozens of images all with different AF points selected and compiles them into a single, in-focus image. The final focus-stacked image will have a resolution of 8.3-megapixels.

It will also offer a new live cropping mode that lets you zoom and pan in on a 4K video during playback to create a 1080p final video file with those cinematic effects. The G85 can output an 8-bit, 4:2:2 video through its HDMI output while simultaneously saving a 4:2:0 copy to an SD card. While Panasonic didn’t include its V-Log color profile in the G85, it will let users change luminance settings for video shooting.

Finally, you’ll have a 3-inch free angle LCD, a high-res OLED EVF, Wi-Fi and a 3.5mm mic input.

The G85 goes on sale in October for $899. It is available for pre-order now.

The LX10 is the latest advanced compact from Panasonic with a fixed 24-70mm equivalent Leica lens. It’s a fast lens with an aperture range of f/1.4-2.8 throughout the zoom range. You’ll enjoy 5-axis hybrid image stabilization and a minimum working distance of 3cm for super-close focusing.

The camera employs a 20.1-megapixel sensor with a maximum ISO of 12,800. The camera can clip along at 10 fps with focus fixed on the first frame or at 6 fps with continuous AF engaged.

The touch screen display supports touch focusing and touch shutter release. It can be tilted 180-degrees.

The  LX10 records 4K videos in 3840 x 2160 resolution at either 24 or 30 fps. Full HD recording is available to 120 fps. Like the G85, the LX10 features Panasonic’s 4K Photo modes, Post Focus, Focus Stacking and Live Cropping. In-camera RAW development is also available as is Wi-Fi.

Ships in November for $700.

Finally the new FZ2500 packs a built-in 20x optical zoom Leica lens  (26-520mm f/2.8-4.5) with an inner zoom structure that Panasonic says zooms more like a camcorder than still lens. Another camcorder-like addition: built-in ND filters that are accessible viable a direct switch (-2EV(1/4), -4EV(1/16), -6EV(1/64) and AUTO)^./

The camera features a 1-inch, 20-megapixel MOS sensor with a native ISO of 125-12,800 (extendable to 80 and 25,600).

The FZ2500 is one of the few still cameras that can record 4K video to the capacity of the card (most cameras cap 4K recording at 30 minutes). It also hits the “true” 4K resolution of 4096 x 2160 at 24 fps alongside 3840 x 2160 at up to 30 fps. High bitrate (200 Mbps) full HD recording is also available without limit. The camera includes Panasonic’s 4K Photo Modes, Post Focus and Focus Stacking features.

In still shooting, you’ll enjoy a burst rate of 12 fps with AF fixed on the first frame or 7 fps with AF engaged.

The FZ2500 features an OLED EVF and a free-angle 3.0-inch touch display. Additional features include Wi-Fi, NFC,  It will ship in December for $1,200. It is available for pre-order now.

The post Photokina 2016: Panasonic Teases GH5 and Releases G85, LX10 and FZ2500 appeared first on PDNPulse.

Priced at less than $5,000, Sony’s new FDR-AX1 4K Handycam will appeal to indie filmmakers and videographers on a budget who want to move into 4K video without breaking the bank. Built around a BSI 1/2.3-type Exmor R CMOS sensor, the FDR-AX1 can record 4K as well as HD video.

Movies are recorded in the XAVC S format using MPEG-4 AVC/H.264 Long GOP for extended recording time of almost two hours of 4K/60p or 3 hours of full HD when storing footage on a 64GB XQD card. The camcorder features dual, hot-swappable XQD card slots so you can continue to record while replacing a full card.

Equipped with a 20x, image-stabilized G lens, the AX1 has an optical zoom range of 31.5-630mm (35mm-equivalent). The camcorder also features dual XLR connectors and an HDMI out. The latter will be upgradeable to the new HDMI 2.0 standard via a firmware update. Since 4K TVs are expensive and haven’t become as ubiquitous as HDTVs, the AX1 can easily output full HD by changing the camera’s output settings.

Although there are a few 4K cameras that are smaller than the 7 7/16 x 7 19/32 x 14 ¼ inches, 86.1 ounce FDR-AX1 and less expensive (see Greg Scoblete’s roundup of a half-dozen 4K cameras on PDNOnline) but, at first glance, the FDR-AX1 seems to provide entrée to 4K video without too much compromise in terms of pro features and functionality. It’s likely that the competition for prosumer-type 4K video cameras will increase in the coming year. We’ll have to wait and see what happens but our money’s on a very interesting NAB show in April 2014.

The FDR-AX1 ships in October and comes with Vegas Pro 12 Edit software and a 32GB XQD memory card.

Price: $4,500

www.sonystyle.com

http://blog.sony.com

Related articles
6 Cameras to Ease Your Way into 4K Video

The post Sony Adds $4,500 4K Handycam to Its Line-up appeared first on PDNPulse.

This may be the year of the 4K-compatible CompactFlash card, the latest coming from Delkin. The new 1050X UDMA 7 Delkin Cinema card targets videographers, particularly those shooting 4K on DSLRs such as the Canon EOS-1DC and C500. This is Delkin’s fastest card to date, featuring write speeds of up to 120MB/s and read speeds up to 160MB/s.

As Delkin explains, the Canon EOS-1DC, for example, requires UDMA 7 cards with a minimum write speed of 100MB/s in order to record 4K footage at 24 frames per second without dropping frames or stopping recording.

The 1050X is also compatible with digital file recorders such as AJA’s Ki Pro Mini.

Delkin’s CF Cinema cards are available now in three capacities: 32GB, 64GB and 128GB.

Prices:

32GB: $150

64GB: $350

128GB: $700

www.delkin.com

Related articles from the PDN archive:

6 Cameras to Ease Your Way Into Shooting 4K Video
9 Tips on How to Light 4K Video

The post Delkin Announces Fast 1050X Cinema CF Card appeared first on PDNPulse.

(Sponsored) Come see why 4K video is quickly becoming the new standard in video capture and learn about workflow options at this free seminar being conducted by National Geographic veteran photographer & Sony Artisan of Imagery David McLain.  At this seminar (one of three at a day-long event), you’ll experience how McLain used the Sony a7s full-frame interchangeable lens camera to cover the World Cup in Brazil and learn why professional photographers and videographers alike are moving to 4K video. August 28, 2014, 11:00 a.m. at the B&H SuperStore in New York City.

More information at: www.bhphotovideo.com/find/eventDetails.jsp/id/1879

For more on McLain’s filmmaking, see PDN’s “Frames Per Second: Documentary Film Traces the Roots of Play.”

The post Free Seminar Alert: David McLain on 4K Video Workflow appeared first on PDNPulse.

Panasonic hit NAB with an update to its GH4 mirrorless camera plus a new point-of-view camera and preview of a new video camera we can expect to see in the fall.

With a Version 2.2 firmware update at the end of this month, the GH4 will be able to record anamorphic video content to mimic the widescreen, cinemascope aspect ratios used by cinematographers. With the new firmware, GH4 owners will have be able to shoot in 4:3 Anamorphic Mode to capture video at  3328×2496 at a frame rate of either 23.98, 24, 25 or 29.97 fps.

The GH4 will also get a faster electronic shutter speed with the new firmware, maxing out at 1/16,000 sec. after it’s installed.

Panasonic will also launch a new 4K camera in the fall. The AG-DVX200 (pictured above) is a fixed lens camcorder with a new Four Thirds CMOS image sensor capable of 12 stops of dynamic range.

The DV200 will record 4K (4096×2160) at 24 fps as well as UHD (3840×2160) at up to 60 fps and HD up to 120 fps in either MP4 / MOV file formats to a pair of SD cards.

According to Panasonic, the DVX200 will feature the same tonality and colorimetry as the company’s VariCam lineup.

On the optics front, you’ll find a 13X Leica Dicomar f/2.8-4.5 zoom lens with three manual rings for focus, iris and zoom. The lens uses a five-axis hybrid image stabilizer to keep footage blur-free. Additional features include time-code in/out, 3G HD-SDI and HDMI 2.0 (4K) video outputs.

Panasonic plans to ship the DVX200 in the fall for under $5,000.

Panasonic also launched a new point-of-view action camera. The New HX-A1 is an HD camera weighing in at a svelte 1.6 ounces. It’s waterproof to a depth of 5 feet without a housing, shockproof up to 5 feet and freezeproof.

It features built-in Wi-Fi for remote control and image sharing via a mobile device. It can also send a video stream to Panasonic’s W970 and W870 camcorders to merge its video in a sub-window with footage captured by either of the two conventional camcorders.

A loop recording function enables continuous recording by erasing earlier clips after you’ve recorded for more than an hour. You can shoot up to 120 fps at 848×480 or up to 60 fps at 1280×720. Full HD is captured at 30 fps.

When connected to a computer via USB, the A1 can double as a webcam. Pricing and availability were not announced.

The post Panasonic Will Give GH4 New Tricks, Adds 4K Video Camera, New Action Cam at NAB appeared first on PDNPulse.

Sponsored by Samsung

Display resolutions don’t change often, but when they do, the change is momentous. When the world switched from standard to high definition, the revolution transformed both the media and electronics industries.

A similar revolution is underway again, as the world starts its trek from high definition to 4K or “ultra-high definition.”

As with any change of this sort, early adopters face a number of challenges before taking the plunge, but those who do strike early can be rewarded. Here are three reasons why now is the best time to invest in 4K.

Photo © Andrew Putschoegl

It’s the future

The consensus among market research firms is that 4K-television adoption is a matter of “when” not “if”—and the “when” starts just about now. The Consumer Electronics Association projects that 4 million 4K TVs will be shipped this year in the United States alone, up 208 percent from 2014. Worldwide, the trend looks similarly bullish. Futuresource Consulting pegs the global market for 4K TVs at 100 million in just three years, representing more than a third of every TV sold.

As those screens find their way into homes, the race is on to fill them with content that fully takes advantage of all that resolution. It’s why streaming services like Amazon and Netflix are rapidly building up their library of 4K videos, from original programs to feature films and documentaries. YouTube and Vimeo have also rolled out support for 4K video as well.

Whether your video is destined to be viewed on desktop monitors or TVs, creating a 4K “master” of your video is an investment in the future of your work, viewable on the highest quality displays ever built for the world’s living rooms.

It makes your HD video better

Many industries, such as wedding videography, don’t necessarily need to produce a 4K deliverable today. Even if you a client only requires an HD file, it can still make sense to shoot in 4K. All those extra pixels give you ample room to crop or reframe your video to improve image stabilization or remove extraneous detail without sacrificing resolution. You can pan across your 4K video using post-production software without rapidly running out of pixels.

Depending on how you’re shooting, a 4K-video file may also capture more than just additional pixels, but more color information as well. Armed with this additional color information, you can down-sample a 4K file to HD with improved color detail.

Screen Grabs Are Awesome

Enhance! Zooming in on a 4K screen grab / Photo © Andrew Putschoegl

Shooting in 4K doesn’t just mean high-quality video; it can enhance your still photography, too. Isolating still images from HD video produces images that are a measly 1920×1080 pixels in size or about 2 megapixels—barely enough for a decent print.

A 4K still frame, on the other hand, is a chunkier file, either at 4096×2160 or 3840×2160 pixels in size, depending on your setting. That’s equivalent to an 8-megapixel image, ample resolution to print by.

This doesn’t just mean that stills from your video production will be higher quality (though they will be), it also means you can use 4K video as a “burst mode on steroids” for moving subjects to capture images that your camera might otherwise miss. It’s not necessarily applicable in every situation of course, but it opens up new creative possibilities that aren’t available to you when shooting in high def.

Samsung and PDN recently launched the 4K Filmmaking Challenge, giving motion shooters the opportunity to shoot a short 4K film. One grand-prize winner will receive $2,500, an NX1 and a profile in a print PDN/Samsung supplement. Check it out at 4kfilmmakingchallenge.com

The post Three Reasons to Go 4K appeared first on PDNPulse.