Showing posts with label af100. Show all posts
Showing posts with label af100. Show all posts

Wednesday, November 10, 2010

Sony Announces PMW F3K



Earlier this week, Sony officially announced the much speculated PMW F3K. The super 35mm CMOS chip sits comfortably behind the cinematic PL mount, and you also have the option to purchase it as a body only [PMW F3L]. It records in 1920x1080, 1440x1080, and 1280x720 at 23.98/25/29.97p, 50/59.94i and, in DVCAM mode, 25/29.97PsF and 50/59.94i. It records to the 4:2:0 color space, but by the use of HD-SDI dual-link output you get 4:2:2 1080 50/59.94P as standard; and RGB 1080 23.98/25/29.97PsF as an option.

Take all of these great features and add them to the XDCAM workflow, and you have the film-maker's camera. The DSLR footprint in the industry demanded more options for film-makers, and now we have them. The Sony records at a "modest" 35mbps, but remember it is an actual video camera, made to shoot video. Pricing is not official, but expected to be around $22,000USD body only and $28,000USD for the kit. The PMW F3 is currently set to ship in January, so pricing should be made apparent very soon.

PRESS RELEASE:
Sony strengthens super 35mm digital production line-up with groundbreaking new camcorder
Nov 8, 2010
New PMW-F3 joins F35 and SRW-9000L as latest S-35mm innovation, delivering high-end performance at an "indie" price

Basingstoke November 8th, 2010:- Representing a breakthrough for filmmakers in terms of features, performance and price, Sony Professional is adding to its line-up of Super 35mm digital motion picture camera technologies. The family, which includes the legendary F35 and the recently announced SRW-9000PL, is now joined by the all new PMW-F3 camcorder.

Each camera in the line-up is based on a Super 35mm sensor and PL mount technology, and illustrates Sony's unique ability to offer filmmakers access to the highest-quality imaging tools and most complete digital production workflows.


The new PMW-F3 is the latest example of Sony's efforts to combine performance and price into a powerful and affordable production tool. Designed for television, commercials, music promos and budget features, the new camcorder is offered at a price point that will bring Super 35mm shooting within reach of a wider audience.

That, and the availability of a low-cost PL lens kit model which includes 35/50/85mm T2.0 fixed focal length lenses, makes it ideal for use as a 2nd unit 35mm camera or as a B camera to the SRW-9000PL.

"Sony has a long and successful track record of developing digital motion production technologies," said Bill Drummond, Strategic Marketing Manager at Sony Professional Europe. "Our cameras have shot everything from documentaries to big-budget blockbusters, totaling many billions of Euros at the box office. With the new PMW-F3, we're putting the full power of our expertise to work, to bring precise control over depth of field, and access to the huge range of cinematic lenses available to a wider range of users."


The new PMW-F3 camcorder is based on Sony's XDCAM EX workflow (codec is MPEG-2 Long GOP 4:2:0 8bit, 35 Mbps), and uses Sony's SxS™ ExpressCard-based recording media format. Its Super 35mm CMOS imager delivers shallow depth of field, with high sensitivity and low noise levels (ISO 800, F11; and S/N ratio of 63dB in 1920x1080/59.94i mode), as well as wide dynamic range.


The camcorder offers a wide range of image creation options, as well as the ability to seamlessly inter-cut PMW-F3 footage with content shot on Sony's F35 or SRW-9000PL cameras - through the use of an HD-SDI dual-link output for external recording (4:2:2 1080 50/59.94P as standard; and RGB 1080 23.98/25/29.97PsF as an option).


Additionally, "S-LOG" and "Hyper Gamma" can be selected. This can allow users to take full advantage of the CMOS imager's wide dynamic range, giving them the ability to tailor their images during post-production in the same way they would in a film based workflow.


Recording formats include 1920x1080, 1440x1080, and 1280x720 at 23.98/25/29.97p, 50/59.94i and, in DVCAM mode, 25/29.97PsF and 50/59.94i. Filmmakers can also take advantage of 'slow' and 'quick' recording, also known as "overcranking" and "undercranking" from 1 to 30 fps at 1920x1080 (17 to 30 fps in dual-link mode) and 1 to 60 fps at 1280x720 (17 to 60 fps in dual-link mode).

The PMW-F3's PL mount adapter can accommodate both PL and zoom lenses, and will offer compatibility with a variety of cine lenses such as Cooke, Arri, Fujinon and Zeiss.

Sony is also announcing its plan to introduce a compatible SR Memory Portable Recorder for the PMW-F3 camcorder. This will add a high-end workflow option as well as full RGB capability providing native recoding in HDCAM SR codec.

"We demonstrated a prototype PMW-F3 on our stand at IBC and have been inundated with requests for more information ever since. It's great to be able to unveil the full list of features, and announce that first deliveries will be made well in advance of what many customers may have been expecting," concluded Drummond.

Two configurations of the PMW-F3 will be available (PMW-F3L body only and PMW-F3K with PL lens kit). First deliveries of are scheduled for January 2011.

Saturday, October 2, 2010

Panasonic AG-AF100 at DVExpo - Dan Chung



Last week, we brought you the overview of the Panansonic AF101. Now we have a more unbiased look from Jan Crittenden Livingston of Panasonic USA. Dan Chung [DSLRnewshooter.com] asks Jan some key questions, including what the benefits are when comparing this to a DSLR. The camera is set to ship this December.

MSRP: $4995USD

Wednesday, September 22, 2010

R.I.P. VDSLR?



Not anytime soon, if ever. This HD video technology just recently reared it's head in the world of the DSLR and is still in it's major evolving stages. We have already went from 720 to full HD, from no control to manual control and from 30fps to 24/25/30/60fps. The video DSLR market is not only too fresh to be coming to an end, but it is still evolving in major ways - mostly due to a direct response from consumers. If you consider the demand and capabilities of these tools, you will understand why the 7 month old T2i is still sold out at some dealers. Sorry Frank.

What some fail to understand is the basic principle which has existed since "High Quality" became a relative term; and that is that there are many tools available to the industry. The DSLR is a DSLR no matter what you use it for. Not to mention film which has been around for two centuries, and still seen on the Hollywood set. HD capable DSLRs have barely been here for two years, so believe they will run their course. Even worse is to compare this sub $2k technology to a $10k+ technology. If you have the budget, you will proceed accordingly.

It was hard for some seasoned Photographers to make the leap to DSLRs, but the movement can not be denied. This isn't your S-VHS upgrade. Canon especially has provided the tools necessary to deliver compelling imagery. The fact remains that you need to be talented and know how to use the tools to follow through. And that's what a DSLR is, a tool, a still camera, not a video camera. So camcorders aren't "back" on the scene. They never left, neither did film.