Cinema EOS V2.0

Profiling the new Canon EOS C300 Mark II and testing the EOS C100 Mark II

By Neil Matsumoto

Announced back in 2011, the Canon EOS C300 has been one of Canon’s most successful video cameras since the launch of their Cinema EOS division, and at NAB 2015, they finally upgraded the camera to 4K. The EOS C300 Mark II is targeted at a broad range of shooters (cinema, documentary, event) and contains a new 8.85-megapixel Super 35mm CMOS sensor... Read more

August 2015

Ultra-high-precision alignment technology is used to implement three 4K sensors on a new prism, allowing the support of next-generation ITU-R BT.2020 broadcast standard’s widening color space.

By The Editors

4K GAME CHANGER The new Sony HDC-4300 is the first camera to use three 2⁄3-inch 4K image sensors while mounting B4-mount lenses like Sony’s popular HDC-2000-series cameras. The existing HDLA-1500 series, control and shading systems, viewfinders and master setup units can be swapped between the HD and 4K systems. The HDC-4300 can handle... Read more

Get Ur Freek On

DitoGear launches VibraFreek, a stabilizer arm for smooth moving vehicle shots

By Neil Matsumoto

Getting professional looking shots from a moving car can bring a lot of production value to your low-budget indie film. DitoGear, a provider of cutting-edge motion control equipment, just announced their new VibraFreek, a vibration dampening system for car cinematography that lets you capture smooth shots from a moving vehicle. The VibraFreek functions... Read more

MAGNUM Force

Cartoni introduces MAGNUM, a high-capacity fluid head for studio and OB cameras

By Neil Matsumoto

A leader in camera support, Cartoni, introduces MAGNUM, a pan-and-tilt fluid head that offers a high payload capacity of 25 – 95 kg (55 – 210-lbs). With a good operator, the MAGNUM has a fluid feel (with no transition in tilting) and an unprecented 5-year warranty, making it a great solution for both studio and on location broadcast cameras,... Read more

Canon’s Prime AF Power

Canon to release a new EF 50MM F/1.8 STM lens

By Neil Matsumoto

Canon U.S.A. just announced the STM lens we’ve been waiting for – the 50mm f/1.8 STM standard lens. The prime features a maximum aperture of f/1.8, and is suited for portrait photography with shallow depth of field (it’s an 80mm when attached to a Canon APS-C sensor). The lens is also ideal for low-light photography and night scenes.... Read more

June 2015

Blackmagic Design’s new URSA Mini is small enough for handheld work, but offers professional features a film crew needs.

By The Editors

URSA’S LITTLE BROTHER Blackmagic Design‘s new URSA Mini is small enough for handheld work, but offers professional features a film crew needs. Although it doesn’t have all the features of the URSA, the Mini uses the same sensors, core processing, battery processing and dual CFast 2.0 recording slots. The URSA Mini features the... Read more

The Digital Film Camera

The 4K AJA CION offers a true cinematic experience in a simple package

By Neil Matsumoto

Founded in 1993 by engineer John Abt, AJA Video Systems, up until now, was known as the company with all of the converters, rackmount frames, I/O cards and, more recently, external recorders (Ki Pro series). Now they’re following in the footsteps of Blackmagic Design, who have had recent success in releasing a number of digital motion-picture... Read more

The Sony FS7 – Cinéma Vérité Style

Sony’s 4K PXW-FS7 delivers the goods for both non-fiction and narrative shooters

By Neil Matsumoto

Up until recently, most non-fiction content was primarily captured by shoulder-mount camcorders containing 2/3” type CCDs (Panasonic AJ-PX800, Sony PDWF800, etc.). Many run-and-gun documentarians or low-budget filmmakers gravitated to compact, fixed-lens camcorders like the Sony PXWX200 or the JVC GY-HM650U. Although all of these cameras deliver great... Read more

SmallHD’s New 5-inch Monitor

SmallHD, known for its excellent HD field monitors, announces the 502, the first offering in its new 500 Series of 5-inch Full HD on-camera monitors

By Neil Matsumoto

Often overlooked on the set, proper monitoring is one of the most important aspects of digital filmmaking. Since most cinematographers are creating the look of the film on set, you really need to know what you’re capturing, especially in terms of focus. SmallHD has quickly become one of the most innovative manufacturers of on-camera monitors for... Read more

Samsung NX1 – Easy 4K

With the NX1 and its efficient H.265 codec, Samsung delivers a 4K powerhouse

By Neil Matsumoto

While we’re still a long way off from viewing 4K television broadcasts, 4K capture has been a reality for several years, with cameras like the RED EPIC and Sony F55 for high-end features and the Panasonic GH4 and Canon EOS-1D C for indie productions. But with this explosion of cameras, the 4K indie workflow is a work in progress. Whether you’re... Read more

Cut The Cord – Wireless Audio Overview

Wireless microphones can add a new dimension to your production

By Bud Osborne

Wireless microphones are ubiquitous. They’re used by broadcasters, corporate video producers, large- and small-venue sound-system owners, filmmakers and just about anyone who has a need to communicate or record audio from a microphone without a cable getting in the way. In the last 60 years, they have changed the way we look at audio challenges... Read more

April 2015

For the 5DS R, Canon eliminated the low-pass filter, which will give you much sharper images.

By The Editors

THE NEW MEDIUM FORMAT Canon U.S.A., Inc., introduced not one, but two 5D DSLRs, the EOS 5DS and EOS 5DS R, which both feature 50.6-megapixel, full-frame CMOS image sensors and Dual DIGIC 6 Image Processors. For the 5DS R, Canon eliminated the low-pass filter, which will give you much sharper images. Targeted more toward still photographers who are... Read more