At first glance, Sony has clearly put the emphasis on 4K Broadcasting with an outlook at HDR at NAB 2016. Several new firmware upgrades and products have been introduced. New AXS-R7 Recorder allows double the framerate, paid firmware upgrade for Sony Fs5 users which includes RAWas well 4K DCI recording, a new compact camera Sony PXW-Z150 with broadcast-ready standards and a new broadcast camera with ultra slow motion in 4K. Here are all the updates at a glance. AXS-R7 Recorder The in February announced AXS-R7 Recorder will work only with the Sony F5 / 55 and still has no price. The AXS-R7 Recorder will feature its own compressed 16 Bit RAW format called XCON, which reduces the file size by 30 percent (compared to uncompressed RAW at F5 / 55). Compared to previous Sony 4K recorders, the new recorder doubles 4K RAW recording from 60 FPS up to 120 FPS from the Sony F55 camera. For shooting at higher frame rates, the recorder captures 2K RAW at up to 240 FPS from the F55 and F5, for playback with 10x super slow motion. The new AXS media (512GB or 1TB cards) will have a sustained read and write speeds of 4.8 Gbps, and will last for 44 minutes at 59.94p or 22 minutes at 120 FPS. FS5 Firmware Update The FS5 has received a new free firmware 2.0 update. An Auto ND function changes the strength of the electronic ND filter, which allows you to adjust exposure without affecting aperture of shutter speed values. They have also expanded zebra functions as well as GPS capability. Those who wish to record RAW with the FS5 must acquire the RAW upgrade option for 600 dollars. This then allows though the 3G-SDI connector continuous DCI 4K 60p / 50p RAW and up to 240p / 200p RAW in FullHD. Unlike the Fs7, the FS5 has another trick up its sleeve. According to Alvaro Ortiz Sanz, product specialist at Sony, the Fs5 can record 120fps in RAW DCI 4K with a 4second buffer!!! The default super slomo feature in FS5 works over a buffer. That’s why it is “cached”: about 8 seconds if shooting at 240 fps. Now, this “caché way” is only applied if we shoot 4K at 120 fps, in which we’ll have 4 seconds burst. That means that, if at 24p recording, we are shooting 120/24=5 times faster, which means that those 4 seconds are “time stretched” to 20 seconds. In 4K in RAW quality The updates will be expected in June 2016. Sony PXW- Z150 Compact Camera The PXW-Z150 features a 1.0 type stacked Exmor RS CMOS image sensor. It can record 4K and 5x slow motion (120fps) of continuous recording in Full HD. The Clear Image Zoom technology operates at 24x zoom and 18x zoom in HD and 4K modes respectively, in addition to the standard optical 12x zoom. It also features a built-in 4-step ND filter. The PXW-Z150 is suitable for a variety of environments and editing requirements, supporting the conventional broadcasting format MPEG2HD (50Mbps/35Mbps) in addition to Sony’s advanced XAVC format (Long GOP) format. The PXW-Z150 provides a wide variety of built-in connectivity options including 3G-SDI, XLR inputs, and HDMI. The camcorder is equipped with two memory card slots and is compatible with SDXC and SDHC cards. The dual media slots enable various recording options such as backup, simultaneous and relay recording. Sony HDC-4800 The new Sony HDC-4800 is a new Super 35mm 4K CMOS sensor broadcast camera that features a PL Mount. It combines 4K resolution with enhanced high frame rate capabilities—8x at 4K, and up to 16x in full HD—combined with HD cut-out and zoom capabilities for live sports and event production. The HDC-4800 is complemented by the BPU-4800, a baseband processor unit with a replay server capability that creates a fully networked, 4K live ultra-high speed production workflow.Read more
Sony has just introduced yet another camera. The Sony Z150 is a 4K camcorder with a 1-inch sensor and the unique feature that it can shoot up to 120fps slow motion. We had a chance to try a prototype, and here are our first hands-on impressions. The Sony Z150 is not the typical kind of camera we report about on cinema5D, but there are some unique features that we think make this one newsworthy. Its 1-inch sensor gives you a similar shallow depth-of-field look from what you would get from an MFT sensor camera (think a bit smaller than a Panasonic GH4). The sensor itself, which Sony have used in other cameras like the Sony RX 10 mark II, apparently has some much improved processing behind it. This gives you 120fps at Full HD resolution, which is also new in a camcorder like this. It is a potentially interesting feature for those who require the ergonomics and ease of use of a handy camera, like documentary shooters who need to move compact and quickly. It is interesting to see a camera that combines slow motion and a more shallow depth of field, yet gives you the flexibility of a camcorder. We are certainly starting to observe a trend, especially after last year’s introduction of the Panasonic DVX200, clearly targeted at a similar audience. In a similar fashion, the JVC GY-LS300 4K camcorder received a 120fps update just this week. Sony Z150 Hands-On Impressions Coming from large sensor cameras, I’m used to dealing with unergonomic tools that have to be adapted to different shooting scenarios and need care in terms of setup and control. This camera, however, seems to be a perfect compact camcorder when it comes to ergonomics. If you have used these before, you will immediately find all the buttons and controls in exactly the right places. I thought handling was really good. The same goes for actual shooting. The camera was set to autofocus and I was impressed how quickly and precise it adjusted. Both the integrated OLED viewfinder as well as the on-camera LCD are nice and well positioned, and it just feels like the camera isn’t ever in the way of the actual action you’re recording. The images in the viewfinder looked very clean and sharp, but one thing to criticise is that the built-in low resolution monitoring solution might not be sufficient to actually judge the 4K recordings you’re making. In terms of negative points, I noticed that the Sony Z150 lens does not have a constant aperture (f/2.8-4.5), so the images might get darker when you zoom in. Another point is that the menu is still “Sony style”: it is still the same old menu structure we’ve come to know, and it took a while to make adjustments. However, the buttons reacted much quicker than on some other large sensor cameras by Sony. All in all, I found the camera to work really well out-of-the box. It has all the connectivity you need, like XLR, HDMI and SDI, but you should know that like on other recent Sony cameras, the internal video displays are disabled during 4K output. Talking about actual footage, there is not much we can claim at this point. But looking at Sony’s own promo video, it seems to me that the footage you get is very sharp when viewed on a 4K screen. And yet, the quality exhibits the typical low dynamic range broadcast look many of us left behind when we moved to large sensor cameras. A proper filmic recording look, like an Slog2 or Slog3 Gamma Curve would have helped, but unfortunately this camera doesn’t offer it at the moment. This is certainly one feature where the Panasonic DVX200 has the advantage. Otherwise, if you just need 4K broadcast quality with a bit more shallow depth of field, and the 120fps slow motion is of use to you, then this camera might be a good choice. The specs: 1-inch Exmore RS sensor UHD 4K up to 30fps (100mbit) HD up to 120 fps (50mbit) Integrated Sony G Lens with 12x Optical Zoom Discrete Manual Focus, Zoom, Iris Rings XAVC, AVC/H.264, AVCHD 2.0, MPEG-4 Two SD Memory Card Slots (can record dual slot for backup) Wi-Fi Connectivity 2 XLR Audio Inputs SDI output 4:2:2 10-bit in HD 4:2:0 8-bit in UHD The Sony Z150 will arrive mid-April and cost $3,595 more info on the Sony websiteRead more
On the go? Subscribe to the Cinema5D ON THE COUCH audio and video podcasts on iTunes! In the 9th episode of our talk show ON THE COUCH, we had the pleasure of talking to Neil Anderson, Sales Manager of our show sponsor Tools On Air, an Austrian company providing professional, yet easy to use software solutions for broadcast. Tools On Air provided us with their application Live Cut for the show recording – a piece of software that allowed our editor Katharina Dietl to cut between the 3 cameras in realtime, while running all three 1080p streams into the Mac Pro simultaneously, and generating an EDL with Live Cut. The EDL could then easily be exported as a multicam clip for Final Cut Pro X, 7 or Premiere Pro – which allowed us to change edits afterwards freely, before finishing and uploading each show. A very convenient and efficient solution to deal with multicam recordings, without which we would have been unable to deliver shows without starting from scratch with an edit after the recording wrapped. (Big thanks also to Oliver Deutsch from Tools On Air, who was invaluable support on site, helping us set up the Live Cut system and maintain it properly.) Tools On Air’s Neil AndersonRead more
We thank our sponsor B&H who has made cinema5D’s news coverage of IBC 2012 possible. Get your gear through B&H to support this platform: www.bhphotovideo.com Get ready for the next batch of indie film equipment Once again we’ll provide you with first hand coverage directly from IBC 2012 in Amsterdam, one of the biggest film, video and media tradeshows in the world! You will see lots of new gear and technology in the form of coverage videos over the next days that will be posted on our vimeo and Youtube channels. Long time cinema5D crew member Clayton Burkhart and myself will run the floor and grab all the newsworthy new stuff that might help your production. We’ll try to put more interviews and questions for the manufacturers in there, but like always and above all we’ll be critical about which products we think deserve the coverage. Expect an insight into the next generation of HDSLR & Large Sensor filmmaking over the next weeks and win a 35mm Rokinon Cine lens on the side. Proud to be sponsored by B&H Our coverage stays independent. We’re sponsored by B&H, the international reseller of filmmaking equipment we trust. With their commitment to their customers they have also made our IBC 2012 coverage possible. Please say thanks by clicking the B&H links on our site, so they will make more coverages and giveaways for you possible in the future. LINK COOL GIVE AWAY!!! Oh yes, you can win something again. Just tweet our IBC 2012 articles and we will pick a cinema5D news reader to win one of the new Rokinon 35mm T1.5 CINE lenses. Read more about this lens in our news article from August: LINK Find our previous coverage of NAB 2012 here and make sure you participate in the comments and let us know what you would like to see covered this time. See you in Amsterdam!Read more
Guest post by Johnnie Behiri: Working together with my BBC correspondent Bethany Bell is a cameraman’s dream come true. The reason is simple, she lets me do my job….:). A minute before the new Canon C300 and Nikon D4 are here to lift the picture quality bar, here is our attempt to work with the Sony NEX5n in a “normal short feature for broadcast environment”. It is part of our ongoing effort to test different modern working tools.Read more
This is a big one. In fact the IBC joins NAB as the 2 biggest international tradeshows for cinema, broadcast and other media. It’s a huge platform, endless exhibition space, where all the important companies will show off their (new) products, many of them now targeting HDSLR of course. Yes, we’ll be there this year, and as it’s very close to our homebase (Vienna, Austria, Europe) our crew will have the chance to give you a nice, high quality and extensive coverage of the entire floor. We’ll grab all things HDSLR, large sensor, indie cinema and all other interesting and newsworthy things we’ll come across. We expect to be able to report about lot’s of new and exciting stuff and we’ll be shooting 20+ videos your way over the coming 3 weeks, starting with the nicest things we see at IBC and a surprise C5D video review. When? The exhibition floor will open this coming: Friday, September 9th and will close September 13th. Check back frequently here at cinema5D news to get all the latest announcements that we expect plenty of. We’re glad to announce that our exclusive sponsor for IBC 2011 is B&H! We chose B&H Photo Video to support our coverage as they’ve proven to provide excellent customer services and reliability on top of their extensive number of articles for HDSLR needs. Also they’ve become an international dealer and are providing gear for cameramen around the world at great prices. B&H has provided these exclusive phone numbers for you if you have questions or require assistance: US: +1 877 502 5839 and INTERNATIONAL: +1 212 465 0114Read more
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