Today Canon announced two new camcorders, the XF105 and XF100. These two small cameras are part of the new Canon lineup of memory recording cameras, which also includes the XF305 and XF300. The new cameras share many of the same features as their bigger brothers, including the same 1/3″ CMOS chipset, and recording to the Canon XF Codec (MPEG-2 4:2:2 50Mbps) on Compact Flash cards.

Surprisingly, the XF105 comes complete with HD-SDI output, Genlock, and timecode inputs/outputs, which makes it one of the most capable small cameras out there. The compact form factor, 3.5″ LCD, and 10x lens are the big factors that differentiate these cameras from their larger brothers. However, those are the only real differences – exciting news for anyone in need of a small camera. Additionally, Canon has integrated their infrared low-light feature, enabling the capture of HD video in complete darkness. Finally, they have also added a feature that allows two of these cameras to be linked up for 3D capture. Details of this feature have not yet been released, but it probably will be some form of synchronized lens control and recording. Both the Canon XF105 and XF100 are scheduled to be available in the first quarter of 2011, but pricing has not been announced yet.

Read Canon’s official press release here.

Panasonic has just announced the new lightweight HPX3100 P2 Camera, which features a 2/3″ CCD sensor at full 1920×1080 resolution. Panasonic has taken the lightweight design and slim form-factor of the HPX300/370 cameras and added the 2/3″ chips found in the HPX3000. The camera has two P2 card slots and can record in AVC-Intra (100 & 50), DVCPRO HD, and standard definition formats. A new version of AVC-Intra 100 is also included that supports 24-bit audio. Standard frame rates are supported including 1080 60i, 50i, 30p, 25p, and 24p. However, like the HPX3000, 1280×720 resolution is not supported. With the new slim body design also comes lower power consumption, which is now only about 34 W. This is very low for a 2/3″ 1080P CCD, and can significantly improve battery life. Two brand new features of the HPX3100, are wireless meta-data input and a new high-quality proxy record option card. The wireless meta-data option will allow clips to be tagged with meta-data over a wifi connection, which makes it much easier to name clips on the fly. The new proxy card will produce better quality proxy clips which are compatible with Final Cut Pro. The price of this camera has not been announced yet, but we’ll be sure to keep you updated as more information is released. Read the press release here or download the brochure here.

While 2D noise reduction analyzes an individual frame and reduces noise where it can, 3D noise reduction looks across multiple frames to reduce noise. 3D noise reduction is very effective, but too much can produce smearing if there is motion in the image. Therefore, Panasonic uses both methods together by increasing the amount of 3D noise reduction in a static image, and decreasing it when there is movement in the images. There is some pretty sophisticated computing behind this technology, and the effect is quite good. However, the change in noise level between static and moving images is sometimes noticeable, so Panasonic has released a firmware update to address these situations.

The update adds a feature in the OPTIONS menu called P.A.P FILTER. According to Panasonic, P.A.P is a “picture processing technology which enables high sensitivity and high resolution images by 3D adaptive processing.” This setting can be changed between Type 1 and Type 2 — Type 1 gives you the full 3D noise reduction while Type 2 reduces the effect. This setting can be saved in a User file or a Scene file, so the function can be easily enabled or disabled depending on the situation. Download the new firmware update from Panasonic here.

1. Insert your SxS card into your MacBook Pro’s ExpressCard34 slot. If you have a computer without an ExpressCard reader, then use the Sony SBAC-US10 SxS Memory Card Reader. The card will show up in your finder as ARRI UDF. UDF stands for Universal Disk Format, which is an open file system.

2. Copy your footage onto a hard disk (preferably a redundant array). The files are named with Camera Name, Reel, Scene and Take numbers. Make sure to copy all clips AND the index.xml file. I recommend making a separate folder for each card copied.

3. Import the index.xml file into Final Cut Pro. Use the File -> Import -> XML function to do this.

Final Cut will pop up a dialog asking for some information. Set your destination to whatever your project name is (my project is called “Alexa”) and click OK.

Now all of your clips should appear in the bin. Notice they are under a folder named after the Camera Name and Reel info.

Repeat Step 3 for each card and you should have all of your footage imported in no time. Now you can start editing!

On the Panasonic HPX370, HPX300, HPX170 and HVX200, the white balance offset is found in the Scene Menu.

HPX370 with a Cool Offset

HPX370 with a Warm Offset

On the EX1, EX1R and EX3, the white balance offset is found under the Picture Profile -> White Menu. Notice below that the warm and cool looks have opposite values when compared to the Panasonic cameras.

EX3 with a Warm Offset

EX3 with a Cool Offset

On the HDX900, HPX2000, HPX2700, HPX3000 and HPX3700, the white balance offset is under the Paint -> RB Gain Control. Here you can adjust both a red and blue value for each white balance setting (preset, A and B). The reason it is called “Gain Control” is because an offset is really a very subtle gain increase in one color channel, but not to worry, it won’t add an noticeable noise to your image.

Offsets are under Gain Control

On the PDW700 and PDWF800, the white balance offset is under the Paint -> White. Here they allow you to set an offset for both red and blue for A and B. The Preset white balance can also be adjusted in another menu.

Offsets are in the White Menu

DSCLabs has some great charts for checking back focus, they also offer a couple free ones that you can print yourself – here.

Note: To access the hidden menu on the EX1 / EX1R, hold the Menu, Scroll Wheel, and Cancel button at the same time. DO NOT adjust anything else in this menu.

Anton Bauer recently released a new flexible Solar Panel system that can charge batteries when combined with their Tandem 150 charger/power supply. The Solar Panel folds out to 59 x 43 in (149.9 x 109.2 cm), and uses direct sunlight as an alternate power source. The panel is ideal for remote locations where no power is available, though charging times can vary based on available sunlight, of course. The Tandem 150 is the ultimate light power supply and charger in one. With 150W of power, the unit works with the most power hungry cameras, including the Sony SRW9000 and ARRI ALEXA. When attached to cameras with lower power draw (<75W), it can simultaneously charge a battery as well. The good news is that it will automatically detect the power draw and switch the battery charging option on or off. The Tandem 150 is extremely flexible – it can charge batteries when combined with the solar panel or act as a power supply/charger when working with standard AC or DC from a vehicle (when combined with the CA-TMCL – Vehicle Power Outlet adapter). Combining the the Anton Bauer Solar Panel, Tandem 150, Vehicle Power adapter, and Anton Bauer batteries would make for an excellent power kit that would work in just about any situation.