Sony has just announced the newest member to their large sensor 4K camera family, the PXW-FS5. Bridging the gap between the Sony NEX-FS700 and the PXW-FS7, the PXW-FS5 brings a smaller form factor while retaining many of the features of the FS7. Those accustomed to the FS7 will find the form factor and button layout of the FS5 very familiar and comfortable. With a 3.5″ LCD monitor positioned on an adjustable mount up front and a 0.39″ OLED viewfinder out back, the FS5 can be utilized in a myriad of shooting situations and positions.
…continue reading IBC 2015: Sony Announces PXW-FS5
Now that the PIX-E5 recorder is shipping, Video Devices, the new division and name of Sound Devices’ video product line, has released a series of PDF guides on how to best integrate the most popular cameras on the market with their PIX-E series 4K recorders.
…continue reading Video Devices PIX-E Series Camera Integration
Adobe recently released Creative Cloud 2015 for download/purchase and as an update for existing CC subscribers. This update was first announced just prior to NAB 2015 and features some significant improvements, especially to Adobe Premiere CC and After Effects CC.
…continue reading Adobe Announces Support for VariCam 4K Codecs
Although NAB may be a couple of months behind us now, it can still be useful to look back and notice some of the major technology trends that we saw at this year’s show. I recently did this in an article for Crews Control.
One of the lessons from NAB is that UHD or 4K for TV production is definitely here to stay. All of the major camera manufacturers have already produced 4K cameras, and the workflow is supported by 4K/UHD displays, non-linear editing applications (Avid, Premier, FCPX) and streaming encoders. Secondly, there is no more “it’s just for the web” rationale – audiences expect high-quality video on every platform or screen size.
All this content needs a management strategy. In my article, I discuss new developments in shared storage, archiving, IPTV/streaming encoders, and cloud-based editing in-depth. Read the full article:
Sony’s CBKZ-55FX upgrade license enables the PMW-F5 to record and playback 4K, effectively doubling the camera’s resolution. It also adds 4K quad-SDI and HDMI output, as well as simultaneous recording of XAVC at 4K and MPEG 50Mbps 422 in HD. This is an enormously popular update, since it closes the gap between the F5 and its bigger brother the F55. While the F55 still has a global shutter and a wide-gamut color filter array geared toward digital cinema, at a little less than $1000, the license is a compelling option to consider for your F5. Let’s take a look at how to install the upgrade, which comes in the form of a software key that loads into the camera (similar to a firmware update).
Before you begin, confirm that your F5 is running firmware 5.0 or later. This is required for installing the update. For information on updating the F5’s firmware, please see Sony’s community site.
…continue reading Installing the CBKZ-55FX 4K Upgrade License for the Sony PMW-F5
The Atomos Shogun has become a top choice for off-camera monitoring and recording. Its lightweight and feature-rich design make it ideal for acquisition from HD up to 4K. In this blog, I take a look at some of the newer features made available through recent firmware updates, including working with LUTs, audio recording, recording HD & 4K simultaneously, and how to record a clean video signal from the Shogun.
…continue reading At the Bench: Atomos Shogun Features & Configurations
At AbelCine, we often use the term “stills to motion” to describe a still photographer making the transition to cinematography. We’ve held various events and tours based on this concept, and we’ve fielded recurring questions around shooting simultaneous stills and video. Many of the shooters we speak to would prefer to focus on either stills or motion, but are often asked by their clients to provide both.
At the recent VII Evolution tour stop in Washington DC, VII photographer Ed Kashi recalled several situations in which he was filming an interview with his DSLR but also wanted to capture some portraits. He waited for a good stopping point during the interview, then quickly switched his camera to stills mode to fire off a few shots. Although he thought he left enough breathing room between the end of the interview and taking the still shot, his editor (who had the full audio of the interview) still had to edit around the momentary blackout while the camera took the still (not to mention the audio issues of hearing the shutter).
…continue reading Capturing Stills and Video with the Canon XC10