It’s been a long time coming, but the Panasonic Lumix GH5 is finally here giving you the highest picture quality in the history of Lumix G compact systems cameras. The experts are impressed, and so are we.
The GH5 is ideal for any creative team looking to stay at the cutting edge of video marketing, capable of gorgeous 6K and 4K/60p video and boasting a high-end, futureproof spec.
Why the GH5 isgreat for your creative workflow
With its compact design, high frame rate and intuitive controls, the GH5 has been described as a great fit for a creative agencies, photographers and videographers. Working with traditional cameras you could be shooting at 10 or 12 frames per second – with the GH5 that jumps to 30 or 60 frames a second, ensuring you perfectly capture the images you can’t afford to miss. Simply put, this camera just keeps on giving, and as your team’s video projects become more ambitious and complex over time, you’ll find it consistently meeting your new requirements.
The Lumix GH5 is adaptable to most shooting situations, including extreme conditions, allowing you to focus on the shot and not worry about whether your equipment will be up to the task. Speaking of adaptability, if you’re shooting some internal video for marketing on a low budget, the GH5 is really forgiving so you can be confident that it won’t let you down. Shooting at low or awkward angles isn’t an issue either, as the free angle screen with touch capabilities can be flipped out and tilted to whatever angle is required. The 6K photo function allows you can capture the greatest detail, giving you clear, crisp images with accurate colour representation.
Panasonic GH5 is available from us for £1399 ex VAT, and for that money you’re getting a solid investment. At a good price point and with a good form factor, the GH5’s ability to shoot high frame rates in HD and shoot in 4K60p means you can film almost entirely handheld. Similarly, the fact that you can capture slow-motion footage handheld will save you a lot of time and you’ll see a noticeable uptick in productivity and efficiency as a result.
Capture unmissable moments with the GH5’s dual image stabilisation, high picture quality and professional video performance. Some of the pros’ favourite features include;
– 3MP MOS sensor without low pass filter.
– Accurate AF tracking with new DFD technology.
– Large 0.76x 3,680k-dot OLED live viewfinder.
– Unlimited 4K 60p/50p video recording.
– Double SD card slot.
– Dust, splash and freeze-proof.
– High durability magnesium alloy frame.
– 4K 4:2:2 10but internal recording.
– 5-axis dual image stabilisation.
– Free angle touch screen.
– 6K photo capability.
– 18MP/30FPS burst shooting.
– Bluetooth and WiFi.
What the experts say…
See the Lumix GH5 in action and hear from the professionals on how this camera helps them get on with capturing the perfect shot.
Ross Grieve, portrait and commercial photographer.
“The GH5 for me is a real turning point, it’s a game changer.”
Steven Clarey, professional extreme sports photographer.
“I feel confident that I can get that epic shot when everything comes together.”
“The GH5 opened up so many opportunities for photographers.”
We’re celebrating our 25th year providing products that help everyone from studio managers to graphic designers to video producers stay productive and creative. As part of the festivities, we’re going retro and taking the plunge into a nostalgia pool filled with Zip drives, beige Power Macs, primitive social networks, old school design apps and more!
Creation and innovation can be a tough business, but it’s worth it. A quarter century of hard work has led to countless milestone moments and tech developments. See for yourself how far we’ve come…
– Roger Whittle founds Jigsaw24. The colour orange is never the same again.
– Animation gains a new dimension as classic horror game Alone in the Dark introduces us all to the joys of 3D polygon character animation, traumatising at least one member of the team so badly that they give up gaming forever.
– Neil Papworth wishes Richard Jarvis “Merry Christmas” in the first ever SMS message.
– The PDF is born (this may well be the least cool entry on the list, but the ‘compare document’ feature in the latest version of Acrobat DC is a lifesaver, and the new editing toolkit is properly brilliant).
– The internet is born. Cats everywhere shudder but don’t know why…
– NVIDIA is founded; gamers swear by their high-powered GPUs to this day.
– American telecoms company AT&T run the first ever internet ad banner campaign. A single bead of sweat trickles down the forehead of every person working in the print business.
– Photoshop 3.0 is released and introduces the world to layers.
– Iomega’s Zip drive is released.
– Apple launch their ‘Serious Business Computer’ ad, which we strongly urge you to watch:
– Sony releases the first PlayStation, beginning an epidemic of vitamin D deficiency in children.
– Coca-Cola’s iconic Christmas truck advert airs for the first time. All together now: “Holidays are coming, holidays are coming…”
– The first CSS specification is published.
– Apple encourage us to Think Different for the first time; science responds by cloning Dolly the sheep.
– IBM’s Deep Blue defeats chess champ Garry Kasparov. We know we’re not an IBM outfit, but credit where it’s due.
– Google domain name is registered. We could not have compiled this list without it, so feel compelled to include it.
– Wacom release the first Intuos tablet. There is much rejoicing. Graphic Designer Liana says “I remember getting my first job and being amazed by Wacom. I’d spent all of my time at uni huddled over an 11” MacBook, trying to do everything on the Touchpad, which obviously has nothing on a nice big Wacom.”
– First ever Google Doodle. Bit rubbish, to be honest.
– HDTV is introduced. Everyone becomes picture quality snobs.
– The mighty Nikon D1 becomes the first DSLR to challenge the market supremacy of film cameras.
– Budweiser asks “Wassup?”
– Post-apocalyptic horrors promised during the Y2K Panic fail to materialise.
– Everyone buys a Nokia 3310.
– Sony launches PlayStation 2, the best-selling video game console ever.
– Apple launch iTunes and OS X, ushering us into the modern era of Mac.
– Microsoft remove that Paperclip thing from Office. It is not missed.
– Wikipedia is launched. Students everywhere are elated, and nobody wins an internet debate ever again.
– InDesign becomes the first ever Mac-native desktop publishing tool.
– Gartner calculate that one billion personal computers have been sold since their arrival in the 70s.
– The first ever Creative Suite is released, including the all-new Premiere Pro.
– The Dalsa Origin becomes the first commercially available 4K camera.
– Skype is launched, making video conferencing several thousand times easier.
– Facebook beings its journey to world domination. People Poke each other.
– MySpace arrives, and manages to trick a generation of teenagers into learning HTML by letting you customise your profile.
– iPhone arrives, and promptly shifts 1.4 million units in its first year.
– CS3 arrives, meaning you can finally use Photoshop on a modern Mac without having to go through Rosetta.
– Cadbury rehabilitate Phil Collins’ image with their classic drumming gorilla ad, which none of us can believe is really ten years old.
– Nikon’s D90 is the first DSLR to introduce video recording.
– Artist Shepard Fairey creates the iconic Barack Obama ‘Hope’ poster.
– James Cameron’s Avatar becomes the highest-grossing film of all time.
– Microsoft launches Windows 7, sealing the fate of Vista.
– iPad is released.
– The first commercially available jet pack is launched.
– Adobe introduce Content-Aware tools.
– Wacom introduce the Cintiq 24HD. It weighs as much as a not-so-small child, but we all want one anyway.
– The number of Apple devices sold in this one year is larger than the total number of Macs sold ever. We imagine a lot of people spent this year frantically working out how to make their website responsive.
– Steve Jobs passes away aged 56.
– The final boxed version of Creative Suite, CS6, is released, which we mention only because our marketing team won a prize for their campaign and have been insufferable ever since.
– Jony Ive gets a knighthood; rumour has it he commented witheringly on the maximalist design of the medal.
– The Hobbit is the first movie filmed at 48 fps. Viewers suffer eyestrain.
– The world doesn’t end. In your face, Mayans.
– Kenneth Grange scores a knighthood, joining Ive as Britain’s most decorated designer.
– Adobe launch Creative Cloud.
– Film Gravity uses the most complex lighting setup in film history, using a custom-built light box with 1.8 million high-powered LEDs to film zero-gravity footage.
– YouTube announce that they receive 100 hours of new video content per minute.
– Windows 10 is launched, if you’re into that sort of thing.
– Mobile browsing overtakes desktop for the first time.
– Harambe the gorilla dies and is memorialised forever in meme form.
– Carter Wilkinson makes a plea to Wendy’s for a year’s worth of free chicken nuggets. It becomes the most retweeted tweet of all time, currently standing at over 3.5 million.
LCD and OLED HD displays manufacturer TVLogic are choosing NAB 2017 to introduce several new 4K HDR and OLED monitors. The new displays are designed to address the ever-increasing demands of broadcast, production, post-production, and multi-viewer applications. Here’s the full press release…
The new lineup includes the LUM-310R – a 31″ 4K HDR Reference Master monitor featuring 2000 nit maximum luminance, the LEM-550R – a 55″ UHD OLED HDR monitor for broadcast QC and post production, the VFM-055A – a 5.5″ HD OLED viewfinder/onboard monitor offering stunning cinematic quality, and the LVM-171S – a 17″ QC-Grade HD Dual-Channel LCD monitor with unmatched wide viewing. The displays will be on display at the company’s Booth N5306 during NAB.
Wes Donahue, Director of Channel Sales & Marketing, TVLogic USA & Latin America, said: “We look forward to major industry events and shows each year, such as NAB, where we have an opportunity to showcase our newest products while also having a chance to meet one-on-one with our customers. This year, we are highlighting some of our most advanced video monitor designs ever. As high-resolution image technologies like 4K and HDR continue to struggle toward standardisation, the need for reference monitors that support a range of new imaging formats is imperative. NAB is the perfect venue to introduce these offerings to the industry.”
The LUM-310R is a 4K HDR Reference Master production monitor with a 31″ wide Super-IPS 4K LCD (4096 x 2160) and a local-dimming backlight array designed to reproduce reference HDR content at a maximum luminance of 2000 nits with a simultaneous deep black minimum of 0.002 nits.
The LUM-310R supports various HDR standards such as SMPTE ST2084, ST2086 and ST2094 (pending), Hybrid-Log Gamma (HLG), and more. It also supports multiple colour gamuts including Rec.709, DCI-P3, and Rec.2020. Signal I/O includes 3G/6G/12G-SDI input via one, two, or four SDI connections as well as HDMI (ver. 2.0).
The LEM-550R is a QC-Grade HDR monitor for broadcast and post-production with a 55″ OLED panel with UHD resolution of 3840 x 2160. The OLED panel can reproduce a maximum luminance of up to 750 nits. The LEM-550R supports various HDR standards such as SMPTE ST2084, ST2086 and ST2094 (pending), Hybrid-Log Gamma (HLG), and others. It also supports multiple colour gamuts including Rec.709, DCI, and Rec.2020. Signal I/O includes 3G/6G/12G-SDI input via one, two, or four SDI connections as well as HDMI (ver. 2.0).
The VFM-055A is a 5.5″ OLED (organic LED) on-camera viewfinder monitor with native 1920×1080 resolution. It offers truly cinematic image quality with deep blacks, wide-gamut colour reproduction, a very wide viewing angle, and support for multiple video formats via 3G-SDI and HDMI 1.4 inputs. Useful functions include cinema camera log-to-linear LUT conversion, HDMI-SDI cross-converted output, waveform and vector scope, markers, focus assist, audio level meters and more.
The new LVM-171S is TVLogic’s top QC-Grade 17″ model with a 16.5″ IPS LCD panel with 1920×1080 native resolution, wide-gamut reproduction (up to DCI-P3) enhanced contrast ratio and wide viewing angle all unmatched by other LCD monitors. A completely redesigned video processing unit provides powerful dual-channel performance and artefact-free image reproduction. Support for various cinema camera log-to-linear LUTs, easy field upgradability and a full array of image processing features are standard.
Panasonic have revealed that their NAB highlights this year will include the 4K AK-UC3000 studio camera system and the HD AK-HC5000 high-speed camera system, 4-sided LED videoboards, ballooncam, and augmented reality projection.
Panasonic Corporation showcases its leading video solutions supporting 4K content creation such as broadcast / video production, stadium business and stadium entertainment at the 2017 NAB Show in Las Vegas from April 24 – 27.
“One of the big themes of NAB 2017 is the confluence of Media and Entertainment Technologies,” said Masaki Arizono, Executive Officer of Panasonic Corporation, and Vice President of Connected Solutions Company in charge of Media Entertainment Business. “This is exactly the business direction Panasonic is now aiming to pursue. It is our mission to become a truly indispensable technology partner for customers in this industry with diverse solutions, making full use of Internet connectivity and other technologies from across our portfolio.”
The Panasonic booth (C3607) at the Las Vegas Convention Center has two zones – Connected Stadium Zone and Production Zone. It is designed as a sports stadium to demonstrate how a total solution contributes to guests’ experience. Booth technologies and solutions range from next-gen sports shooting systems to the latest display devices used to engage spectators, including large LED display systems, digital signage, and other equipment for shooting, editing, transmission and distribution.
For broadcast / production, Panasonic is showcasing technologies that respond to the needs of the 4K era, such as:
– AK-UC3000 4K Studio Camera System compatible with UHD (4K) output and HD/SD simultaneous output.
– AK-HC5000 HD Studio Camera System capable of 1080p 4× high-speed shooting.
For video production, Panasonic is demonstrating product lineups that respond to evolving to high-quality content:
– VariCam 35 4K Cinema Camera/Recorder, which has already built a reputation for its HDR color reproduction, low light capability and wide dynamic range.
– VariCam LT 4K Cinema Camcorder.
– VariCamPure 4K Camera Module for V-RAW 2.0 Recorder: the camera module of the VariCam 35 directly linked to the V-RAW2.0 recorder capable of uncompressed 4K RAW acquisition.
Other 4K cameras on display:
– The AG-UX180 4K Premium Handheld Camcorder which is equipped with the industry’s widest angle 24 mm + optical 20 × zoom, 1.0 type MOS sensor.
– Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera features a 20.3Megapixels, 4K 60p and 4:2:2 10-bit video at 24/30p.
In the Connected Stadium Zone, Panasonic displays technologies and solutions that take the stadium experience to a new level of engagement:
– ballooncam combines a drone with the hovering capability of a large balloon for a unique video platform. With unique shooting angles, the ballooncam can be used to enhance the fan experience at sporting and other stadium events.
– Gigantic four-sided LED screens, hung in the center of the field, offers premium viewing from all stadium seats.
– Window Augmented Reality Projection. See how transparent film applied to ordinary window glass can serve as signage to display pristine images. At stadiums, Window Augmented Reality Projection can be used to enhance the experience by showing player stats and high-impact video.
– LinkRay-equipped LCD Displays. These displays support Panasonic’s LinkRay light ID communication technology. Users can download info instantaneously by pointing their mobile devices at the screens.
It’s the one that you’ve been waiting for… 4K. 60p. IP. 16 inputs and no compromises. The NewTek TriCaster TC1 is the first affordable end-to-end 4K IP video production system, and it’s available to pre-order now.
The TriCaster TC1 is the culmination of more than a decade of IP video experience for live production, with uncompromising support for 4K UHD switching, live streaming, recording, data-driven graphics, virtual sets, social media publishing and more. Without sacrificing functionality, the TC1 supports up to 16 inputs, at any resolution up to 4K UHD 60p resolution, and offers multiple studio-grade Skype TX channels for adding remote video guests to live shows.
Never go back
“Working with IP video makes you feel like you are living in the future, today,” said Dr Andrew Cross, NewTek’s president and CTO. “Once you have it, you can’t imagine going back. It enables so many new ways of working and greatly simplifies infrastructure. It also makes things like live streaming even easier. I can’t imagine anyone buying a product today that isn’t capable of delivering content to all of the places the viewers want to watch.”
The key features
The TriCaster TC1 delivers a rich feature set that typically requires four or five other devices to accomplish in traditional baseband video workflows. The TC1 offers…
– Switching, streaming, and recording in 4K UHD, with support for video formats up to 2160p60, along with 3G, HD, and SD resolutions
– Up to 16 external inputs with any combination of SDI, NDI, IP, or Skype TX
– 4 Mix/Effects busses supporting separate mixes, keying layers, virtual sets, compositing, and more
– Multi-channel ISO recording to full-resolution QuickTime and H.264 files for VOD, post-production, and archive
– Dual-channel live streaming to Facebook Live, Microsoft Azure, Twitch, Twitter, YouTube Live, and more
– Real-time export for social media sharing to Facebook, Imgur, LinkedIn, Twitter, Vimeo, YouTube, and more
– Integrated video servers allowing playback, replay, and live editing without additional hardware
– Powerful production automation with custom macro commands, sophisticated full-motion compositing, and flexible control options
– Advanced audio mixing with multi-source configuration and control, professional DSPs, and 4x4x4 channel routing
– Premier creative capabilities, including multi-bus mix effects, animated titles and transitions, advanced chroma keying, spectacular live virtual sets, and more
– Over one hundred operator centric features to maximize efficiency in video production including, PTZ camera control, 4x4x4 audio matrix router and mixer, DANTE and AES 67, animated buffers, and more.
– Fully NDI IP enabled. Open up your workflow with all NDI applications & hardware
The NewTeck TriCaster TC1 is available to pre-order now, and will be on display at NAB 2017 Booth #SL5016 at the Las Vegas Convention Center, April 24-27, 2017.
There were collective high fives in the office on hearing Blackmagic Design’s press conference in which they unveiled the new Ursa Mini Pro camcorder. Suited to film, broadcast, and studio work, they’re essentially positioning the new camera as three products in one, which will suit the needs of every shooter. And as it’s launched at a very competitive price point compared to similar cameras on the market, we think everyone else is going to be just as excited as us.
The Blackmagic Design Ursa Mini Pro features an interchangeable lens mount for quickly swapping out Canon EF, cinema PL, or broadcast B4 mounts, and they’ve even got a Nikon F mount on the horizon. The camera’s button layout has been designed for multiple users, with tactile feedback and the ability to access controls in two ways – a big boon for film.
Just as with the Ursa Mini 4.6K, the Ursa Mini Pro features a Super 35 sensor for higher than DCI 4K resolution and 15 stops of dynamic range. The Ursa Mini Pro can record 4.6K footage at up to 60 frames per second, and your footage is saved to dual CFast or dual SD cards (there’s an optional SSD dock if you need it, too). You can record in a range of formats including Cinema DNG RAW and ProRes 4:4:4 and 4:2:2.
Also announced in Blackmagic Design’s press conference were two new DaVinci Resolve panels, and footage from the Ursa Mini Pro will be well at home in DaVinci Resolve – you even get a full copy of the software included when you buy it! But enough gushing from us – here’s what Blackmagic Design said:
“We are excited about this new model because it really builds on the success of URSA Mini and combines the best digital film technology with the most advanced broadcast features and ergonomics available. URSA Mini Pro is powerful enough to be used on high end feature films and television shows, versatile enough to be used for broadcast news and live multi camera event production, and affordable enough for indie filmmakers and even students!”
Remember 2010, when we were all very excited about shooting in native 3D? Well, I think we can all agree that that trend is now dying a death, and ceding its Cool Trend crown to High Dynamic Range (HDR) imagery. However, HDR is different. Rather than a hyped up flash in the pan, it’s actually offering something that filmmakers have been clamouring for – a return to filmic production values, without losing the agility of digital shooting.
So what exactly do you need to know before you wade into the world of HDR content production? Can you shoot it with your current kit? And what does it really mean for your images? We asked our production team to give us the lay of the land.
First, for the newcomers: what is HDR?
So, the human eye has a functional range of roughly 100,000 nit from the darkest to brightest light it can perceive detail in, and the lens of a camera has a similar range. Until now, however, image processing, transmission and display technologies have reduced this range, meaning bright and dark objects that were perfectly visible to the naked eye appeared clipped or burned in a captured image. You could expose for the highlights and lose detail in the shadows, or expose for shadow but lose detail in the highlights, but there was no way to capture detail in both.
An HDR workflow preserves this full range from capture through transmission, all the way to final display, so your final image has the full dynamic range of the human eye, and therefore appears much more realistic and immersive, as shown in our illustration (alas, this will only work if you’re viewing this on an HDR-ready display). You’ll see more vivid colours, and more detail in shadows.
But to give some sense of the scale of this change, the brightest possible pixel on an HDR display is about 40 times what it used to be on an SD display, and when you’re working with an HDR image in post, you can tweak brightness levels pixel by pixel.
However, to get the full effect of HDR, you need more than a camera with a lot of latitude. For example, without support for a wide colour gamut, you won’t see as much colour variation in the newly visible section of your image. Support for high frame rates is also recommended, and you’ll need support for 10- or 12-bit capture too, depending on which version of HDR you’re working with.
There are competing versions of HDR?
Yep. The current frontrunner is HDR10, as it’s been picked up by various gaming platforms. Also popular is the more detailed Dolby Vision. The image displayed by Dolby Vision is ‘scene referred’, which means it varies from scene to scene, working with your display to adjust each image. By contrast, HDR10 is static.
Most consumer displays rely on Hybrid Log Gamma, an electronic-optical transfer function protocol that combines standard gamma with log to create (wait for it) a hybrid that extends traditional gamma beyond the standard curve. Any TV can display HLG, as it displays the standard gamma. TVs brighter than 100 nits (i.e. most LCDs) will then display more highlight information until it reaches its point of maximum brightness, when it’ll clip.
Which of these is the one my smartphone camera can do?
Neither. The ‘HDR’ advertised on smartphones is actually HDR-I, which uses tone mapping to give the impression that you’re seeing images with a higher dynamic range than you are. This is not the same as the true HDR you’ll be capturing on a pro camera for a production workflow.
So what qualifies a camera as being capable of shooting real HDR?
There are several features that your camera needs to qualify as HDR-capable, but the main ones are:
– 10-bit capture to Log or RAW. As a minimum, your camera needs to support ProRes or DNX 10-bit 4.2.2., but don’t feel like you have to stop there. The more bits the better, really.
– Plenty of latitude. Canon’s C300 MkII is being touted as having 15 stops, which is ideal, but the Sony FS7 and FS5 both have 14, and if you have a C500 in your arsenal, that still has a perfectly respectable 12 stops of dynamic range.
– S-Log3/C-LOG 3 capture capability; if you are shooting RAW and recording to Log over SDI, this needs to be 10-bit. 12-bit CinemaDNG capture is also good.
– Rec2020 gamut support.
Your existing camera may already be able to record S-Log3 with the help of an external recorder. (The Atomos Flame and Inferno series are a good bet for this, as they incorporate high quality HDR-ready monitors so you can see your footage accurately on set.)
Which cameras are HDR-ready?
Several such cameras are on, or at least making their way to, the market, but as we mentioned earlier, our favourites among the current crop are Canon’s C500 and C300 MK II, Sony’s FS7 and FS5, and the Panasonic GH4 and GH5. All of these cameras output a RAW signal that can be recorded as ProRes or DNX with the help of external recorder, and all have LOG gamma encoding.
Apart from a camera and maybe an external recorder, what else will I need?
In order to see what you’re doing with your HDR images in post, you will need a monitor that can support HDR. Currently, the simplest and most affordable are the Atomos Flame and Inferno ranges, which offer on-camera HDR monitoring combined with the ability to play back and edit your footage at full res, making a collaborative HDR workflow possible for everyone on set. If you’ve already invested in a Atomos Ninja Assassin, Blade HD, Flame, Shogun or Shogun Inferno, HDR support is available as a free upgrade, but as their screens only hit 500 nit, you won’t be able to see more than seven or eight stops of dynamic range; the newer monitors are 1500 nit and showcase 10 stops.
When it comes to post-production, we can’t in good conscience recommend grading on anything less than DaVinci Resolve. Its ability to power through high resolution and frame rate files without slowing down or falling over is going to be extremely necessary if you’re going to be tackling HDR, and it features the industry’s most advanced and sensitive HDR toolkit. The ability to grade a project for multiple colourspaces at the same time is going to come in handy until you’re delivering HDR 4K all the time, too.
Will my current infrastructure be OK?
To be honest, that depends how much 4K work you’ve done so far, and how many changes you’ve made to accommodate it. That 10-bit workflow with its attendant file sizes and frame rates means you’re going to want to be working on a 10Gb Ethernet network, rather than the standard 1GbE.
You’ll also want to make sure you have plenty of high capacity storage both at your facility and on set. One of the reasons we’re so keen on Atomos devices is that they’ve teamed up with G-Technology to develop the Master Caddy range. These high capacity SSDs can slot into any compatible Atomos recorder to capture your footage, then be removed and inserted in to an adaptor that makes them compatible with G-DOCK and ev series storage from G-Technology, so there’s no need for you to invest in proprietary recording media that’ll only work with one of your cameras (you’ll get better speeds and capacities this way, too).
Sony have confirmed the release of a new batch of firmware for their PXW-X500 and PXW-X400 XDCAM shoulder mounted camcorders.
Both models will receive the same new features, and the free firmware updates will provide parity with the PXW-Z450 – the world’s first 2/3″ 4K shoulder mounted camcorder. Here’s a quick rundown of what’s what with the upgrade packages…
USB 3.0 Host support
Clips recorded on SxS memory cards can now be copied to storage or USB media connected to the camcorder’s USB 3.0 interface. This is especially handy for speeding up workflows when out in the field, and you’ll be able to save yourself the hassle of lugging a laptop around for copy or backup.
Partial hi-res clip transfer
The free Content Browser Mobile app for iOS and Android has been updated to version 2.4, and allows users to mark In/Out timecode points of high resolution files recorded on SxS cards before FTP or Cloud upload. This saves time and data upload volume when out in the field, and ensures the user only transmits relevant content to be pushed to the station FTP server for editing and playout later on.
New Full HD proxy recording formats
Sony have added a host of Full HD proxy file formats for improved HD workflow integration, which can be played on air right away without any visible progressive strobe effect. With the latest lot of firmware updates, the PXW-X500 and PXW-X400 now support HD/SD Auto, 1920 x 1080 50i and 1280 x 720 50p proxy files, which can be recorded in 9Mbps or 6Mbps on an SD proxy card.
New streaming formats
Thanks to version 5.0 on the PXW-X500 and version 3.0 on the PXW-X400, users can now select 0.3Mbps and 0.2Mbps low streaming bit rates. Nicely, lower streaming bit rates are available within the bandwidth constraints of BGAN (Broadband Global Area Network) Inmarsat satellite transmission.
Added user menu items
Users can now find Scene Files in the File Menu, offering a bit more freedom and flexibility in camcorder setup and configuration.
You can download the latest firmware packages from the links below:
Are you struggling with storage, or quite happy with your hard drives? As businesses grow with new employees, projects and devices, and take on new and more diverse creative work (which usually means increasingly large file formats), it can put a real strain on old storage systems and networks.
So could your business do with souping up in the storage stakes? Take our quick quiz to find out, and don’t hesitate to get in touch to quiz us on all things storage too!
Take the quiz…
How well is your storage network performing?
A. It’s chugging along just nicely, with plenty of bandwidth to cope with our editors working on high end video, thank you for asking.
B. As we’ve taken on more work involving increasing file sizes, resolutions and frame rates, we’ve noticed data transfer is getting slower, meaning less productivity.
C. Our network has ground to a halt – our storage is over 80% full and we’re forever juggling storage, archiving and retrieval.
Are your staff collaborating as best as they can?
A. Our employees are like one singular, living, breathing collaborative entity.
B. It would be great if staff had access to all our shared digital files remotely from home and other offices as well as our office, so they could work and edit together more collaboratively.
C. Does shouting across the office count as collaboration…?
Is your storage hardware arranged effectively?
A. Our storage estate is optimised for space, power and multiple platforms, and is protected against any eventualities.
B. We have lots of disparate shared drives and racks and would ideally like to consolidate them into one resilient storage estate that allows for hardware failures.
C. We have a cupboard with some hard drives in…
Do you have the storage capacity to cope with business growth?
A. We’ve just incorporated 4K, and are coping with storing larger assets.
B. We’ve only just moved creative in-house, and could do with more storage as we’re finding winning new business and creating rich media such as videos is meaning a lot more unplanned data.
C. We can’t really pitch for new business as we just don’t have the storage capacity to take on rich media projects.
How did you get on?
– Mostly As: Well done, you. Your storage sounds like it’s in good shape, but do get in touch if you need any advice.
– Mostly Bs: Not bad, but room for improvement. Talk to us about how you can improve your storage infrastructure going forward.
– Mostly Cs: Yikes. Sounds like you could do with some help! We’d recommend calling us for an Infrastructure Review – see below.
What to do next
Whether you’re looking at making your storage fit for purpose for your creative files and workflow, bringing video in-house or scaling up to 4K, the best thing you can do is talk to a qualified systems architect or solution designer. Our expert team can pop in to take a look at your existing setup, and give advice on how storage can accommodate your workflow and bring you the best benefit – all for just £450 ex VAT!
Want to know more about storage and bandwidth, or want to book your Infrastructure Review? Give us a call on 03332 409 306, email thrive@Jigsaw24.com or pop your details in the form below. For all the latest news and reviews, follow us on Twitter @WeAreJigsaw24 and ‘like’ us on Facebook.
We’re very excited to announce that we’ve just teamed up with Fujifilm to become an authorised Fujifilm UK reseller. That means we can now offer video production customers the full range of Fujifilm’s awesome Fujinon TV and Cine lenses.
About Fujinon lenses
Fujinon lenses have been renowned in the world of television broadcasting for years – even bagging a few Emmy awards along the way – but because of their ultra high quality optical technology and extensive range, they’re also perfect for any application from movie production to sports, entertainment and electronic news gathering.
And with the rise of 4K broadcasting over the past couple of years, Fujifilm have responded to the new resolution demands of broadcasters by enhancing their high precision optical technologies to support the cutting edge of TV and film production. Their UA-Series 4K UHD range of lenses was recently honoured at the IBC Innovation Awards for the part it played in allowing BT Sport to deliver a Ultra HD channel.
Their Cine range boasts the ultimate in 4K optical performance lenses for cinema production, including the HK 4K Plus Premier Series, ZK 4K Premier Cabrio Series and XK 4K Premier Cabrio Series, while the TV range covers all kinds of TV videography, including studio and field box lenses, and ENG and EFP portable lenses.
Fujifilm and Jigsaw24
As we’re now an authorised Fujifilm UK reseller, if you’d like any more information on the full range of Fujifilm Fujinon TV and Cine lenses, just get in touch with the sales team for a chat on the details below.